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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Kenny Dorham - Kenny Dorham Sings And Plays: This Is The Moment!

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 37:33
Size: 86,0 MB
Art: Front

(3:04)  1. Autumn Leaves
(2:55)  2. I Remember Clifford
(4:15)  3. Since I Fell For You
(4:11)  4. I Understand
(4:45)  5. From This Moment On
(2:37)  6. This Is The Moment
(5:26)  7. Angel Eyes
(4:29)  8. Where Are You?
(2:40)  9. Golden Earrings
(3:05) 10. Make Me A Present Of You

The release of this recording must have surprised most jazz listeners at the time, for trumpeter Kenny Dorham sings on all ten selections. He had never hinted at any desire to sing previously (although he had sung a blues regularly with Dizzy Gillespie & His Orchestra in the 1940s) and, as it turned out, this was his one and only vocal album; the sales were probably quite a bit less than Chet Baker's records of the period. Dorham had an OK voice, musical if not memorable, but the arrangements for these selections (which utilize his trumpet and Curtis Fuller's trombone, both of which are muted all the time) are inventive and pleasing. The supportive rhythm section is also an asset; pianist Cedar Walton made his recording debut on this album (released on CD via the Original Jazz Classics imprint), which is a historical curiosity. ~ Scott Yanow   

http://www.allmusic.com/album/kenny-dorham-sings-and-plays-this-is-the-moment!-mw0000118945

Personnel: Kenny Dorham - trumpet, vocals; Curtis Fuller – trombone; Cedar Walton – piano; Sam Jones – bass; G.T. Hogan – drums; Charlie Persip - drums

Kenny Dorham Sings And Plays: This Is The Moment!

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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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VA - Jazz Yule Love

Styles: Hard Bop, Holiday
Year: 2002
File: MP3@128K/s
Time: 50:56
Size: 50,3 MB
Art: Front

(6:30) 1. We Three Kings
(4:00) 2. White Christmas
(5:38) 3. Winter Wonderland
(3:03) 4. Sleigh Ride
(4:22) 5. It's the Most Wonderful Time of the Year
(3:29) 6. Christmas Heart
(4:03) 7. O Tannenbaum
(2:47) 8. Silent Night
(3:33) 9. O Come All Ye Faithful
(4:14) 10. A Child Is Born
(6:58) 11. Joy to the World
(2:19) 12. Angels We Have Heard on High

While in the studio the previous year with many of the legendary artists on his roster, working on their individual projects, Crusaders legend and Mack Avenue Records president Stix Hooper had a festive idea: get the likes of Terry Gibbs, Cedar Walton, Pete Jolly, George Shearing, Les McCann, Teddy Edwards, Eugene Maslov, and Kenny Burrell to take five and stir up the Christmas spirit with a Yuletide tune.

The resulting compilation, Jazz Yule Love, is an instant classic, a swinging traditional jazz sampler that showcases these cats at the peak of their game, being highly creative and improvisational amid the comfort of tunes everyone knows (and a McCann original everyone might not). Jolly's take on "It's the Most Wonderful Time of the Year" is especially hard-driving, and Gibbs' lighthearted take on "White Christmas" reminds you of the childlike joys of the season.

Jolly tones down for a reading of "O Tannenbaum" that invokes the subtle old arrangement of Vince Guaraldi. Overall, a beautiful and festive way to become familiar with the label and with some of the greatest jazz players of all time.By Jonathan Widran https://www.allmusic.com/album/release/jazz-yule-love-mr0000305943

Jazz Yule Love

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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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Etta James - Time After Time

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 64:37
Size: 149,0 MB
Art: Front

(5:02) 1. Don't Go To Strangers
(5:03) 2. Teach Me Tonight
(4:31) 3. Love Is Here To Stay
(6:36) 4. The Nearnes Of You
(4:26) 5. Time After Time
(5:50) 6. My Funny Valentine
(6:55) 7. Imagination
(4:01) 8. Fool That I Am
(6:27) 9. Willow Weep For Me
(5:19) 10. Ev'rybody's Somebody's Fool
(4:19) 11. Night And Day
(6:01) 12. Someone To Watch Over Me

Casual fans of Etta James most often thought of her as a blues singer, and she was, when that was what she wanted to do, but she also sang straight girl group pop, belted out R&B and soul tunes, and she also, when she chose, took herself uptown and sang jazz.

That's the case here, as James elegantly delivers her versions of vocal jazz standards like Sammy Cahn and Jule Styne's "Time After Time" and Hoagy Carmichael's "The Nearness of You," in front of a tight and fluid big band comprised of Josh Sklair (guitar), Eddie Harris and Herman Riley (tenor saxophone), Ronnie Buttacavoli (trumpet, flügelhorn), Kraig Kilby (trombone), Cedar Walton (piano), John Clayton (bass), Paul Humphrey (drums), and Donto Metto James (shakers). It's all graceful and uptown, and James' singing is hauntingly beautiful. By Steve Leggett
https://www.allmusic.com/album/time-after-time-mw0000175382

Personnel: Vocals – Etta James; Bass – John Clayton (tracks: all except 6); Drums – Paul Humphrey (tracks: all except 6); Flugelhorn – Ronnie Buttacavoli (tracks: 6, 7, 8, & 9); Guitar – Josh Sklair; Piano – Cedar Walton (tracks: all except 6); Tenor Saxophone – Eddie Harris (tracks: 2, 3, 5, & 12), Herman Riley (tracks: 4, 7, 9, 10, & 11); Trombone – Kraig Kilby (tracks: 2, 3, 5, 7, 9, 10, & 12)

Time After Time

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Art Blakey & The Jazz Messengers - Kyoto

Styles: Jazz, Hard Bop
Year: 1991
File: MP3@320K/s
Time: 32:24
Size: 74,7 MB
Art: Front

(5:57) 1. The High Priest
(5:49) 2. Never Never Land
(5:04) 3. Wellington's Blues
(8:30) 4. Nihon Bash
(7:04) 5. Kyoto

Reissued on Fantasy's OJC series, this album finds Art Blakey's Jazz Messengers paying tribute to Japan (where they had toured to great acclaim) on two selections, featuring Art Blakey's cousin as a vocalist on "Wellington's Blues" (a real rarity in The Jazz Messengers' discography) and debuting Curtis Fuller's "The High Priest." With trumpeter Freddie Hubbard, tenorman Wayne Shorter and trombonist Fuller in fine form, this is one of literally dozens of recommended Jazz Messengers recordings.~Scott Yanowhttps://www.allmusic.com/album/kyoto-mw0000315032

Personnel: Art Blakey - drums; Freddie Hubbard – trumpet; Curtis Fuller – trombone; Wayne Shorter - tenor saxophone; Cedar Walton - piano; Reggie Workman - bass; Wellington Blakey - vocals (track 3)

Kyoto

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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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Clifford Jordan - Mosaic

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 78:40
Size: 180,6 MB
Art: Front

(6:06)  1. Sunrise In Mexico
(5:20)  2. Extempore
(4:49)  3. Down Through The Years
(4:05)  4. Quittin' Time
(4:46)  5. One Flight Down
(3:56)  6. Windmill
(5:00)  7. Don't You Know I Care?
(4:59)  8. Mosaic
(3:54)  9. Cumberland Court
(4:52) 10. A Story Tale
(5:39) 11. You're Driving Me Crazy
(3:28) 12. Defiance
(6:03) 13. Prints
(5:03) 14. Hip Pockets
(5:16) 15. They Say It's Wonderful
(5:16) 16. If I Didn't Care

Two excellent early Clifford Jordan albums, Starting Time and A Story Tale, are reissued in full on this single CD. Jordan, whose sound was just beginning to become quite distinctive in 1961, is heard with a quintet also including trumpeter Kenny Dorham, pianist Cedar Walton, bassist Wilbur Ware, and drummer Albert "Tootie" Heath, and on a set with altoist Sonny Red, Tommy Flanagan or Ronnie Mathews on piano, bassist Art Davis, and drummer Elvin Jones. 

With the exception of four selections, all 16 tunes are group originals. Best-known are Walton's "Mosaic" and "One Flight Down," but all of the music is high-quality hard bop. Dorham and Red are both in excellent form, constantly challenging Jordan. Fine if formerly obscure music. ~ Scott Yanow http://www.allmusic.com/album/mosaic-mw0000010913

Personnel: Clifford Jordan (tenor saxophone); Sonny Red (alto saxophone); Kenny Dorham (trumpet); Ronnie Mathews, Tommy Flanagan, Cedar Walton (piano); Wilbur Ware (acoustic bass); Elvin Jones, Albert "Tootie" Heath (drums).

Mosaic

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Joe Henderson - The Complete Blue Note Studio Sessions (5-Disc Set)

Styles: Jazz
Year: 2021
Time: 79:01
File: MP3 @ 320K/s
Size: 180,9 MB
Art: Front

(15:18) 1. Una Mas (One More Time)
( 8:58) 2. Straight Ahead
( 7:20) 3. Sao Paulo
( 5:08) 4. If Ever I Would Leave You
( 8:01) 5. Blue Bossa
( 9:09) 6. La Mesha
( 4:14) 7. Homestretch
( 6:02) 8. Recorda Me
( 7:23) 9. Jinrikisha
( 7:24) 10. Out of the Night

If an artist stamps his jazz passport with any one of these labels Blue Note, Verve, Milestone it's pretty much a guarantee that you've arrived in style. Tenor saxophonist Joe Henderson has traveled with all three and more. The 2021 reissue from the prestigious Mosaic Records focuses on Henderson's 1960s tenure with Blue Note offers a new opportunity to experience an abundance of rich and creative jazz from the decade.

Big band and bop were duking it out in the late 1940s, bebop gained a foothold in the 1950s and the 1960s saw some amazingly creative artists emerge as they conjured up even more jazz hybrids (straight jazz, Avant-Garde, fusion and more). Henderson began to come of age during the very late 1950s, the tail end of one of the most dynamic and creative decades for jazz. He then moved confidently into the 1960s and beyond. He began to gain momentum in the 1960s (sitting in with saxophone master Dexter Gordon early on), learned from listening to other sax giants including Charlie Parker and Sonny Rollins and soon teamed up with numerous A-list artists including trumpeter Kenny Dorham, a Blue Note co-artist. The spotlight shifted a bit during the seventies and eighties for Henderson but he was amazingly prolific in the 1990s. Verve championed him during that decade with a high profile 'come back' campaign and sessions such as Lush Life (1982) contained everything from the supple and smoky "Isfahan" and "Blood Count" to the soaring and spontaneous "Johnny Come Lately." Touring took him to various venues and in a talk backstage after a mid-1990s concert, Mr. Henderson was dapper and smartly dressed, low key, quiet and reserved. He was a joy to talk to. But his constant companion, a lit cigarette, was absent, probably due to venue restriction (chain smoking eventually took him down in 2001.)

Mosaic collected nearly fifty cuts on five CDs and captured a world of spontaneous creativity. In addition, a modest yet informative booklet is included. A book's worth of praise could follow, so let's look at a few tracks from each compact disc: Everything gets underway with the title cut from trumpeter Kenny Dorham's Una Mas (1963) album in which Henderson joins as a featured sideman. At over fifteen minutes, the opening track is a celebration of the then contemporary sounds of Bossa Nova, with hints of other styles including the blues. He may be the second billed musician on the disc, but Henderson's sax is supple, lush and creatively enticing as a close bond was being forged between the two men. Everyone swings, and they are upbeat on "Straight Ahead," one of the other standout tracks from the Dorham-lead sessions. (full review => https://www.allaboutjazz.com/the-complete-joe-henderson-blue-note-studio-sessions-joe-henderson-mosaic-records)

Personnel: Joe Henderson: Saxophone; Kenny Dorham: Trranumpet; Herbie Hancock: Piano; Tony Williams: Drums; McCoy Tyner: Piano; Bob Cranshaw: Bass; Duke Pearson: Piano; Richard Davis: Bass, Acoustic; s: Drums; Tommy Flanagan: Piano; Ron Carter: Elvin Jones: Bass; Cedar Walton: Piano; Lee Morgan: Trumpet; Curtis Fuller: Trombone; Grant Green: Guitar; Bobby Hutcherson: Vibraphone; J.J. Johnson: Trombone; Al Harewood: Drums; Woody Shaw: Trumpet; Andrew Hill: Piano.

The Complete Blue Note Studio Sessions CD1

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Styles: Jazz
Year: 2021
Time: 76:41
File: MP3 @ 320K/s
Size: 175,6 MB
Art: Front

( 8:17) 1. La Mesha (alternate take)
( 7:38) 2. Homestretch (alternate take)
( 8:33) 3. Teeter Totter
(10:05) 4. Pedro's Time
( 5:38) 5. Our Thing
( 6:20) 6. Back Road
( 8:06) 7. Escapade
( 7:11) 8. Teeter Totter (alternate take)
( 5:31) 9. Our Thing (alternate take)
( 9:18) 10. In 'N Out (alternate take)

The Complete Blue Note Studio Sessions CD2

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Styles: Jazz
Year: 2021
Time: 76:45
File: MP3 @ 320K/s
Size: 175,7 MB
Art: Front

(10:25) 1. In 'N Out
( 9:09) 2. Punjab
( 6:17) 3. Serenity
( 7:11) 4. Short Story
( 6:25) 5. Brown's Town
(12:24) 6. Trompeta Toccata
( 5:46) 7. Night Watch
(11:05) 8. Mamacita
( 8:00) 9. The Fox

The Complete Blue Note Studio Sessions CD3

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Styles: Jazz
Year: 2021
Time: 78:40
File: MP3 @ 320K/s
Size: 180,1 MB
Art: Front

(11:58) 1. Inner Urge
( 9:16) 2. Isotope
( 7:14) 3. El Barrio
( 7:21) 4. You Know I Care
( 7:24) 5. Night and Day
( 8:14) 6. Hobo Joe
( 8:30) 7. Step Lightly
( 6:07) 8. The Kicker
( 5:46) 9. Mo' Joe
( 6:45) 10. If

The Complete Blue Note Studio Sessions CD4

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Styles: Jazz
Year: 2021
Time: 59:11
File: MP3 @ 320K/s
Size: 135,5 MB
Art: Front

(7:08) 1. A Shade of Jade
(8:03) 2. Mode for Joe
(6:53) 3. Black
(6:43) 4. Caribbean Fire Dance
(7:23) 5. Granted
(6:41) 6. Free Wheelin'
(9:28) 7. Mode for Joe (alternate take)
(6:49) 8. Black (alternate take)

The Complete Blue Note Studio Sessions CD5

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Etta Jones - Doin' What She Does Best

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 62:54
Size: 145,8 MB
Art: Front

(3:53) 1. Laughing At Life
(3:56) 2. Orange Colored Sky
(4:56) 3. Crazy He Calls Me
(3:33) 4. It Could Happen To You
(4:25) 5. I Saw Stars
(5:47) 6. I'm In The Mood For Love
(3:12) 7. I'm Gonna Lock My Heart And Throw Away The Key
(4:34) 8. I'll Be Seeing You
(5:14) 9. My Romance
(4:14) 10. I Laughed At Love
(3:31) 11. East Of The Sun
(5:50) 12. The Man That Got Away
(4:00) 13. What A Little Moonlight Can Do
(5:43) 14. Gone Again

Singer Etta Jones made a comeback while with Muse in the 1970s and '80s, recording more than a dozen albums and teaming up with tenor saxophonist Houston Person (who also produced her sessions). This superior sampler has 14 of her very best recordings from that era.

Person's tenor both complements and contrasts with Jones' voice, and the frameworks/arrangements along with the singer's distinctive phrasing uplift these standards. Her renditions of songs like "Crazy He Calls Me," "I Saw Stars," "I'm Gonna Lock My Heart (And Throw Away the Key)," "My Romance," "East of the Sun (And West of the Moon)," and "The Man That Got Away" are quite definitive. In fact, these are among the very best (and most enjoyable) recordings of Jones' long career.
~Scott Yanowhttps://www.allmusic.com/album/doin-what-she-does-best-mw0000040165

Personnel: Vocals – Etta Jones; Bass – Buster Williams, George Duvivier, Milt Hinton, Sam Jones; Congas, Percussion – Lawrence Killian; Drums – Cecil Brooks III, Frankie Jones, Grady Tate, Idris Muhammad, Jimmy Cobb, Walter Davis Jr.; Guitar – Jimmy Ponder, Melvin Sparks; Keyboards – Sonny Phillips; Percussion – Ralph Dorsey; Piano – Cedar Walton, Stan Hope; Tenor Saxophone – Cedar Walton; Tenor Saxophone – Houston Person; Vibraphone – George Devens

Doin' What She Does Best

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Houston Person - Trust In Me

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 78:08
Size: 179,4 MB
Art: Front

(7:58) 1. Chocomotive
(3:54) 2. You're Gonna Hear From Me
(7:38) 3. Close Quarters
(8:36) 4. Since I Fell For You
(7:59) 5. More (Theme From Mondo Cane)
(3:27) 6. Airegin [Bonus Track]
(5:27) 7. One Mint Julep
(4:57) 8. Trust In Me
(5:11) 9. Hey There
(4:24) 10. My Little Suede Shoes
(6:10) 11. That Old Black Magic
(6:31) 12. Sometimes I Feel Like A Motherless Child
(5:49) 13. The Second Time Around

Houston Person is generally considered a soul-jazz specialist whose tenor playing can be counted on to elevate a standard organ combo or groove-based session into something memorable. This set, however, demonstrates Person's reach well beyond funk and blues grooves. The CD, combining the 1967 dates Chocomotive and Trust in Me, reveals a multi-faceted player who has grasped the lessons of tenor greats from Coleman Hawkins to Gene Ammons to Sonny Rollins. This explains why when Person sits down with a Johnny Hammond, Eddie Harris, or Charles Earland he has a whole lot more in his bag than blues licks and an assertive tone. Pianist Cedar Walton is a major presence on both sets, providing a powerful, personal approach that falls somewhere between Horace Silver's sublime earthiness and Thelonious Monk's knotty logic.

Veteran hard boppers Bob Cranshaw and Paul Chambers share the bass spot. The drummers are lesser-knowns Lenny McBrowne and Frankie Jones. Drummer's drummer Alan Dawson is on the Chocomotive tracks in a rare but effective turn at the vibes. Space limitations mean that "Girl Talk" and "Up, Up and Away" from the original Chocomotive are not on the compilation. On the other hand, the bonus track, a brief outing on Sonny Rollins' "Airegin," serves as a prime example of Person's abilities in a probing, straight-ahead setting. A couple of tracks veer towards a blowsy lounge style, but even on "More" (a song that has not stood the test of time) Person with effective work from Walton, Dawson, and Cranshaw steers the performance to a swinging place that transcends the tune's inherent cheesiness.~Jim Todd https://www.allmusic.com/album/trust-in-me-mw0000012925

Personnel: Houston Person- tenor saxophone; Cedar Walton- piano; Alan Dawson- vibes; Bob Cranshaw- bass; Frankie Jones- drums; Paul Chambers- bass; Lenny McBrowne- drums; Ralph Dorsey- conga.

Trust In Me

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Vanessa Rubin - Girl Talk

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 51:16
Size: 117,6 MB
Art: Front

(3:15)  1. Comes Love
(3:41)  2. Matchmaker, Matchmaker
(7:08)  3. Whatever Happens
(5:32)  4. But Not for Me
(7:51)  5. One for My Baby (And One More for the Road)
(4:25)  6. You'll Never Know (Until You Let Go)
(4:21)  7. Loving You
(4:34)  8. Girl Talk
(2:22)  9. Sex Is a Misdemeanor (The More You Miss de Meaner You Get)
(3:07) 10. Gee, Baby, Ain't I Good To You
(2:46) 11. Won't Have to Say Goodbye
(2:10) 12. If You Ever Go Away

This, Vanessa Rubin's second album for Telarc, is one of her best. The play list is varied and the arrangements allow plenty of room to strut her personality and versatility. There's a "that's all folks" scat coda on "Comes Love". "Matchmaker" is a swinging waltz with Eric Alexander's Coltrane influenced sax delving in and around the melody line. She dubs herself in as a backup vocalist on a having some fun "Sex Is a Misdemeanor (the More You Miss De Meaner You Get)" done with just Lewis Nash's drums helping out. Etta Jones guests with Rubin on a couple of tracks. Her Esther Phillips like nasal quality is put to good use on a "But Not for Me" which also features the tenor of Javon Jackson and the special piano of Cedar Walton. The two go to town on the blues classic, "Gee, Baby, Ain't I Good to You" ending with some jiving girl talk with each other. Jones also did a guest stint on Jeannie Bryson's latest release, Deja Blue. A premier track is the lovely lilting "Whatever Happens", a Vanessa Williams favorite.

Rubin caresses a ballad as well as anyone in the business.Rubin doesn't set the world on fire with this album, nor does it appear that her intention. Rather the album is a platform for Rubin's straight forward jazz singing where she recognizes that lyrics she can also be concerned with lyrics to earn the sobriquet "jazz singer." The voice doesn't always have to be just an instrument. Rubin's vocalizing meshes well with the instruments with words delivered with intelligent emotion. Telarc has surrounded her with top level support with the sidemen on this set befitting for a singing personage of Rubin's stature. It's a no brainer to highly recommend Girl Talk. ~ Dave Nathan  http://www.allaboutjazz.com/girl-talk-vanessa-rubin-telarc-records-review-by-dave-nathan.php

Personnel: Vanessa Rubin, Etta Jones - Vocals; Eric Alexander, Javon Jackson - Tenor Saxophone; Steve Davis - Trombone; Lewis Nash - Drums; Cedar Walton, Larry Willis - Piano; David Williams - Bass

Girl Talk

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Cedar Walton - Mobius & Beyond Mobius

Styles: Jazz, Straight-ahead/Mainstream
Year: 2015
File: MP3@256K/s
Time: 79:52
Size: 146,8 MB
Art: Front

(10:07)  1. Blue Trane
(10:34)  2. Soho
( 7:48)  3. Off Minor
( 6:18)  4. The Maestro
( 5:39)  5. Road Island Red
( 4:15)  6. Bad Luck
( 6:18)  7. Low Rider
( 5:16)  8. Beyond Mobius
( 4:32)  9. Jive Talkin'
( 5:16) 10. Canadian Sunset
( 7:24) 11. The Girl with the Discotheque Eyes
( 6:17) 12. Lonely Cathedral

Two killers from Cedar Walton back to back on a single CD! First up is Mobius a real revelation from pianist Cedar Walton an unusual electric album from the 70s quite a surprise, given the mostly-acoustic sound of most of Cedar's other records! The album's a killer, though and has this fresh, full take on funky jazz for the time not the usual CTI copycat mode, and instead this compelling hybrid of elements that includes lots of Fender Rhodes from Walton, sweet guitar likes from Ryo Kawasaki, and lots of rootsy percussion from Ray Mantilla and Omar Clay two players who really make the album nice and earthy at the bottom. The rest of the group is wonderful, too and includes tenor from Frank Foster, alto and baritone from Charles Davis, and trumpet from Roy Burrowes all fresh players who open up a big can of soul for the set on titles that include a classic break version of "Off Minor", plus "Blue Trane", "Soho", and "Road Island Red". Beyond Mobius is a great electric set from Cedar Walton and a set that moves beyond his previous Mobius album, in case you couldn't guess from the title! The style here is a bit more tightly arranged with some backup vocals on a few cuts, which underscore the core jazzy elements from Walton on a range of keyboards and synth, Eddie Harris on tenor, and Blue Mitchell on trumpet all grooved together with some tight guitar lines from Eric Gale and Cornell Dupree! Keyboards definitely get some great solo time in the spotlight, but the overall sound is quite strong too a nice instrumental funk approach, save for the added chorus vocals in a few spots. Titles include the moogy "Beyond Mobius", a cover of "Low Rider", and the tracks "Jive Talkin", "The Girl With The Discotheque Eyes", and "Lonely Cathedral". © 1996-2016, Dusty Groove, Inc.https://www.dustygroove.com/item/766015

Personnel: 
Beyond Mobius: Cedar Walton - keyboards, synthesizer arranger, conductor;  Burt Collins, Jon Faddis, Blue Mitchell - trumpet, flugelhorn;  Wayne Andre, Alan Raph – trombone;  George Marge, Eddie Harris - tenor saxophone;  Norman Carr, Harry Cykman, David Moore, Morris Sutow – strings;  Cornell Dupree, Eric Gale - rhythm guitar;  Gordon Edwards – bass;  Charles Collins, Jimmie Young – drums;  Angel Allende – percussion;  Mike Lipskin - percussion, ARP synthesizer, voice, string arranger, string conductor;  Alan Abrahams, Adrienne Albert, Yolanda McCullough, Maeretha Stewart – voice;  Rod Levitt - horn arranger, horn conductor, string arranger, string conductor

Mobius: Cedar Walton - keyboards, arranger;  Roy Burrowes – trumpet;  Wayne Andre – trombone;  Charles Davis, Frank Foster – saxophones;  Ryo Kawasaki - electric guitar;  Gordon Edwards – bass;  Steve Gadd – drums;  Omar Clay, Ray Mantilla – percussion; Adrienne Albert, Lani Groves - vocals

Mobius & Beyond Mobius

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Joe Farnsworth - Beautiful Friendship

Bitrate: MP3@320K/s

Time: 71:16

Size: 163.2 MB

Styles: Standards, Hard bop

Year: 1999

Art: Front

[8:29] 1. Eddie's Mood

[5:51] 2. A Beautiful Friendship

[9:15] 3. Joobie

[6:40] 4. Lament

[7:56] 5. I'm Not So Sure

[8:29] 6. Something In Common

[9:40] 7. I See You, Brother

[7:21] 8. Melancholee

[7:31] 9. Joe's Tempo

Joe Farnsworth (D); Cedar Walton (P); Eddie Henderson (Tp / Flh); Eric Alexander (Ts); Steve Davis (Tb); Nat Reeves (B).

For his debut session, drummer Joe Farnsworth assembled a crew that mixes veterans Eddie Henderson and Cedar Walton with Farnsworth's regular running mates from the Criss Cross stables: tenor saxophonist Eric Alexander and trombonist Steve Davis, along with bassist Nat Reeves. The mood is definitely Blue Note bop, and as such fits well within the Criss Cross catalog. By soliciting tunes from his sidemen, Farnsworth put together a strong program that elicits fully engaged playing from all the participants. Alexander especially digs in on his own "Joobie," a duet with Farnsworth, and one of two tracks here dedicated to the memory of Farnsworth's late brother, James, a bebop baritone saxophonist. With the set opening and closing with compositions dedicated to participants, the recording has a warm fraternal feeling. Musically, Farnsworth keeps the session moving with steady time, showing why he's so in demand by both veterans and his peers. ~David Dupont

Beautiful Friendship

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Gene Ammons & Sonny Stitt - Left Bank Encores

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 73:11
Size: 168,2 MB
Art: Front

( 9:06) 1. Just In Time
(11:31) 2. They Can't Take That Away From Me
( 9:37) 3. Theme From "Love Story"
( 6:56) 4. Exactly Like You
( 6:02) 5. Don't Go To Strangers
(15:51) 6. Autumn Leaves
(14:05) 7. Blues Up And Down

The antithesis of studio-bred perfection, Left Bank Encores is another interesting artifact of Ammons and Stitt’s long-term partnership. The presence of a large, vocal crowd at the Famous Ballroom doesn’t spur the expected tenor battle; rather, something looser and less dramatic occurs.

During a brisk rendition of “Just In Time,” the set’s opener, Ammons states the melody then delivers a solo full of short, abrupt phrases with a burly, elephantine tone. The rhythm section, comprised of pianist Cedar Walton, bassist Sam Jones, and drummer Billy Higgins, manages to swing efficiently and stay out of Ammons’ way. Brief and to the point, the tenor saxophonist’s soul-stirring accompaniment is a perfect match for Etta Jones’ vocals during a raucous take of “Exactly Like You.”

In contrast to Ammons’ large, lumbering presence, Stitt’s brief turn on the same track is a brilliant patchwork that brings together portions of the tune’s melody, blues locutions, and bebop flights into a coherent statement. “They Can’t Take That Away From Me” is noteworthy for the inspired give and take between Stitt and Walton on the saxophonist’s extended alto solo.~ David A. Orthmann https://www.allaboutjazz.com/left-bank-encores-gene-ammons-prestige-records-review-by-david-a-orthmann.php

Personnel: Gene Ammons - tenor saxophone; Sonny Stitt - tenor and alto saxophone; Cedar Walton - piano; Sam Jones - bass; Billy Higgins - drums; Etta Jones - vocals (4 and 5).

Left Bank Encores

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Gene Ammons, Sonny Stitt - God Bless Jug And Sonny

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 68:01
Size: 156,6 MB
Art: Front

(16:32) 1. Blue 'N' Boogie
(14:58) 2. Stringin' The Jug
( 5:48) 3. God Bless The Child
( 5:05) 4. Autumn In New York
( 7:44) 5. Ugetsu
(17:51) 6. Bye Bye Blackbird

Jug and Sonny share a place near the top in the pantheon of tandem tenor teams. Their spirited, hard-charging contests, which always seem to end in amicable draws are the stuff of canonical jazz legend so the news of an previously unreleased recording of the pair is undoubtedly enough to set the countenances of their loyal fans to suffusing with expectant grins. Taped live at the Left Bank Jazz Society during Ammons’ twilight time (he would die a little over a year later) the date makes good on its promise. Three tracks clocking in at over fourteen minutes, one apiece as solo features for the individual tenors and a final track showcasing the rhythm section alone- its easy to see that this is a program custom-built to satisfy even the most demanding bop maven.

Ammon’s robust and throaty horn initiates the Gillespie classic “Blue ‘n’ Boogie” digging in deep around the theme and sounding off with sassy abandon through a ruddy stream of elongated notes. Stitt chimes in on the heels of his confrere’s solo with a lighter, less pugilistic tone, taking his time in cavorting with the rhythm section’s supportive swing. Engaging in a chain of overlapping exchanges the pair trade phrases before a final joint summation takes the tune out. “Stringin’ the Jug” affords Ammons inaugural honors a second time and the heavyweight tenor comes out swinging again. Jabbing and feinting through his series of choruses he again shows himself less light on his feet than Stitt and resorts on occasion to repetitive stock phrases. An uncharacteristic coarseness also invades his tone and its not always clear whether the change is a product of the recording fidelity or his own fading prowess. Stitt again sounds completely in control from the onset of his own protracted declaration, the speed of his unfurling lines matched by Higgins’ scampering drums.

The next two tracks provide opportunities to hear the individual horns in isolation with the rhythm section and the differences between Stitt and Ammons in these undiluted settings are particularly enlightening. Ammons’ gilded exploration of the Billie Holiday staple “God Bless the Child” balances just the right of measure of tenderness with muscular grit. Stitt hoists his alto for “Autumn in New York” working similar magic of the standard’s balladic changes. Walton’s “Ugetsu,” which first gained notoriety as an entry in the Jazz Messengers songbook gives the saxophonist’s a rest and the resulting trio shines on its own terms. Rounding out with a final burner in the form of a seventeen-minute “Bye Bye Blackbird” the tenor warhorses take one final gallop through the trenches.

As two-tenor conclaves go this one earns high marks. All the more so because unlike earlier recorded meetings between Jug and Sonny, track lengths allow for the duo to truly put each other through the paces. Listeners with a keen ear for the work of either man will find their expectations met many times over.~ Derek Taylor https://www.allaboutjazz.com/god-bless-jug-and-sonny-fantasy-jazz-review-by-derek-taylor.php

Personnel: Gene Ammons- tenor saxophone; Sonny Stitt- tenor & alto saxophones; Cedar Walton- piano; Sam Jones- bass; Billy Higgins-drums. Recorded: June 24, 1973, Baltimore, MD.

God Bless Jug And Sonny

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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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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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Art Farmer - The Summer Knows

Styles: Jazz, Bop
Year: 1976
File: MP3@320K/s
Time: 34:31
Size: 80,3 MB
Art: Front

(7:42)  1. The Summer Knows
(5:24)  2. Manhã De Carnaval
(4:55)  3. Alfie
(6:13)  4. When I Fall In Love
(4:45)  5. Ditty
(5:30)  6. I Should Care

This relaxed session features fluegelhornist Art Farmer in a quartet with pianist Cedar Walton, bassist Sam Jones and drummer Billy Higgins. The material (which includes such tunes as "Alfie," "When I Fall in Love" and "I Should Care") is given lyrical treatment by these masterful players on this ballad-dominated date. ~ Scott Yanow https://www.allmusic.com/album/the-summer-knows-mw0000649502

Personnel:  Art Farmer - flugelhorn; Cedar Walton - piano; Sam Jones - bass; Billy Higgins - drums

The Summer Knows

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