Oscar Peterson - Dimensions: A Compendium Of The Pablo Years (4-Disc Set)

Oscar Peterson, Count Basie, Louis Bellson, Ray brown, Benny Carter, Martin Drew, Harry "Sweets" Edison, Roy Eldridge, Duke Ellington, Jon Faddis, Dizzy Gillespie, Stephane Grappelli, Coleman Hawkins, Louis Hayes, Johnny Hodges, Barney Kessel, Neils-Henning Orsted Pedersen, Joe Pass, Mickey Roker, Clark Terry, Toots Thieleman, Ed Thigpen, David Young, and more.

Oscar Peterson's recordings on the Pablo label span the years from the '50s to the '70s and have long needed this type of lavish anthology. Over the course of four discs, you get to hear five tunes by the classic trio matching the peerless pianist with guitarist Herb Ellis and bassist Ray Brown. But the best of that particular band – arguably Peterson's finest – resides largely on the Verve label, so the Pablo years find Peterson interacting with a number of stars with whom he shared studio or concert stage time on an occasional, sometimes casual basis. The supporting cast on the Pablo years is dazzling, and the results are rarely less than deeply satisfying. Peterson sounds delightfully restrained during a charming piano duet with Count Basie, deliciously witty with growling trumpeter Harry "Sweets" Edison, and nearly intimidated by the virtuosity of Stephane Grappelli, but then again, "Nuages" is the tune this box showcases, and the violinist had a few decades after Django's death to stake his claim to that number.

Half of the 46 tracks here are live, and live recordings always bring out the flashy entertainer in Peterson. Yet even for those critics like myself who find Peterson more focused and inspired in the studio, there are ecstatic rewards in the live offerings here. A 1967 concert with the Ellington band finds Peterson navigating a strangely compelling blues line through a show-stopping "Take the A Train" that succeeds in spite of obvious showboating. Another live bit of Ellingtonia that succeeds, a medley of Perdido and Caravan at dizzying speed, comes from a 1986 Los Angeles concert where Peterson's telepathic empathy with guitarist Joe Pass equals in sheer majesty his interaction of the '50s with Herb Ellis.

There are a handful of regrettable clinkers: a misguided vocal that sounds like Nat King Cole recorded at the ocean floor, a quizzical number on clavichord, surely not Peterson's ideal instrument (as he was quick to recognize), and an overripe orchestrated tribute to the late Princess Di that resembles in sap content Ellington's tribute to the Queen. These gaffes aside, this is a sterling, well-programmed set certain to please fans of our forever-young, and arguably, greatest living pianist. ~Norman Weinstein

Album: Dimensions: A Compendium Of The Pablo Years (Disc 1)
Bitrate: MP3@320K/s
Time: 74:13
Size: 169.9 MB
Styles: Piano jazz
Year: 2003

[4:48] 1. That Old Black Magic
[5:00] 2. Tenderly
[3:22] 3. How High The Moon
[4:40] 4. The Way You Look Tonight
[3:40] 5. You Are Too Beautiful
[4:47] 6. Smedley
[5:08] 7. Someday My Prince Will Come
[6:03] 8. Daytrain
[3:33] 9. Moonglow
[4:36] 10. Sweet Georgia Brown
[6:23] 11. C Jam Blues
[6:37] 12. Wes' Tune
[8:42] 13. Okie Blues
[6:50] 14. You Can Depend On Me

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Album:Dimensions: A Compendium Of The Pablo Years (Disc 2)
Bitrate: MP3@320K/s
Time: 73:59
Size: 169.4 MB
Styles: Piano jazz
Year: 2003

[8:40] 1. You Are My Sunshine
[6:58] 2. Caravan
[7:09] 3. Stella By Starlight
[4:43] 4. Little Jazz
[5:28] 5. Soft Winds
[6:30] 6. Mean To Me
[7:52] 7. Oh, Lady Be Good
[4:20] 8. On A Slow Boat To China
[4:26] 9. Summertime
[7:18] 10. Blues For Birks
[4:54] 11. How Long Has This Been Going On
[5:34] 12. Hogtown Blues

Dimensions: A Compendium Of The Pablo Years (Disc 1) (Disc 2)

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Album: Dimensions: A Compendium Of The Pablo Years (Disc 3)
Bitrate: MP3@320K/s
Time: 76:01
Size: 174.0 MB
Styles: Piano jazz
Year: 2003

[ 5:22] 1. Blues Etude
[ 3:37] 2. Do You Know What It Means To Miss New Orleans
[ 7:18] 3. I'm Getting Sentimental Over You
[ 6:44] 4. Just In Time
[ 4:46] 5. I'm Confessin' (That I Love You)
[ 6:23] 6. Goodbye
[ 6:25] 7. Falling In Love With Love
[ 7:13] 8. Nigerian Marketplace
[ 6:28] 9. Sometimes I'm Happy
[13:14] 10. Perdido
[ 8:27] 11. Cool Walk

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Album: Dimensions: A Compendium Of The Pablo Years (Disc 4)
Bitrate: MP3@320K/s
Time: 72:47
Size: 166.6 MB
Styles: Piano jazz
Year: 2003
Art: Front

[ 5:27] 1. Take The 'a' Train
[12:57] 2. Ballad Medley 5400 North
[ 6:14] 3. Exactly Like You
[11:17] 4. Au Privave
[10:50] 5. If I Were A Bell
[ 8:05] 6. Nuages
[ 3:46] 7. Some Of These Days
[ 4:58] 8. Lady Di's Waltz
[ 9:09] 9. Stuffy

Dimensions: A Compendium Of The Pablo Years (Disc 3)(Disc 4)

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Coleman Hawkins, Ben Webster - The Tenor Sax Album (Disc 1), (Disc 2)

Album: The Tenor Sax Album (Disc 1)
Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 44:18
Size: 102,3 MB
Art: Front

(3:14) 1. Honeysuckle Rose
(3:04) 2. I Surrender Dear
(3:14) 3. Blue Skies
(2:59) 4. Kat's Fur
(3:51) 5. Body And Soul (alt)
(3:13) 6. Girl Of My Dreams
(2:46) 7. Jim Dawgs
(2:49) 8. Scufflin'
(2:53) 9. I.Q. Blues
(2:41) 10. Lunatic
(2:38) 11. Can't Help Loving That Man
(2:43) 12. Red Man Bounce
(2:39) 13. Baby Watch That Stuff
(2:48) 14. Misty Blues
(2:37) 15. Take The A Train

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Album: The Tenor Sax Album (Disc 2)
Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 43:59
Size: 101,6 MB
Art: Front

(3:05) 1. Don't Blame Me
(2:54) 2. Jumpin' Jacquet
(2:47) 3. Blues Mood
(2:53) 4. Jacquet In The Box
(2:48) 5. Savoy Blip
(2:56) 6. Doggin' With Doggett (alt)
(2:46) 7. Minor Romp
(2:36) 8. Berry's Blues
(2:52) 9. Last Stop
(3:07) 10. Should I
(2:54) 11. Flight Eleven
(2:58) 12. Modern Fantasy
(2:57) 13. Confessin'
(3:24) 14. September Song
(2:55) 15. They Can't Take That Away From Me

Coleman Hawkins & Henry "Red" Allen - Reunion In Hi-Fi. The Complete Classic Sessions

Reunion In Hi-Fi. The Complete Classic Sessions CD 1
Styles: Saxophone And Trumpet Jazz
Year: 2009
Time: 61:21
File: MP3 @ 320K/s
Size: 142,0 MB
Art: Front

(5:52) 1. Love Is Just Around The Corner
(5:32) 2. Let Me Miss You, Baby
(4:42) 3. Ride, Red, Ride
(8:27) 4. I Cover The Waterfront
(5:30) 5. 'S Wonderful
(3:45) 6. St. James Infirmary
(6:52) 7. Algiers Bounce
(5:14) 8. Love Me Or Leave Me
(5:38) 9. I've Got The World On A String
(4:10) 10. Ain't She Sweet
(5:35) 11. Sweet Lorraine

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Reunion In Hi-Fi. The Complete Classic Sessions CD 2
Time: 68:41
File: MP3 @ 320K/s
Size: 159,6 MB
Art: Front

(3:00) 1. Battle Hymn Of The Republic
(4:22) 2. Frankie And Johnny
(2:58) 3. When The Saints Go Marchin' In
(6:23) 4. South
(4:28) 5. Won't You Come Home, Bill Bailey?
(5:02) 6. The Blues
(3:55) 7. Maryland, My Maryland
(3:32) 8. Stormy Weather
(3:45) 9. Mean To Me
(5:57) 10. The Lonesome Road
(4:34) 11. Sleepy Time Gal
(5:00) 12. Summertime
(3:16) 13. All Of Me
(2:36) 14. Tea For Two
(4:49) 15. Wild Man Blues
(4:57) 16. Rosetta

Five blowing sessions from 1957 and 1958 find singing trumpeter Henry "Red" Allen and tenor saxophonist Coleman Hawkins jamming with some of New York's best mainstream traditional jazz musicians. The seed bed, as it were, for these studio recording dates was the Metropole, a big smoky nightclub up on Seventh Avenue, not far from Times Square. Hawkins, a seasoned veteran of the music, often comes across as gruff and blustery in this company, exactly as he did when they gigged together at the Metropole, where rowdy, beer-swilling audiences loudly demanded material that was more old-fashioned than what Hawkins preferred to play at that point in his life. Hawkins and Allen hadn't recorded together since 1933.

Their initial contact had been as members of Fletcher Henderson's Orchestra, and the presence of ex-Henderson bandsmen in trombonist J.C. Higginbotham and clarinetist Buster Bailey makes the first 11 tracks (most of which was initially released as Ride, Red, Ride in Hi Fi and reissued by RCA Bluebird in 1990 as World on a String) feel like a true reunion. Presented as Henry "Red" Allen's All-Stars, the group was supported by a rhythm section led by pianist Marty Napoleon. Allen himself played and sang some of the best jazz of his life on this album.

Here at long last it is compiled into the same package with similar recordings from 1957-1958 which have been released under numerous headings, most appropriately on the Jass label as High Standards and Warhorses. This wonderful compilation is rounded off with two excerpts from the CBS television special The Sound of Jazz, taped on December 5, 1957 with Allen leading an even tougher group combining full-strength Hawkins with the individualism of clarinetist Pee Wee Russell, trombonist Vic Dickenson, and cornetist Rex Stewart.By arwulf arwulf
https://www.allmusic.com/album/reunion-in-hi-fi-the-complete-classic-sessions-mw0001304883

Credits: Arranged By – Dewey Bregman (tracks: 2-1 to 2-7), Larry Clinton (tracks: 2-8 to 2-14); Bass – Chubby Jackson (tracks: 2-8 to 2-14), Lloyd Trotman (2) (tracks: 1-1 to 1-11), Milt Hinton (tracks: 2-1 to 2-7, 2-15, 2-16); Clarinet – Buster Bailey (tracks: 1-1 to 1-11), Pee Wee Russell (tracks: 2-15, 2-16), Sol Yaged (tracks: 2-1 to 2-7); Clarinet, Alto Saxophone – Earl Warren (tracks: 2-8 to 2-14); Cornet – Rex Stewart (tracks: 2-15, 2-16); Drums – Cozy Cole (tracks: 1-1 to 2-7), George Wettling (tracks: 2-8 to 2-14), Jo Jones (tracks: 2-15, 2-16); Guitar – Danny Barker (tracks: 2-15, 2-16), Everett Barksdale (tracks: 1-1 to 1-11); Piano – Lou Stein (tracks: 2-1 to 2-7), Marty Napoleon (tracks: 1-1 to 1-11, 2-8 to 2-14), Nat Pierce (tracks: 2-15, 2-16); Tenor Saxophone – Coleman Hawkins; Trombone – J.C. Higginbotham (tracks: 1-1 to 2-7), Vic Dickenson (tracks: 2-15, 2-16); Trumpet – Henry "Red" Allen

Reunion In Hi-Fi. The Complete Classic Sessions CD 1, CD 2

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Tiny Grimes With Coleman Hawkins - Blues Groove

Styles: Guitar And Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 44:59
Size: 103,2 MB
Art: Front

(17:40)  1. Marchin' Along
( 5:59)  2. A Smooth One
( 6:48)  3. Blues Wail
( 6:43)  4. April In Paris
( 7:47)  5. Soul Station

True to its title, the focus here is the blues, as played by a group with an encyclopedic mastery of the genre and an equally impressive depth in swing styles. Leader Tiny Grimes may be playing a four-string guitar, but his Charlie Christian-influenced sound is big, fluid, and expressive. Teamed with Coleman Hawkins' timeless tenor, Grimes performs with passion, skill, and down-home joy. The impressive lineup also includes pianist Ray Bryant, whose supple technique and easygoing virtuosity fuel the music with relentless drive and eloquent, bluesy solos. Four of the five tracks include Musa Kaleem on flute.

Kaleem, known as Gonga Musa when he worked as a tenor player with Art Blakey in the late '40s, contributes an effective counter to Hawkins' smoky tone. Bassist Earl Wormack and drummer Teagle Fleming Jr. are the well-recorded heartbeat in these blues grooves. The set opens with the leader's 17-minute-plus "Marchin' Along," a mid-tempo blues that affords Grimes, Hawkins, and Bryant each a lengthy stretch of choruses on the tune's basic riff structure. The performances are rounded out by two more good blues from Grimes, Benny Goodman's "A Smooth One" and a memorable version of "April in Paris" that is executed with a light, swinging touch. This music will appeal to fans of Grimes' vintage electric guitar and to those interested in an opportunity to hear Hawkins take an extended foray into the blues. ~ Jim Todd https://www.allmusic.com/album/blues-groove-tiny-grimes-with-coleman-hawkins-mw0000119526

Personnel :  Tiny Grimes – guitar;  Coleman Hawkins – tenor saxophone;  Musa Kaleem – flute;  Ray Bryant – piano;  Earl Womack – double bass;  Teagle Fleming Jr. – drums

Blues Groove

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Coleman Hawkins - Bean And The Boys

Bitrate: 320K/s

Time: 73:05

Size: 167.3 MB

Styles: Saxophone jazz

Year: 1993/2009

Art: Front

[2:54] 1. In The Hush Of The Night

[2:50] 2. Out To Lunch

[2:48] 3. Every Man For Himself

[2:43] 4. Look Out Jack!

[2:39] 5. On The Bean

[2:51] 6. Recollections

[2:47] 7. Flyin' Hawk

[3:02] 8. Drifting On A Reed

[3:02] 9. I Mean You

[2:38] 10. Bean And The Boys

[2:41] 11. Bean And The Boys

[3:03] 12. Cocktails For Two

[3:00] 13. You Go To My Head

[6:06] 14. Stasch

[5:58] 15. Trust In Me

[6:04] 16. Roll 'em Pete

[5:58] 17. Skrouk

[6:56] 18. Since I Fell For You

[4:55] 19. My Babe

BEAN AND THE BOYS is the perfect title for this compilation, for certainly the list of players heard on this disc reads like a virtual "who's who" in jazz. Hawkins is teamed up with swing era players Jonah Jones (trumpet), and Walter "Foots" Thomas (tenor saxophone) on the first four tracks. Tracks nine through 13 highlight The Bean with the then young lions of bebop, J.J. Johnson (trombone), Fats Navarro (trumpet), Milt Jackson (vibes) and others. The final batch of tunes comes from a post-bop period (where Hawk finally settled musically). Songs from this era (late '50s) tend to incorporate stylistic elements from both swing and bebop. Hawkins himself never really became a bebop soloist per se, though he did sometimes "turn" a bop line quite successfully. All this, if nothing else, shows us the interconnection between the various genres of jazz. Mostly, all the styles heard on BEAN AND THE BOYS contain elements of the blues. As well, all styles herein contain highly syncopated rhythmical ideas, and similar song structures. Highlights include the bopish "Bean and the Boys," the bouncy "Out the Lunch," and the boogie woogie inflected "Roll 'em Pete."

Coleman Hawkins (tenor saxophone); Roy Gaines (guitar); Jerome Richardson (flute, alto saxophone); Eddie Barefield (clarinet, alto saxophone); Hilton Jefferson, Hubert Fol, Porter Kilbert (alto saxophone); Walter "Foots" Thomas, Walter Thomas (tenor saxophone); Pepper Adams (baritone saxophone); Fats Navarro, Idrees Sulieman, Jonah Jones (trumpet); Nat Peck, J.J. Johnson (trombone); Clyde Hart, Hank Jones , Jean-Paul Mengeon, Ray Bryant, Thelonious Monk (piano); Milt Jackson (vibraphone); Cozy Cole, Denzil Best, Kenny Clarke, Max Roach, Walter Bolden (drums).

Recording information: Hackensack, NJ (10/19/1944-12/21/1949); New York, NY (10/19/1944-12/21/1949); Paris, France (10/19/1944-12/21/1949).

Bean & the Boys  

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Various Artists - Esquire Jazz Concert - Metropolitan Opera House

Styles: Swing,Dixieland
Year: 1944/2012
File: MP3@320K/s
Time: 74:44
Size: 175,6 MB
Art: Front

(2:00)  1. Esquire Bounce
(4:12)  2. Basin Street Blues
(3:22)  3. Sweet Lorraine
(8:26)  4. I Got Rhythm
(2:52)  5. The Blues
(5:13)  6. Esquire Blues
(4:23)  7. Mop Mop
(3:39)  8. Do Nothin' Till You Hear From Me
(4:15)  9. Billie's Blues
(1:28) 10. I'll Get By
(3:43) 11. I Gotta Right To Sing The Blues
(3:25) 12. Tea For Two
(3:06) 13. My Ideal
(2:51) 14. Buck Jumpin'
(3:13) 15. Stompin' At The Savoy
(5:01) 16. For Bass Only
(3:33) 17. Back O' Town Blues
(3:06) 18. I've Got A Feeling I'm Falling
(1:39) 19. Honeysuckle Rose
(2:43) 20. Squeeze Me
(2:23) 21. Muskrat Ramble

The first Esquire All-Star Concert, which took place in 1944, has been well documented on various discs, generally in bits and pieces, but this CD has more of the music than most issues. Originally recorded on transcription discs for distribution by various Armed Forces Radio programs, including One Night Stand, Jubilee, and Swing Session, the music is sometimes briefly intruded upon by an announcer who felt obligated to identify a soloist in the middle of a song. But this is a rare opportunity to hear many jazz masters of the 1940s in a jam session atmosphere, including Louis Armstrong, Jack Teagarden, Lionel Hampton, Coleman Hawkins, Roy Eldridge, and Red Norvo, to name a few. But the true star of the evening is the phenomenal pianist Art Tatum, who proves himself as a more than competent pianist in a group setting, something he was always accused of not being able to do. The highlight of the 21 selections on this Italian CD is easily the intense eight-minute workout of "I Got Rhythm," with potent solos by Tatum, Eldridge, Hawkins, and clarinetist Barney Bigard. The sound quality isn't bad for a vintage 1940s broadcast, though the rhythm section isn't always clearly audible. Unfortunately, the spelling of names and song titles is a bit sloppy, the music is out of sequence (unlike most reissues), and the concert took place on January 18, 1944, not January 13 as listed. This memorable concert should be part of any serious jazz collection. ~ Ken Dryden https://www.allmusic.com/album/esquire-jazz-concert-1944-mw0000927901

Esquire Jazz Concert - Metropolitan Opera House

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Thelonious Monk Septet - Monk's Music

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 48:06
Size: 112,2 MB
Art: Front

( 0:52)  1. Abide With Me
(11:22)  2. Well You Needn't
( 5:24)  3. Ruby, My Dear
( 5:06)  4. Off Minor - Take 5
( 5:13)  5. Off Minor - Bonus Track
(10:44)  6. Epistrophy
( 4:36)  7. Crepuscule With Nellie - Take 6 / Mono
( 4:45)  8. Crepuscule With Nellie - Bonus Track

Many albums in the Original Jazz Classics reissue series include alternate takes or tracks recorded for, but ultimately not included on, the original vinyl LP. The label's 2011 Remasters edition of pianist Thelonious Monk's Monk's Music (Riverside, 1957) is no exception but is something of a first, in that "Blues For Tomorrow," the 13:33 minute bonus track, does not include a single note from the leader. The track was recorded on June 25, 1957, in the closing minutes of an otherwise unproductive session. Monk, unusually, arrived on time, but was distracted with worry about his wife, Nellie, who was in hospital. Drummer Art Blakey arrived an hour late and then had to assemble and mic up his kit. The band had difficulty following Monk's directions, leading Monk to exclaim to tenor saxophonists Coleman Hawkins and John Coltrane, "You're the great Coleman Hawkins, right? You're the guy who invented the tenor saxophone, right? Your'e the great John Coltrane, right? Well, the music is in the horn. Between the two of you, you should be able to find it." Eventually, towards the due end of the session, Monk threw in the towel and went home. Producer Orrin Keepnews, desperate to salvage some releasable music from the date, asked the remaining sextet to record a blues, which was quickly put together by alto saxophonist Gigi Gryce. "Blues For Tomorrow" was not included on the original Monk's Music, and was first released on a Riverside various artists compilation. (The alternate takes of "Off Minor" and "Crepuscule With Nellie" have long been included on reissues of Monk's Music). Happily, a second session on June 26 went resoundingly well, producing the other eight tracks which make up the Remasters disc which also includes, in the 00:55 minute opener, "Abide With Me," a second Monkless item, this one arranged by Monk for the horns only, as a curtain-raiser to the album proper. Monk's horns-rich arrangements, and the quality of the soloists to hand, has made Monk's Music a well-loved and important part of Monk's canon. Compositionally, however, it marked time. Putting aside its immediate predecessor, Thelonious Himself (Riverside, 1957), on which the mostly unaccompanied Monk focused on standards, it followed Brilliant Corners (Riverside, 1956), on which Monk led a quintet/septet on mostly freshly composed material. Most of the tunes on Monk's Music would have been familiar to the assembled musicians, who were thrown on June 25 by new and tricky arrangements and, very likely, by Monk's distracted mood.  Joe Tarantino's 24-bit remaster does Monk's Music proud, and it is appropriate to have "Blues For Tomorrow" on the same disc even if there's no Monk. ~ Chris May https://www.allaboutjazz.com/monks-music-thelonious-monk-original-jazz-classics-remasters-review-by-chris-may.php

Personnel: Thelonious Monk: piano (2-8); Ray Copeland: trumpet (1, 2, 4-9); Gigi Gryce: alto saxophone (1, 2, 4-9); John Coltrane: tenor saxophone (1, 2, 4-9); Coleman Hawkins: tenor saxophone; Wilbur Ware: bass (2-9); Art Blakey: drums (2-9).

Monk's Music

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Coleman Hawkins - Hollywood Stampede

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 48:42
Size: 114,2 MB
Art: Front

(2:57)  1. April In Paris
(2:56)  2. Rifftide
(3:16)  3. Stardust
(3:03)  4. Stuffy
(3:11)  5. Hollywood Stampede
(3:15)  6. I'm Thru With Love
(3:21)  7. What Is There To Say?
(3:08)  8. Wrap Your Troubles In Dreams
(2:54)  9. Too Much Of A Good Thing
(3:07) 10. Bean Soup
(2:51) 11. Someone To Watch Over Me
(3:07) 12. It's The Talk Of The Town
(3:06) 13. Isn't It Romantic?
(2:36) 14. Bean-A-Re-Bop
(2:50) 15. The Way You Look Tonight
(2:56) 16. Phantomesque

Hawkins led one of his finest bands in 1945, a sextet with the fiery trumpeter Howard McGhee that fell somewhere between small-group swing and bebop. This CD contains all of that group's 12 recordings, including memorable versions of "Rifftide" and "Stuffy"; trombonist Vic Dickenson guests on four tracks. 

This CD concludes with one of Hawkins' rarest sessions, an Aladdin date from 1947 that finds the veteran tenor leading a septet that includes 20-year-old trumpeter Miles Davis. ~ Scott Yanow https://www.allmusic.com/album/hollywood-stampede-mw0000203302

Personnel:  Tenor Saxophone – Coleman Hawkins; Alto Saxophone – Howard Johnson (6) (tracks: 13 to 16); Bass – John Simmons (tracks: 9 to 12), Oscar Pettiford (tracks: 1 to 8); Bass [Probably] – Curley Russell (tracks: 13 to 16); Drums – Denzil Best (tracks: 1 to 12); Drums [Probably] – Max Roach (tracks: 13 to 16); Guitar – Allan Reuss (tracks: 1 to 12); Piano – Hank Jones (tracks: 13 to 16), Sir Charles Thompson (tracks: 1 to 12); Trombone – Kai Winding (tracks: 13 to 16), Vic Dickenson (tracks: 5 to 8); Trumpet – Howard McGhee (tracks: 1 to 12), Miles Davis (tracks: 13 to 16)

Hollywood Stampede

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Thelonious Monk, John Coltrane - Thelonious Monk With John Coltrane

Styles: Piano And Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 45:51
Size: 107,4 MB
Art: Front

(6:22)  1. Ruby, My Dear
(6:41)  2. Trinkle, Tinkle
(5:16)  3. Off Minor (take 4)
(6:40)  4. Nutty
(3:11)  5. Epistrophy (alt. take)
(9:46)  6. Functional (alt. take)
(7:52)  7. Monk's Mood

Universally regarded as one of the greatest collaborations between the two most influential musicians in modern jazz (Miles Davis notwithstanding), the Jazzland sessions from Thelonious Monk and John Coltrane should be recognized on other levels. While the mastery of the principals is beyond reproach, credit should also be given to peerless bassist Wilbur Ware, as mighty an anchor as anyone could want. These 1957 dates also sport a variety in drummerless trio, quartet, septet, or solo piano settings, all emphasizing the compelling and quirky compositions of Monk. A shouted-out, pronounced "Off Minor" and robust, three-minute "Epistrophy" with legendary saxophonists Coleman Hawkins, Gigi Gryce, and the brilliant, underappreciated trumpeter Ray Copeland are hallmark tracks that every jazz fan should revere. Of the four quartet sessions, the fleet "Trinkle Tinkle" tests Coltrane's mettle, as he's perfectly matched alongside Monk, but conversely unforced during "Nutty" before taking off. Monk's solo piano effort, "Functional," is flavored with blues, stride, and boogie-woogie, while a bonus track, "Monk's Mood," has a Monk-Ware-Coltrane tandem (minus drummer Shadow Wilson) back for an eight-minute excursion primarily with Monk in a long intro, 'Trane in late, and Ware's bass accents booming through the studio. This will always be an essential item standing proudly among unearthed live sessions from Monk and Coltrane, demarcating a pivotal point during the most significant year in all types of music, from a technical and creative standpoint, but especially the jazz of the immediate future. ~ Michael G.Nastos https://www.allmusic.com/album/thelonious-monk-with-john-coltrane-mw0000188439

Personnel:  Thelonious Monk — piano;  John Coltrane — tenor saxophone;  Ray Copeland — trumpet on "Off Minor" and "Epistrophy";  Gigi Gryce — alto saxophone on "Off Minor" and "Epistrophy";  Coleman Hawkins — tenor saxophone on "Off Minor" and "Epistrophy";  Wilbur Ware — bass on all except for "Functional";  Shadow Wilson — drums on "Ruby, My Dear", "Trinkle, Tinkle" and "Nutty";  Art Blakey — drums on "Off Minor" and "Epistrophy"

Thelonious Monk With John Coltrane

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Buck Clayton - Junpin' At The Woodside

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 34:54
Size: 80,3 MB
Art: Front

( 8:02)  1. Rock-A-Bye Basie
(10:37)  2. Junpin' At The Woodside
( 6:36)  3. Blue And Sentimental
( 9:37)  4. Broaway

The Buck Clayton jam sessions of the mid-'50s led to writer Stanley Dance coining the term "mainstream" to describe swing-oriented veterans of the era. This out-of-print LP, whose contents have been reissued by Mosaic in their six-CD Buck Clayton box set, has a variety of top mainstream all-stars jamming on four songs associated with Count Basie. 

The music is taken from three different sessions, with this version of "Jumpin' at the Woodside" splicing together the best of two completely different performances. The lineup of top players (including trumpeters Clayton, Joe Newman and Ruby Braff, trombonists Trummy Young, Urbie Green and Benny Green, clarinetist Woody Herman and tenors Coleman Hawkins, Al Cohn, Buddy Tate and Lem Davis among others) gives one a good idea as to the high quality of the music.~ Scott Yanow https://www.allmusic.com/album/jumpin-at-the-woodside-mw0000871165

Personnel:  Buck Clayton – trumpet;  Joe Newman (tracks 2 & 3), Joe Thomas (track 2) – trumpet;  Ruby Braff – cornet (tracks 1 & 4);  Bennie Green (tracks 1 & 4), Urbie Green (tracks 2 & 3), Dicky Harris (tracks 1 & 4), Trummy Young (track 2) – trombone;  Woody Herman – clarinet (track 2);  Lem Davis – alto saxophone (tracks 2 & 3);  Al Cohn (track 2), Julian Dash (track 2), Coleman Hawkins (tracks 1–4), Buddy Tate (tracks 1 & 4) – tenor saxophone;  Charles Fowlkes – baritone saxophone (tracks 2 & 3);  Jimmy Jones (track 2), Billy Kyle (tracks 2 & 3) – piano, celeste;  Al Waslohn – piano (tracks 1 & 4);  Steve Jordan (tracks 1, 2 & 4), Freddie Green (tracks 2 & 3) – guitar;  Milt Hinton (tracks 1–4), Walter Page (track 2) – bass;  Jo Jones – drums;  Jack Ackerman – tap dancing (track 1).

Junpin' At The Woodside

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Buck Clayton - The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

Styles: Trumpet Jazz
Year: 1974
File: MP3@320K/s
Time: 77:31
Size: 177,6 MB
Art: Front

(25:25)  1. Christopher Columbus
( 9:21)  2. Don't Be That Way
( 8:30)  3. Undecided
( 8:05)  4. Rock-A-Bye Basie
(10:28)  5. Jumpin' At The Woodside
( 6:26)  6. Blue & Sentimental
( 9:12)  7. Broadway

An excellent bandleader and accompanist for many vocalists, including Billie Holiday, Buck Clayton was a valued soloist with Count Basie Orchestra during the '30s and '40s, and later was a celebrated studio and jam session player, writer, and arranger. His tart, striking tone and melodic dexterity were his trademark, and Clayton provided several charts for Basie's orchestra and many other groups. Clayton began his career in California, where he organized a big band that had a residency in China in 1934. When he returned, Clayton led a group and played with other local bands. During a 1936 visit to Kansas City, he was invited to join Basie's orchestra as a replacement for Hot Lips Page. Clayton was also featured on sessions with Lester Young, Teddy Wilson, and Holiday in the late '30s. He remained in the Basie band until 1943, when he left for army service. After leaving the army, Clayton did arrangements for Basie, Benny Goodman, and Harry James before forming a sextet in the late '40s. He toured Europe with this group in 1949 and 1950. Clayton continued heading a combo during the '50s, and worked with Joe Bushkin, Tony Parenti, and Jimmy Rushing, among others. He organized a series of outstanding recordings for Columbia in the mid-'50s under the title Jam Session (compiled and reissued by Mosaic in 1993). There were sessions with Rushing, Ruby Braff, and Nat Pierce. Clayton led a combo with Coleman Hawkins and J.J. Johnson at the 1956 Newport Jazz Festival, then reunited with Goodman in 1957 at the Waldorf Astoria. There was another European tour, this time with Mezz Mezzrow. He appeared in the 1956 film The Benny Goodman Story and played the 1958 Brussels World Fair with Sidney Bechet. Clayton later made another European visit with a Newport Jazz Festival tour. He joined Eddie Condon's band in 1959, a year after appearing in the film Jazz on a Summer's Day. Clayton toured Japan and Australia with Condon's group in 1964, and continued to revisit Europe throughout the '60s, often with Humphrey Lyttelton's band, while playing festivals across the country. But lip and health problems virtually ended his playing career in the late '60s. After a period outside of music, Clayton once again became active in music, this time as a non-playing arranger, touring Africa as part of a State Department series in 1977. He provided arrangements and compositions for a 1974 Lyttleton and Buddy Tate album, and did more jam session albums for Chiaroscuro in 1974 and 1975. He also became an educator, teaching at Hunter College in the early '80s. Clayton led a group of Basie sidemen on a European tour in 1983, then headed his own big band in 1987 that played almost exclusively his compositions and arrangements. That same year Clayton's extensive autobiography Buck Clayton's Jazz World, with Nancy Miller-Elliot, was published.~ Ron Wynn https://www.allmusic.com/artist/buck-clayton-mn0000634674/biography

Personnel: Trumpet, Liner Notes – Buck Clayton;   Alto Saxophone – Lem Davis;  Baritone Saxophone – Charlie Fowlkes;  Bass – Milt Hinton, Walter Page;  Clarinet – Woody Herman, Drums – Jo Jones;  Guitar – Freddie Green, Steve Jordan;  Piano – Al Washlon, Billy Kyle, Jimmy Jones, Charles Thompson;  Tenor Saxophone – Al Cohn, Buddy Tate, Coleman Hawkins, Julian Dash;  Trombone – Bennie Green, Dick Harris, Henderson Chambers, Trummy Young, Urbie Green;  Trumpet – Joe Newman, Joe Thomas, Ruby Braff 

The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

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Various - The J.J. Johnson Memorial Album

Bitrate: MP3@320K/s
Time: 77:02
Size: 176.3 MB
Styles: Bop, Trombone jazz
Year: 2003
Art: Front

[3:02] 1. Coleman Hawkins - I Mean You
[3:06] 2. J.J. Johnson - Elysee
[3:43] 3. J.J. Johnson's Boppers - Blue Mode (Take 1)
[4:57] 4. J.J. Johnson - Chazzanova
[8:14] 5. Miles Davis Sextet - Blue 'n' Boogie
[3:10] 6. J.J. Johnson - Bags' Groove
[4:32] 7. Coleman Hawkins - Laura
[4:10] 8. Benny Golson Sextet - Hymn To The Orient
[7:05] 9. J.J. Johnson - Horace
[6:39] 10. J.J. Johnson - Pinnacles
[7:13] 11. Count Basie - Jaylock
[7:56] 12. J.J. Johnson - Concepts In Blue
[3:13] 13. J.J. Johnson - Misty
[3:01] 14. J.J. Johnson - What's New
[2:29] 15. J.J. Johnson - Nature Boy
[4:23] 16. J.J. Johnson - Soft Winds

When J.J. Johnson passed away in 2001, he left a legacy as simply the greatest technically gifted and most admired jazz trombonist in history without much valid argument to the contrary. This compilation features some very good tracks with Johnson as a sideman in or leader from the late '40s up to 1957, as a full-blown frontman in the '70s and '80s, and in small duos or trios up to 1983. Discographical sleuths will note this is not an all-time greatest-"hits" package, due to the absence of his great Savoy, Blue Note, Bethlehem, RCA Bluebird, Columbia, Impulse or 1990s Verve label efforts. These tracks are collected from the family of Prestige, Riverside, Milestone, and Pablo recordings, and while all selections here are quite good, they are not his definitive works. Still, everything here is well rendered, and a few pieces are indeed definitive. The pre-1957 tracks include the Coleman Hawkins deeply rich, horn-saturated septet from 1946 tackling Thelonious Monk's "I Mean You" with Johnson, Fats Navarro, Hank Jones, Max Roach, and the completely obscure alto saxophonist Porter Kilbert. Johnson is teamed with Sonny Rollins and Kenny Dorham in the swirling lines of "Elysee," and Sonny Stitt in the slow "Blue Note" both featuring John Lewis. The Charles Mingus film noir style obscurity "Chazzanova," with four trombonists, the true bop classic "Blue 'n' Boogie" with Miles Davis, Lucky Thompson, and Horace Silver, Johnson, and Kai Winding's take of "Bags Groove," and Benny Golson's unusual harmonics during "Hymn to the Orient" with Dorham and Roach -- all have to be considered standouts. The compilation leaps to 1977 as "Horace" is a soul-jazz bopper with Nat Adderley on trumpet and Billy Childs playing Fender Rhodes electric piano. The memorable post-bop "Pinnacles" has what must be an all-time great configuration with Joe Henderson, Tommy Flanagan on piano and clavinet, bassist Ron Carter, and drummer Billy Higgins in tow. The CD ends with "Concepts in Blue," marred by a synthesizer add-on, three intimate sessions, two of them duets with Joe Pass and a trio featuring Pass and Oscar Peterson, plus the finale "Soft Winds" in a sextet featuring tinkling percussion, a great contribution from Kenny Barron, and Johnson alongside fellow 'bonist Al Grey. Though the first half of this collection is pretty solid, the second is hit or miss. Though all cuts remain credible, the uneven nature of this collection, and its lack of a comprehensive focus, makes this an incomplete but still tasteful look at the mighty career of the great J.J. Johnson. ~Michael G.Nastos

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The J.J. Johnson Memorial Album zippy

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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

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Duke Ellington, Coleman Hawkins - Duke Ellington Meets Coleman Hawkins

Bitrate: MP3@320K/s
Time: 44:47
Size: 102.5 MB
Styles: Swing
Year: 1962/1995/2010
Art: Front

[5:13] 1. Limbo Jazz
[5:54] 2. Mood Indigo
[4:02] 3. Ray Charles' Place
[4:58] 4. Wanderlust
[4:17] 5. You Dirty Dog
[3:51] 6. Self-Portrait (Of The Bean)
[4:47] 7. The Jeep Is Jumpin'
[5:50] 8. The Ricitic
[5:50] 9. Solitude

Ray Nance: cornet and violin; Lawrence Brown: trombone; Johnny Hodges: alto sax; Harry Carney: baritone sax and bass clarinet; Coleman Hawkins: tenor sax; Duke Ellington: piano; Aaron Bell: bass; Sam Woodyard: drums.

This extraordinary 1962 session was the realization of a promise made thirty years earlier between the maestro, Duke Ellington, and the father of the tenor saxophone, Coleman Hawkins, that they would some day make a record together. Released a mere two months ahead of the largely iconic Ellington-Coltrane meeting, the earlier date is distinguished by the creative energies and commitment both men bring to the proceedings, with Ellington producing a scaled-down version of one of his best bands and Hawkins playing like his characteristically authoritative self while becoming an integral member of the ensemble (in effect, he replaces tenor saxophonist Paul Gonsalves).

There are two considerations with the disc. Musically, it offers the compositional genius of Ellington and inspired solo work by his principals—altoist Johnny Hodges, cornetist Ray Nance, and trombonist Lawrence Brown. On the opening, inviting calypso rhythms of "Limbo Jazz," energized by the vocalizations of drummer Sam Woodyard, Hawkins seems all but forgotten until he slyly joins the party with a short but definitive closing solo. On "The Jeep Is Jumping" he's a more visible clean-up hitter, following the felicitous statements of the other tonal personalities with a masterful, extended sermon that leaves no doubt about who's the guest of honor. He double-times "You Dirty Dog" and sweetly converses with Ray Nance's fiddle on "The Ricitic."

"Mood Indigo" and "Self-Portrait" are all Hawkins, with the former, especially, capturing the delicate textures of Ellington's orchestral palette thanks to exceptional mixing by engineer Rudy Van Gelder. The Latin-tinged "Ray Charles Place" soon yields to an up-tempo shuffle rhythm on which the principals again shine, Hawkins' tenor ultimately chasing away any remaining clouds. The broad back-beat of "Wanderlust" suits Hodges, the underrated Nance, and baritone saxophonist Harry Carney to a tee, with Brown's trombone once again threatening to take solo honors before Hawkins' sensual entrance and building, climactic solo. ~Samuel Chell

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Duke Ellington Meets Coleman Hawkins zippy

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Coleman Hawkins All Stars - Swingville

Bitrate: MP3@320K/s
Time: 42:19
Size: 96.9 MB
Styles: Bop, Saxophone jazz
Year: 1960/1997
Art: Front

[ 5:56] 1. You Blew Out The Flame
[ 8:59] 2. More Bounce To The Vonce
[ 6:54] 3. I'm Beginning To See The Light
[ 8:08] 4. Cool Blue
[12:19] 5. Some Stretching

Ostensibly a jam session with ABA head-solos-tail formatting, Hawkins proves again and again why his sound is not only the epitome of jazz, but forever timeless. Trumpeter Joe Thomas and trombonist Vic Dickenson are by no means showboats, and they cannot steal the spotlight from Bean. But Tommy Flanagan threatens to on occasion, as he asserts himself on solos with a fervor that goes beyond Hawkins. Bubbling under all this virtuosity, bassist Wendell Marshall and drummer Osie Johnson do their swinging thing with open ears and instruments always at the ready to fire. They start with "You Blew Out the Flame In My Heart," and it seems a bit of a breeze for these jazz experts. Hawkins plays the melody by himself the first time through, then Thomas and Dickenson join in on invitation. The deep blue, slightly vibratoed, soulful resonance of the leader is unmistakable as always, and Flanagan is his usual tasteful and precise self. They switch up on the end melody, with the brass fronting the line while Hawkins improvises, then takes back the tuneful departing chorus. Johnson wrote "More Bounce to the Vonce," a peppy gospel-soul tune reminiscent of "Travel On." Flanagan is featured with no horns, then they join with phrases similar to "Lil' Liza Jane." All save bass and drums get a solo over nine minutes. Hawkins leads the melody of "I'm Beginning to See the Light" with staccato brass punctuations of harmony, and Dickenson's solo displaying that he not only plays notes, but also embodies pure rhythmic swing. The easy swing of "Cool Blue" has growling trombone, squeaky-clean trumpet and moaning tenor. Thomas and the underappreciated Emmett Berry are good case studies for comparison; here Thomas exemplifes the virtue of unrushed construction of a solo. Hawkins and Johnson claim co-writing credit on the 12-minute-plus "Some Stretching," a good old soulfully swinging jam over just a couple of tonal notes. The trio uses double stops for Hawkins' leadoff solo, and then he digs in for an elongated full count extended by numerous not-so-foul tips. Hanging with every pitch and waiting in the wings is Flanagan, whose masterful pianistics are worth the wait while the others hit singles. It's Flanagan who delivers the grand salami. The demonstrative yet subtle Hawkins is in full flight here, with the equally elegant Thomas and naturally subdued Dickenson in lock step. What a joy they must have been to hear together at a club or concert date, if in fact it happened in this small-group setting. ~Michael G. Nastos

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Coleman Hawkins - Body & Soul Revisited

Bitrate: MP3@320K/s
Time: 73:54
Size: 169.2 MB
Styles: Bop, Swing, Saxophone jazz
Year: 1993
Art: Front

[2:58] 1. (It's No) Sin (Single Version)
[2:57] 2. And So To Sleep Again (Single Version)
[3:05] 3. Spellbound (Single Version)
[3:06] 4. Lost In A Fog (Single Version)
[2:27] 5. Carioca (Single Version)
[2:54] 6. Midnight Sun (Single Version)
[3:12] 7. If I Could Be With You (One Hour Tonight) (Single Version)
[2:55] 8. I Can't Get Started (Single Version)
[2:25] 9. Ruby (Single Version)
[2:58] 10. Song From Moulin Rouge (Where Is Your Heart ) (Single Version)
[2:58] 11. My Blue Heaven
[3:34] 12. Honeysuckle Rose
[3:07] 13. Organ Grinder's Swing
[4:39] 14. Perdido
[3:40] 15. Sweethearts On Parade
[7:01] 16. The Man I Love
[1:24] 17. Foolin' Around
[5:36] 18. Time On My Hands
[5:10] 19. Ornithology
[4:22] 20. Body And Soul
[3:17] 21. Unlisted Blues

Hawkins had been the dominant tenor-saxophonist from the mid-'20s up until 1940, but even though he remained a major force, his influence was waning, due to the emergence of Lester Young and then Charlie Parker. By the early '50s he only recorded on an infrequent basis. Fortunately a few years later (partly due to the rise of Sonny Rollins whose original hero was Hawk), his fortunes were on the rise again. This Decca CD contains quite a variety of music. There are ten selections of melodic "mood" music from 1951-53 in which Hawkins mostly sticks to the melody (an exception is an excellent version of "If I Could Be with You"). Then the great tenor is heard in an occasionally exciting session with Cozy Cole's All-Stars; cornetist Rex Stewart steals the show with a couple of colorful solos. The best music on this CD is taken from a 1955 radio broadcast in which Hawkins plays "Foolin' Around" (based on the chords of "Body and Soul") totally unaccompanied and roars on "The Man I Love." This set concludes with three selections (one previously unissued) from a fine session led by clarinetist Tony Scott. ~Scott Yanow

Body & Soul Revisited 

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Pee Wee Russell & Coleman Hawkins - Jazz Reunion

Styles: Clarinet Jazz
Year: 2002
File: MP3@320K/s
Time: 45:36
Size: 105,9 MB
Art: Front

(6:29)  1. If I Could Be With You One Hour
(8:56)  2. Tin Tin Deo
(7:18)  3. Mariooch
(7:33)  4. All Too Soon
(7:26)  5. 28th And 8th
(7:52)  6. What Am I Here For

This LP (whose contents have been reissued on CD) features a reunion between tenor-saxophonist Coleman Hawkins and clarinetist Pee Wee Russell; they revisit "If I Could Be with You," a song they had recorded together in a classic version back in 1929. Russell was beginning to perform much more modern material than the Dixieland music associated with the Eddie Condon players and on this set (which also features trumpeter Emmett Berry, valve trombonist Bob Brookmeyer, pianist Nat Pierce, bassist Milt Hinton and drummer Jo Jones), he plays a couple of Duke Ellington tunes, two originals and "Tin Tin Deo." Hawkins is also in fine form and this somewhat surprising program is quite successful. ~ Scott Yanow https://www.allmusic.com/album/jazz-reunion-mw0000195279

Personnel: Pee Wee Russell (clarinet); Coleman Hawkins (tenor saxophone); Emmett Berry (trumpet); Bob Brookmeyer (trombone); Nat Pierce (piano); Milt Hinton (bass); Jo Jones (drums).          

Jazz Reunion

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Coleman Hawkins - Soul

Styles: Saxophone Jazz 
Year: 1958
File: MP3@320K/s
Time: 41:49
Size: 104,7 MB
Art: Front

(9:56)  1. Soul Blues
(4:38)  2. I Hadn't Anyone Till You
(5:47)  3. Groovin'
(3:16)  4. Greensleeves
(6:33)  5. Sunday Mornin'
(4:46)  6. Until The Real Thing Comes Along
(6:50)  7. Sweetnin'

This is a decent but not very exciting outing. Then 52, Hawkins uses a typically young rhythm section (including guitarist Kenny Burrell and pianist Ray Bryant) and plays melodically on a variety of originals and standards. This insipid version of "Greensleeves" is difficult to sit through but the rest of this CD is enjoyable if not overly inspiring. ~ Scott Yanow https://www.allmusic.com/album/soul-mw0000203528

Personnel: Coleman Hawkins (tenor saxophone); Kenny Burrell (guitar); Ray Bryant (piano); Osie Johnson (drums).

Soul

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Coleman Hawkins - The Best Of Coleman Hawkins

Bitrate: MP3@320K/s
Time: 64:16
Size: 147.1 MB
Styles: Bop, Saxophone jazz
Year: 2004
Art: Front

[6:55] 1. I'm Beginning To See The Light
[3:11] 2. Greensleeves
[6:55] 3. Since I Fell For You
[6:37] 4. I'll Get By (As Long As I Have You)
[9:51] 5. Soul Blues
[6:07] 6. I'll Never Be The Same
[4:17] 7. CThe Sweetest Sounds
[5:54] 8. I Want To Be Loved
[6:45] 9. In A Mellow Tone
[3:02] 10. Make Someone Happy
[4:36] 11. Smoke Gets In Your Eyes

Best Of, of course, is just a marketing slogan, for this roundup of late-period Bean only covers a less-than-four-year patch in a career that spanned five decades. It does, however, provide a useful survey of a time in which Hawkins was recording prolifically for Prestige and its Swingville and Moodsville subsidiaries. Hawkins was then in his mid-'50s, his matchless tone still in prime smoky form, his harmonic ideas pretty much set after decades of keeping an open ear and mind, but still willing to investigate the latest trends and developments. While a snappy, hard-swinging "I'm Beginning to See the Light" leads off the survey, and another romping slice of Ellingtonia, "In a Mellotone," turns up later, these tracks are anomalies, for the majority of the tunes are relaxed, laid-back blowing sessions where Bean's tenor sprawls comfortably as if from an easy chair. One reason for "Mellotone's" relative fire, no doubt, is the spirited competition that Eddie "Lockjaw" Davis provides; their trading of fours near the close rouses Hawkins to offer some gritty rejoinders. Though not known as a bluesman per se, Hawkins still does an agreeable job with the soul-jazz "Soul Blues" that, alas, starts to run out of steam before its nearly ten-minute length is consumed. While at times one can question the reasoning behind what is "best" -- "Greensleeves," for example, is mostly a bore -- Bean's majestic personality still makes an indelible impression in this selection. ~Richard S. Ginnell

The Best Of Coleman Hawkins

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Fats Navarro - Fats Blows 1946-1949

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 70:54
Size: 166,1 MB
Art: Front

(2:53)  1. Dance Of The Infidels
(2:49)  2. 52nd St. Theme
(5:34)  3. Double Talk
(2:35)  4. Move
(2:41)  5. Hollerin' And Screamin'
(2:54)  6. The Tadd Walk
(3:09)  7. Jumpin' For Jane
(2:50)  8. Lady Bird
(2:53)  9. Goin' To Minton's
(2:45) 10. Nostalgia
(2:25) 11. Eb Pob
(2:59) 12. Our Delight
(3:16) 13. Bouncing With Bud
(3:04) 14. Wail
(3:05) 15. Symphonette
(3:07) 16. Boperation
(2:49) 17. Fats Blows
(4:02) 18. Stop
(2:52) 19. Sid's Delight
(2:53) 20. Jahbero
(2:57) 21. The Skink
(2:59) 22. The Squirrel
(3:13) 23. Groovin' High

A 23-track overview of Fats' brief moments of brilliance in the jazz skyline. The groups are varied, as was Navarro's wont, featuring such luminaries as Eddie "Lockjaw" Davis, Tadd Dameron, Leo Parker, Art Blakey, Howard McGhee, Bud Powell, Sonny Rollins, Kenny Clarke, Milt Jackson, and Fats' idol, Charlie Parker. Navarro was a brilliant musician, done in by drugs and tuberculosis. This disc gives you an idea of how tragic his loss was to the jazz world. ~ Cub Koda http://www.allmusic.com/album/fats-blows-1946-1949-mw0000051021

Personnel includes: Fats Navarro (trumpet); Leo Parker (alto & baritone saxophones); Charlie Parker, Ernie Henry, Budd Johson, Sahib Shihab, Ernie Henry (alto saxophone); Eddie Davis, Charlie Rouse, Don Lamphere, Allen Eager, Coleman Hawkins, Dexter Gordon, Sonny Rollins, Wardell Gray (tenor saxophone); Cecil Payne, Marion De Veta (baritone saxophone); Howard McGhee (trumpet); Kai Winding (trombone); Milt Jackson (vibraphone); Al Haig, Tadd Dameron, Lennie Tristano, Linton Garner, Bud Powell (piano); Huey Long, Billy Bauer, Chuck Wayne (guitar); Gene Ramey, Curley Russell, Nelson Boyd, Tommy Potter, Jimmy Johnson, Jack Lesberg (bass); Denzil Best, Kenny Clarke, Art Blakey, Shadow Wilson, Buddy Rich, Max Roach, Roy Haynes (drums); Chano Pozo, Diego Ibarra (bongos); Vidal Bolado (conga).

Fats Blows 1946-1949

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