Mary Stallings - I Waited For You

Styles: Jazz, Vocal
Year: 1994
File: MP3@320K/s
Time: 60:46
Size: 141,0 MB
Art: Front

(4:40)  1. Where Or When
(6:16)  2. Love Dance
(5:27)  3. I Waited For You
(6:33)  4. Blues In My Heart
(5:58)  5. Dedicated To You
(2:58)  6. It's Crazy
(6:07)  7. Serenade In Blue
(6:42)  8. But Not For Me
(5:38)  9. I Wanna Be Loved
(6:38) 10. Only Trust Your Heart
(3:46) 11. 'Tain't Nobody's Bizness If I Do

Mary Stallings joined Concord Jazz's roster with I Waited for You, an outstanding CD that posited the question, "Where has this fine singer been all this time?" Indeed, it was most regrettable that an artist of Stallings' caliber had done so little recording over the years when she should have been documented extensively. Carl Jefferson, the late founder of Concord, obviously felt that way, and he did right when he produced her Concord debut. Jefferson united Stallings with the quartet of pianist Gene Harris, whose earthy soul-jazz style complements Stallings' robust, Carmen McRae-influenced vocals beautifully on everything from the fast, exhilarating "It's Crazy" to the intimate ballad singing of "Serenade in Blue," "Dedicated to You," and Ivan Lins' "Love Dance." Harris described I Waited for You as Stallings' "coming-out party" it's too bad the party didn't take place until 1994. ~ Alex Henderson http://www.allmusic.com/album/i-waited-for-you-mw0000119978

Personnel: Mary Stallings (vocals); Gene Harris (piano); Ron Eschete (guitar); Luther Hughes (bass); Paul Humphrey (drums).

I Waited For You

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Gene Harris And The Philip Morris Superband - Live At Town Hall, N.Y.C.

Styles: Piano Jazz, Big Band
Year: 1989
File: MP3@320K/s
Time: 65:39
Size: 151,8 MB
Art: Front

(4:41)  1. The Surrey With The Fringe On Top
(4:42)  2. Creme De Menthe
(4:25)  3. When It's Sleepy Time Down South
(5:31)  4. Love Is Here To Stay
(6:39)  5. I'm Just A Lucky So And So
(6:41)  6. Serious Grease
(4:14)  7. Like A Lover
(5:05)  8. Old Man River
(5:57)  9. Do You Know What It Means To Miss New Orleans
(6:26) 10. Porgy And Bess Medley: Strawberry Woman / I Loves You Porgy / It Ain't Necessarily So
(3:18) 11. You're My Everything
(3:48) 12. There Is No Greater Love
(4:06) 13. Things Ain't What They Used To Be

This CD documents one of the first concerts by Gene Harris' star-studded big band, an orchestra heard at the beginning of an 80-day world tour. Unlike his earlier big band Basie tribute album, Harris is not the only musician to get significant solo space on this set although, due to the overflowing lineup, not enough is heard from everyone. The straightforward arrangements (by John Clayton, Frank Wess, Torrie Zito, Bob Pronk and Lex Jasper) balance swingers with ballads. Among the more memorable tracks are Harry "Sweets" Edison's feature (both muted and open) on "Sleepy Time Down South," a pair of fine vocals apiece by Ernie Andrews and Ernestine Anderson, the roaring "Old Man River" and Harris' interpretation of Erroll Garner's ballad "Creme de Menthe." Toss in short solos from the likes of Ralph Moore, James Morrison (on trombone), Frank Wess, Michael Mossman and baritonist Gary Smulyan and the result is a satisfying, swinging and fairly fresh big band date.~ Scott Yanow https://www.allmusic.com/album/live-at-town-hall-nyc-mw0000202851

Personnel:  Alto Saxophone, Flute – Frank Wess, Jerry Dodgion;  Baritone Saxophone – Gary Smulyan;  Bass – Ray Brown;  Bass Trombone – Paul Faulise;  Drums – Jeff Hamilton;  Guitar – Herb Ellis;  Piano – Gene Harris;  Tenor Saxophone – Ralph Moore ;  Tenor Saxophone, Flute, Clarinet – James Moody; Trombone – Eddie Bert, James Morrison, Urbie Green;  Trumpet – Harry "Sweets" Edison, Joe Mosello, Johnny Coles, Michael Philip Mossman;  Vocals – Ernestine Anderson, Ernie Andrews .

Live At Town Hall, N.Y.C.

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The Gene Harris Trio - Genie In My Soul

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 32:49
Size: 76,0 MB
Art: Front

(3:32) 1. There's A Genie In My Soul
(3:10) 2. Cool Mix
(3:37) 3. Walking Shoes
(2:21) 4. I Wanna Go Where You Are
(4:03) 5. That's Oona
(3:28) 6. Love For Sale
(2:38) 7. Mangos
(3:14) 8. You Stepped Out Of A Dream
(3:40) 9. The Thrill Is Gone
(3:02) 10. Tune Up

One of the most accessible of all jazz pianists, Gene Harris' soulful style (influenced by Oscar Peterson and containing the blues-iness of a Junior Mance) was immediately likable and predictably excellent. After playing in an Army band (1951-1954), he formed a trio with bassist Andy Simpkins and drummer Bill Dowdy which was, by 1956, known as the Three Sounds. The group was quite popular, and recorded regularly during 1956-1970 for Blue Note and Verve. Although the personnel changed and the music became more R&B-oriented in the early '70s, Harris retained the Three Sounds name for his later Blue Note sets.

He retired to Boise, ID, in 1977, and was largely forgotten when Ray Brown persuaded him to return to the spotlight in the early '80s. Harris worked for a time with the Ray Brown Trio and led his own quartets in the years to follow, recording regularly for Concord and heading the Phillip Morris Superband on a few tours; 1998's Tribute to Count Basie even earned a Grammy nomination. While awaiting a kidney transplant, he died on January 16, 2000, at the age of 66.~Scott Yanowhttps://www.allmusic.com/artist/gene-harris-mn0000802745/biography

Personnel: Gene Harris - piano; Ben Tucker - bass; Kenny Harris - drums

Genie In My Soul

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James Clay - A Double Dose of Soul

Styles: Saxophone And Flute Jazz
Year: 1960/2011
File: MP3@320K/s
Time: 40:21
Size: 93,2 MB
Art: Front

(6:37) 1. New Delhi
(6:36) 2. I Remember You
(5:41) 3. Come Rain Or Come Shine
(8:03) 4. Pockets
(5:59) 5. Pavanne
(4:11) 6. Linda Serene
(3:11) 7. Lost Tears

James Clay only led two record sessions before settling in obscurity in Texas, where he would not be rediscovered until the late '80s. Cannonball Adderley helped present him on Riverside in 1960, so it seemed fair that Clay utilized several of Adderley's sidemen on this session (cornetist Nat Adderley or vibraphonist Victor Feldman, bassist Sam Jones, and drummer Louis Hayes) along with a young Gene Harris on piano. Clay splits his time between his lyrical flute and tough tenor, proving to be an excellent bop-based improviser. [The CD reissue adds two alternate takes to the original LP program, highlighted by Feldman's "New Delhi," "Come Rain or Come Shine," and Nat's blues "Pockets."]~ Scott Yanow https://www.allmusic.com/album/a-double-dose-of-soul-mw0000678746

Personnel: Saxophone [Tenor] – James Clay; Flute – James Clay; Bass – Sam Jones; Cornet – Nat Adderley; Drums – Louis Hayes; Piano – Gene Harris; Vibraphone – Victor Feldman

A Double Dose of Soul

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Mel Rhyne - Organ-Izing

Styles: Jazz, Hard Bop
Year: 1960
File: MP3@320K/s
Time: 43:18
Size: 99,4 MB
Art: Front

(10:59) 1. Things Ain't What They Used to Be
(10:44) 2. Blue Farouq
(12:52) 3. Barefoot Sunday Blues
( 8:42) 4. Shoo, Shoo Baby

Mel Rhyne is best known as Wes Montgomery's organist on and off in the late 1950s and '60s. He led few dates of his own until his rediscovery in the 1990s, so the CD reissue of this early jam session is quite welcome. Rhyne leads an all-star sextet that also includes trumpeter Blue Mitchell, tenor saxophonist Johnny Griffin, pianist Gene Harris (the piano and organ work quite well together), bassist Andy Simpkins, and drummer Albert "Tootie" Heath. Each of the four basic tunes are at least eight-and-a-half minutes long, with all but one exceeding ten-and-a-half minutes. However, with four strong soloists, the music never slows down or loses its momentum. Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/organ-izing-mw0000103968

Personnel: Organ – Mel Rhyne; Bass – Andy Simpkins; Drums – Albert Heath; Piano – Gene Harris; Tenor Saxophone – Johnny Griffin; Trumpet – Blue Mitchell

Organ-Izing

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Gene Harris - In A Special Way

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 40:33
Size: 94,0 MB
Art: Front

(6:35)  1. Theme For Relana
(3:58)  2. Rebop
(4:59)  3. Zulu
(4:31)  4. Always In My Mind
(4:48)  5. Love For Sale
(3:02)  6. It's Your Love
(2:30)  7. Soft Cycles
(3:44)  8. Five/Four
(6:21)  9. Naima

Gene Harris was always funky, right from the start of the Three Sounds until he began a belated solo career in the early '70s, but he never tried to come to terms with contemporary funk quite as explicitly as he did with In a Special Way. Teaming with a number of funk and fusion stars, including Earth, Wind & Fire's Philip Bailey and guitarist Lee Ritenour, Harris crafted a record that revels in contemporary soul trends from the mid-'70s lite funk in the vein of EWF, disco, Philly soul, and vapid fusion. The production is heavy-handed and glossy, filled with drippy strings, thumping beats, wordless backing vocals, and silly synthesized effects. Through it all, Harris plays exactly like he always does, as if he were oblivious to his surroundings. It makes for some truly bizarre moments: the disco interpretation of Cole Porter's "Love for Sale," the farting synth-bass meshing with disembodied vocals on "Five/Four," the completely botched fuzak and fuzz guitar take on Coltrane's "Naima." Occasionally, Harris plays quite nicely, as on "Rebop" or "Theme for Relana," but his solos just sink into the overproduced murk. There's really no explanation for the heavy-handed gloss of In a Special Way with Harris' piano mixed to the back, it sounds like the work of studio hacks, but there are enough glimpses of his unique musical personality to make it a wasted opportunity. And there's really no explanation for the cornucopia of children on the cover, either. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/in-a-special-way-mw0000906376

Personnel:  Gene Harris - keyboards; George Bohanon - trombone; Sidney Muldrow, Marnie Robinson - french horn; Azar Lawrence - tenor saxophone; Ed Green - violin; Charlotte Politte - electric piano, synthesizer; Jerry Peters - electric piano, synthesizer, string ensemble, arranger, vocals; Lee Ritenour - guitar, electric guitar; Al McKay - electric guitar; John Rowin - electric guitar, arranger; Chuck Rainey, Verdine White - electric bass; James Gadson - drums; Harvey Mason - drums, percussion; Mayuto Correa - percussion; Phillip Bailey - percussion, vocals; Merry Clayton, Ann Esther Jessica, D.J. Rogers, Sigidi, Stephanie Spruill, Deniece Williams - vocals

In A Special Way

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Gene Harris & The Three Sounds - Yesterday, Today & Tomorrow

Styles: Piano Jazz 
Year: 1973
File: MP3@320K/s
Time: 83:20
Size: 191,4 MB
Art: Front

( 5:04)  1. On Green Dolphin Street
( 5:38)  2. Hymn To Freedom
( 9:04)  3. Trieste
( 9:09)  4. Love For Sale
( 8:46)  5. Something
(16:30)  6. How Insensitive
( 4:55)  7. Judy, Judy, Judy
( 5:31)  8. After Hours
( 6:08)  9. Sawin' Wood
( 6:22) 10. Lil' Darling
( 6:07) 11. Monk's Tune

Gene Harris in three different periods the past, present, and future served up here in a record issued under Gene's name as a leader, but which still continues the vibe of the later records by the Three Sounds! Most of the work is trio material with just Gene on acoustic piano, John Halton on acoustic and electric bass, and Carl Burnett on drums and percussion but there's a fluid, reaching sort of feel that definitely echoes some of the larger productions that Harris was recording at the time not full strings or heavy electrics, but a really complex approach to the material nonetheless! 

Tracks include "Judy Judy Judy", "Trieste", "How Insensitive", "Love For Sale", "Sawin Wood", "Something", and "Monk's Tune".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/4647/Gene-Harris:Yesterday-Today-Tomorrow

Personnel:  Gene Harris - piano, arranger; Johnny Hatton - bass, electric bass; Carl Burnett - drums, percussion

Yesterday, Today & Tomorrow

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Nancy Wilson & The Three Sounds - Sittin' In At Jorgie's Jazz Club

Styles: Vocal
Year: 1961
Time: 19:56 + 25:14
Size: 46,8 MB + 58,6 MB
Art: Front

Album: The Nancy Wilson Side

(1:41)  1. Intro
(7:11)  2. Since I Fell For You
(0:48)  3. Intro
(4:56)  4. Time After Time
(5:19)  5. The Theme

Album: The Three Sounds Side

(9:03)  1. On Green Dolphin Street
(9:44)  2. The Spirit Is Here
(3:53)  3. Time After Time
(2:32)  4. Salt Peanuts

Diva Nancy Wilson was among contemporary music's most stylish and sultry vocalists; while often crossing over into the pop and R&B markets and even hosting her own television variety program she remained best known as a jazz performer, renowned for her work alongside figures including Cannonball Adderley and George Shearing. Born February 20, 1937, in Chillicothe, Ohio, Wilson first attracted notice performing the club circuit in nearby Columbus; she quickly earned a growing reputation among jazz players and fans, and she was recording regularly by the late '50s, eventually signing to Capitol and issuing LPs including 1959's Like in Love and Nancy Wilson with Billy May's Orchestra. Her dates with Shearing, including 1960's The Swingin's Mutual, solidified her standing as a talent on the rise, and her subsequent work with Adderley arguably her finest recordings further cemented her growing fame and reputation. In the years to follow, however, Wilson often moved away from jazz, much to the chagrin of purists; she made numerous albums, many of them properly categorized as pop and R&B outings, and toured extensively, appearing with everyone from Nat King Cole and Sarah Vaughan to Ruth Brown and LaVern Baker. She even hosted her own Emmy-winning variety series for NBC, The Nancy Wilson Show, and was a frequent guest performer on other programs; hits of the period included "Tell Me the Truth," "How Glad I Am," "Peace of Mind," and "Now, I'm a Woman." Regardless of how far afield she traveled, Wilson always maintained her connections to the jazz world, and in the '80s, she returned to the music with a vengeance, working closely with performers including Hank Jones, Art Farmer, Ramsey Lewis, and Benny Golson. By the 1990s, she was a favorite among the "new adult contemporary" market, her style ideally suited to the format's penchant for lush, romantic ballads; she also hosted the Jazz Profiles series on National Public Radio. In the early 2000s, Wilson recorded two albums with Ramsey Lewis for Narada (2002's Meant to Be and 2003's Simple Pleasures). Her 2004 album R.S.V.P. (Rare Songs, Very Personal) was a blend of straight-ahead jazz and ballads, similar to her next record, 2006's Turned to Blue, which, like R.S.V.P., used a different instrumentalist for each track. In 2005, Capitol released a three-part series to pay tribute to Wilson's contributions to music in the '50s and '60s: Guess Who I Saw Today: Nancy Wilson Sings Songs of Lost Love, Save Your Love for Me: Nancy Wilson Sings the Great Blues Ballads, and The Great American Songbook. Nancy Wilson died at her home on December 13, 2018 after a long illness. ~ Jason Ankeny https://www.allmusic.com/artist/nancy-wilson-mn0000368367/biography

Personnel: Nancy Wilson, vocals ; The Three Sounds (Gene Harris, piano ; Andrew Simpkins, bass ; Bill Dowdy, drums).

Sittin'In At Jorgie's Jazz Club

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The Three Sounds - Bottoms Up!

Bitrate: MP3@320K/s
Time: 39:28
Size: 90.4 MB
Styles: Bop
Year: 1959/2009
Art: Front

[3:59] 1. Besame Mucho
[5:07] 2. Angel Eyes
[4:48] 3. Time After Time
[6:01] 4. Love Walked In
[4:49] 5. I Could Write A Book
[4:51] 6. Jinne Lou
[3:07] 7. Nothing Ever Changes My Love For You
[6:43] 8. Falling In Love With Love

Bass – Andrew Simpkins; Drums – Bill Dowdy; Piano, Celesta – Gene Harris. Recorded At – Van Gelder Studio, Hackensack, New Jersey.

The second record by the Three Sounds (which, like too many of their recordings, has yet to be reissued on CD in the U.S.) features the increasingly popular group in prime form. Pianist Gene Harris, bassist Andy Simpkins and drummer Bill Dowdy are in top form performing their brand of funky jazz, which left plenty of room for inventive solos along with the percolating grooves. On this set, the trio plays seven standards (including "Besame Mucho," "Love Walked In" and "I Could Write a Book"), plus the original "Jinne Lou." Well worth searching for. ~Scott Yanow

Bottoms Up! mc
Bottoms Up! zippy

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Gene Harris - The Gene Harris Trio Plus One

Bitrate: MP3@320K/s
Time: 48:06
Size: 110.1 MB
Styles: Soul-jazz, Piano jazz
Year: 1986/2003
Art: Front

[9:32] 1. Gene's Lament
[5:43] 2. Misty
[8:45] 3. Uptown Sop
[8:13] 4. Things Ain't What They Used To Be
[7:27] 5. Yours Is My Heart Alone
[8:25] 6. The Battle Hymn Of The Republic

Bass – Ray Brown; Drums – Mickey Roker; Piano – Gene Harris; Tenor Saxophone – Stanley Turrentine. Recorded live at the Blue Note, New York City November / December 1985.

This superb album (reissued on CD) solidified pianist Gene Harris' return to the jazz major leagues. Teamed up with bassist Ray Brown, drummer Mickey Roker, and tenor saxophonist Stanley Turrentine, Harris stretches out on such songs as Ray Brown's blues "Gene's Lament," "Things Ain't What They Used to Be," "Yours Is My Heart Alone," and "Battle Hymn of the Republic." Harris and Turrentine work together so well on this soulful blues/bop date that one wishes they had teamed up much more often. ~Scott Yanow

The Harris Trio Plus One mc
The Harris Trio Plus One zippy

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The Three Sounds - Blue Genes

Bitrate: MP3@320K/s
Time: 35:06
Size: 80.4 MB
Styles: Bop, Soul-jazz, Piano jazz
Year: 1962/2006
Art: Front

[5:28] 1. Mr. Wonderful
[5:44] 2. Autumn In New York
[4:09] 3. Love Somebody
[4:08] 4. Blue Genes
[3:40] 5. Red Sails In The Sunset
[4:55] 6. In A Mellow Tone
[3:03] 7. Gina, My Love
[3:55] 8. Whims Of Chamberland

Bass – Bill Dowdy; Drums – Andrew Simpkins; Piano – Gene Harris. Recorded Oct. 13, 1962.

Although the 3 Sounds initially recorded for Riverside, then switching to Blue Note for a solid run of recordings, this one is their first album for Verve. It was recorded in Rudy Van Gelder's Englewood Cliffs, NJ studio over a four day period (12 through 15 October 1962.) I have no idea why this album took so long, but it's interesting to note that Blue Gene was recorded in two parts, and one track during that session - Let Me Off Uptown - never made it into the album.

It was also their fifteenth album in four years, which shows how prolific and popular they were. They were also popular on the jazz club circuit and the tracks on this album reflect what they were playing to those audiences. Like their other albums, this one is a swinging, blues-infused collection of jazz piano trio tracks that have this group's distinctive sound. If you are a fan you are sure to love it. ~Moke Tarrano

Blue Genes mc
Blue Genes zippy

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The 3 sounds - Moods

Styles: Soul Jazz, Post Bop
Year: 1960
File: MP3@320K/s
Time: 42:13
Size: 99,0 MB
Art: Front

(6:37)  1. Love for Sale
(8:54)  2. Things Ain't What They Used To Be
(5:36)  3. On Green Dolphin Street
(4:55)  4. Loose Walk
(4:50)  5. Li'l Darlin'
(2:29)  6. I'm Beginning To See The Light
(4:27)  7. Tammy's Breeze
(4:21)  8. Sandu

The Three Sounds open their signature sound a bit on the romantic Moods. They retain the same light touch that made their early albums so enjoyable, but they add more textures to the mix. Light Latin rhythms permeate Moods, from the inventive reworking of Cole Porter's "Love for Sale" to Harris' original "Tammy's Breeze." Like its predecessor, Feelin' Good, this record has a bluesy, soulful streak to its personality, as evidenced by the mellow take on "On Green Dolphin Street," the hep swing of "Loose Walk," and the infectious cover of Ellington's "I'm Beginning to See the Light." Occasionally, the Three Sounds play it a little too cool while the slow, relaxed "Things Ain't What They Used to Be" manages to be engaging, "Li'l Darlin'" slows down to a crawl  but on the whole, Moods is an endearing collection of appealing mainstream jazz.~ Stephen Thomas Erlewine https://www.allmusic.com/album/moods-mw0000473161

Personnel:  Gene Harris - piano;  Andrew Simpkins - bass;  Bill Dowdy - drums

Moods

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The Ray Brown Trio - Three Dimensional

Bitrate: MP3@320K/s
Time: 61:16
Size: 140.3 MB
Styles: Contemporary blues
Year: 1992/2006
Art: Front

[4:26] 1. Ja-Da
[6:56] 2. Paradise
[6:22] 3. You Are My Sunshine
[4:49] 4. Nancy (With The Laughing Face)
[4:07] 5. Gumbo Hump
[7:18] 6. Classical In G
[6:48] 7. My Romance
[4:45] 8. Take Me Out To The Ball Game
[7:29] 9. Ellington Medley
[4:25] 10. Equinox
[3:46] 11. Time After Time

Excellent trio date with Brown's formidable bass interaction with drummer Jeff Hamilton and pianist Gene Harris. Harris plays with his usual bluesy punch and delicate touch, while Hamilton fits like a glove with Brown. This is heady, solidly professional material. ~Ron Wynn

Three Dimensional

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The Gene Harris Quartet - Brotherhood

Bitrate: MP3@320K/s
Time: 57:58
Size: 132.7 MB
Styles: Mainstream jazz, Piano jazz
Year: 1995
Art: Front

[7:04] 1. I Remember You
[7:47] 2. For Once In My Life
[6:51] 3. The Brotherhood Of Man
[5:23] 4. When You Wish Upon A Star
[5:56] 5. Sidewinder
[5:18] 6. I Told You So
[5:26] 7. September Song
[5:24] 8. This Little Light Of Mine
[8:45] 9. A Beautiful Friendship

Bass – Luther Hughes; Drums – Paul Humphrey; Guitar – Ron Escheté; Piano – Gene Harris.

The Gene Harris Quartet was quite consistent in its many Concord recordings of the 1990s. The group on this disc (pianist Harris, guitarist Ron Eschete, bassist Luther Hughes, and drummer Paul Humphrey) performs soulful and bluesy versions of such songs as "I Remember You," "The Brotherhood of Man," Lee Morgan's "The Sidewinder," and even "September Song." All of Harris' records from this era are easily recommended to fans of soul-jazz, soulful hard bop, and blues-oriented jazz. ~Scott Yanow

Brotherhood

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Stanley Turrentine - Ballads

Styles: Saxophone Jazz

Year: 1993

File: MP3@320K/s

Time: 64:12

Size: 147,6 MB

Art: Front

(9:58)  1. Willow Weep For Me

(8:48)  2. Since I Fell For You

(6:10)  3. Then I'll Be Tired Of You

(7:44)  4. Someone To Watch Over Me

(7:44)  5. They All Say I'm The Biggest Fool

(6:07)  6. More Than You Know

(3:59)  7. God Bless The Child

(5:31)  8. Watch What Happens

(8:06)  9. A Child Is Born

Although he's a monster tenor soloist on funky, exuberant, bluesy soul-jazz, Stanley Turrentine is even more awesome on ballads. His rich, steamy sound, full tone, and ability to pace and develop moods is ideal for show tunes and sentimental love songs. This nine-track set begins with Turrentine nicely caressing the melody and turning in a standout treatment on "Willow Weep For Me," continuing through tearjerkers ("Since I Fell For You") and blues anthems ("God Bless The Child"), and closing with Thad Jones' beautiful "A Child Is Born." Turrentine is matched with numerous premier players, and pianist McCoy Tyner, guitarist Jimmy Smith, and even Turrentine's brother Tommy (trumpet) gently support and complement the main soloist. One of the best Blue Note special discs, featuring moving, frequently hypnotic playing from a true tenor great. ~ Ron Wynn http://www.allmusic.com/album/ballads-mw0000107424

Personnel: Stanley Turrentine (tenor saxophone); Tommy Turrentine (trumpet); Gene Harris, Horace Parlan, McCoy Tyner, Tommy Flanagan (piano); Shirley Scott, Jimmy Smith (organ); Grant Green, George Benson (guitar); Andrew Simpkins, George Tucker, Bob Cranshaw, Paul Chambers, Major Holley, Gene Taylor, Ron Carter (bass); Bill Dowdy, Al Harewood, Mickey Roker, Art Taylor, Clarence Johnston, Billy Cobham, Jimmy Madison (drums).

Ballads

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Gene Harris - Ballad Essentials

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 67:26
Size: 155,1 MB
Art: Front

(5:59)  1. Sweet And Lovely
(4:37)  2. Nobody Knows You When You're Down And Out
(6:29)  3. Until The Real Thing Comes Along
(6:26)  4. This Masquerade
(5:13)  5. At Last
(6:46)  6. Everything Happens To Me
(6:35)  7. Black And Blue
(5:26)  8. When You Wish Upon A Star
(5:02)  9. You Don't Know What Love Is
(8:05) 10. That's All
(6:43) 11. Angel Eyes

Gene Harris had no peer as a blues pianist. Just as Fred Hersch is the king of ballads, Harris was the king of the blues. But let’s consider his ballad prowess: he recorded many, and some of his best are collected on Concord Jazz’s newest addition to the Ballad Essentials series.  Harris manages to infuse all of his ballad performances with enough blue notes to endow the pieces with his unmistakable personality. That is not such a challenge with pieces like "Nobody Knows When You're Down and Out" while "When You Wish Upon a Star" might be a bit tricky in less talented hands. But his are not less talented hands. Mr. Harris has recorded copiously for Concord Jazz, providing a large library of songs from which to choose. His performance with Scott Hamilton on "At Last" is telepathic and with Brother Jack McDuff on "You Don’t Know What Love Is" Harris meets a blues soulmate. But, in the end, it is all Gene Harris. Mr. Harris remains one of the most accessible jazz pianists ever; and we, the listeners, are fortunate that he has left such a broad recorded legacy for us to enjoy. Ballad Essentials is a sensitively assembled collection revealing an under-appreciated site of Gene Harris. 

~ C.Michael Bailey https://www.allaboutjazz.com/gene-harris-ballad-essentials-gene-harris-review-by-c-michael-bailey.php

Personnel: Gene Harris (piano); Scott Hamilton (tenor saxophone); Jack McDuff (Hammond B-3 organ); Ron Eschete (guitar); Lester Hughes, Paul Humphrey (bass); Harold Jones (drums).

Ballad Essentials

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Gene Harris Quartet - Live In London

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 62:29
Size: 144,0 MB
Art: Front

(13:26)  1. No Greater Love
(15:18)  2. Blue Monk
( 6:04)  3. My Funny Valentine
(11:18)  4. In A Mellow Tone
( 9:02)  5. Misty
( 7:19)  6. Blues Closer

Gene Harris (1933-2000) was the master of blues in jazz. A self-proclaimed "blues pianist with chops," Harris could sting the most un-blues-like melody and make it sound like it was written by Meade Lux Lewis and performed by Oscar Peterson. Since Harris' death in 2000, posthumous releases of previously unreleased performances have been steady but sparse. These include: Live at Otter Crest (Concord Jazz, 2001), Instant Party (Concord Jazz, 2004), and now Live in London. Documenting a 1996 London performance with a local rhythm section, Live in London find Harris at his most exuberant. The set begins with an expansive "No Greater Love," with Harris introducing the piece with a length legato prelude before turning the tempo upside-down, giving the ballad the momentum of a freight train, albeit a happy one. Guitarist Jim Mullen sounds more rock than jazz, but does manage a clever Mozart quote ("allegro molto," from the "Symphony 40 in G minor") and several cartoon soundtrack quotes. An up-tempo "Blue Monk" provides Harris his first of three blues venues, allowing him and guitarist Mullen to display their considerable chops. This is where Harris is most at home, a steady romp through those twelve bars with a smile as big and fresh as his Idaho home. "My Funny Valentine" displays Harris invention in approaching a melody from the bottom side up in the same way as Erroll Garner in his salad days. The recital center point is the fifteen-minute "In a Mellow Tone." Harris, who states that he never plans set lists or performances, effectively conjures this Ellington chestnut out of thin air, employing the same introduction paradigm he used on "Valentine." He reveals the song covertly and then overtly. Harris uses his great sense of drama to build upon the melody, chorus by chorus, until he achieves the maximus of his orchestral style. Harris salutes Garner with a sensitive "Misty" before closing things with, what else, a blues appropriately entitled "Blues Closer." The Resonance Records website sports a brief interview with Harris where the pianist is revealed as a smiling, amiable giant interested only in playing music. One must believe that there is much more unreleased Gene Harris out there to celebrate. ~ C.Michael Bailey https://www.allaboutjazz.com/live-in-london-gene-harris-resonance-records-review-by-c-michael-bailey.php

Personnel: Gene Harris: piano; Jim Mullen: guitar; Andrew Clyendert: bass; Martin Drew: drums.

Live In London

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Gene Harris & The Three Sounds - Live At The 'It Club'

Bitrate: MP3@320K/s
Time: 57:40
Size: 132.0 MB
Styles: Bop, Piano jazz
Year: 1996
Art: Front

[7:42] 1. Funky Pullett
[8:45] 2. I'm Still Sad
[7:19] 3. On Green Dolphin Street
[5:24] 4. Baby Man
[8:15] 5. Love For Sale
[7:31] 6. Sittin' Duck
[4:50] 7. Tammy's Breeze
[7:51] 8. John Brown's Body

Recorded in 1970 but not released until 1996, Live At the "It Club" shows the Three Sounds pulling out funky, gritty rhythms out of their basic bluesy hard-bop sound. The group's funky influences are most noticeable in the rhythm section of drummer Carl Burnette and bassist Henry Franklin, who had been playing with Harris for only a short time when this set was recorded. The rhythm section pushes Harris, making the music loose and swinging -- the groove matters more than anything on the album. Occasionally, the energy of the Three Sounds lags, but Live at the "It Club" is an enjoyable piece of grooving soul-jazz. ~Stephen Thomas Erlewine

Live At The 'It Club'

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The 3 Sounds - Introducing The 3 Sounds

Bitrate: MP3@320K/s
Time: 37:55
Size: 86.8 MB
Styles: Bop, Soul-jazz
Year: 1958/2011
Art: Front

[4:33] 1. Tenderly
[4:39] 2. Willow Weep For Me
[4:38] 3. Both Sides
[4:23] 4. Blue Bells
[4:37] 5. It's Nice
[3:52] 6. Goin' Home
[7:11] 7. Would'n You
[3:58] 8. O Sole Mio

What's remarkable about Introducing the Three Sounds is how the trio's lightly swinging sound arrived fully intact. From the basis of this album, it sounds as if pianist Gene Harris, bassist Andrew Simpkins, and drummer William Dowdy have been playing together for years. There's empathetic, nearly intuitive interplay between the three musicians, and Harris's deft style already sounds mature and entirely distinctive. There's no question that this music is easy to listen to, but dismissing it because of that would be wrong -- there's genuine style in their light touch and in Harris' bluesy compositions. The Three Sounds never really deviated from the sound they established on Introducing, but that's one of the things that is so remarkable -- they were fully formed on their very first album. Even if it was a peak, it wasn't the only peak in their career. They would often match the heights of this album, but this debut remains a shining jewel in their catalog, and the way to become acquainted with their sound. [The CD reissue of Introducing the Three Sounds contains the five outtakes plus the alternate take of "Goin' Home" that originally comprised the Japanese album, Introducing the Three Sounds, Vol. 2.] ~Stephen Thomas Erlewine

Introducing The 3 Sounds

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Gene Harris And The Three Sounds - Elegant Soul

Styles: Piano Jazz
Year: 1968
File: MP3@320K/s
Time: 39:12
Size: 90,8 MB
Art: Front

(3:15)  1. Elegant Soul
(6:20)  2. Do It Right Now
(9:18)  3. Sittin' Duck
(2:48)  4. (Sock It To Me) Harper Valley P.T.A.
(2:48)  5. Sugar Hill
(4:30)  6. African Sweets
(3:29)  7. Black Gold
(3:26)  8. Book Of Slim
(3:13)  9. Walls Of Respect

After the release of Coldwater Flat five months earlier, Three Sounds pianist Gene Harris and bassist Andy Simpkins found themselves faced with yet another personnel change: Donald Bailey, who'd been with group for only two albums, left the group (after replacing founding drummer Bill Dowdy) and was replaced by Carl Burnett. The jazz-pop direction that Harris and Simpkins pursued on the fine Coldwater Flat set where the trio fronted the Oliver Nelson band and a string section was followed up here with composer and saxophonist Monk Higgins as arranger, conductor, and co-producer (with Dee Ervin). Elegant Soul, one of two albums Higgins did with the trio, is indeed fittingly titled. The pop tunes on the set include a reading of Tom T. Hall's hit "Harper Valley P.T.A.," featuring additional players like drummer Paul Humphrey (who appears on the entire album for added muscle), Alan Estes on vibes, guitarist Al Vesvoco, and nine string players, adding a perverse, lush, deeply soulful sheen with shuffling breaks laid down by Burnett, Humphrey, and a chorus of uncredited female backing vocalists.

The centerpiece of this beautiful and underappreciated at the time album is Higgins' nine-plus-minute "Sittin' Duck," with Harris at his hooky gospelized best, playing the hell out of the changes and filling the measures with his requisite taste and feel. The two drummers shuffle in unison, and Estes' vibes articulate the melody with Harris adding a warmer dimension. The strings are rich, but are employed mostly in the codas and tags, adding to the dramatic weight of the tune, which is otherwise a long, dance-worthy strut. Elsewhere, the strings are varied in their texture on the gorgeous "Sugar Hill"; they outdo those in the hits of the day like Paul Mauriat's "Love Is Blue," or even Roger Williams' "Born Free." Ervin's "African Sweets" is one of the set's highlights, too. It lifts six notes from the Rolling Stones' "Paint It Black" on top of a happening bass vamp and some slamming snare to introduce the cut. This is down-and-dirty soul-jazz dressed for Saturday night at the club; Harris beats the hell out of the piano's middle register in pure groove ecstasy. The added flamenco-style guitar and rough-and-rowdy flute solo add to an already heady brew. All of this is just the tip of the iceberg in a sense. 

Elegant Soul was and could even be currently dismissed with a casual listen as lightweight pop with a compelling rhythmic sense. But that would be selling it way short. This album warrants close listening to discern all that's happening in its production and arrangements. Whether it's on the dancefloor, for sampling, for feel-good or deep listening, or for finger-popping, it satisfies on all levels. [Previously only available as an import, Elegant Soul was reissued in 2008 as part of Blue Note Records' venerable Rare Groove series.] ~ Thom Jurek http://www.allmusic.com/album/elegant-soul-mw0000791386

Elegant Soul

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