Cannonball Adderley - Quintet In Chicago

Styles: Saxophone Jazz

Year: 1959
File: MP3@320K/s
Time: 34:03
Size: 78,2 MB
Art: Front

(4:40)  1. Limehouse Blues
(6:14)  2. Stars Fell on Alabama
(5:46)  3. Wabash
(4:33)  4. Grand  Central
(5:34)  5. You' re A Weaver Of Dreams
(7:13)  6. The Sleeper

This exciting session consists of the 1959 edition of The Miles Davis Sextet minus its leader, though it was later reissued as Cannonball & Coltrane, as there was evidence that both men had considerable input into the date. A brisk "Limehouse Blues" features great exchanges between the saxophonists, while Adderley's soulful "Wabash" is more easygoing. This newly remastered CD is a distinct improvement over the earlier retitled reissue. ~ Ken Dryden  http://www.allmusic.com/album/cannonball-adderley-quintet-in-chicago-mw0000088595

Cannonball Adderley Quintet: Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums).

Quintet In Chicago

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Steve Grossman & Harold Land - I'm Confessin'

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 50:14
Size: 115,3 MB
Art: Front

(6:27)  1. Vierd Blues
(7:43)  2. Circus
(5:47)  3. I'm Confessin'
(6:22)  4. Sandrow
(8:01)  5. Born to Be Blue
(8:48)  6. Let's Cool One
(7:05)  7. San Francisco Holiday

?I'm Confessin' finds adventurous Chi-town tenor man Steve Grossman pairing up with journeyman jazz legend Harold Land on a muscular set of standards and originals. This a no nonsense but eminently cerebral outing that makes the most of the two leads' knack for inventive, angular, and energetic improvisation. To these ends they dive headlong into the midtempo blues swinger "Vierd Blues," race each other to the finish line on the burning Grossman original "Sandrow," and play it cool on Thelonious Monk's "Let's Cool One"." Individually, they both get a chance to shine with Grossman nailing down the title track and Land holding down the afterglow hours on the ballad "Born to Be Blue"." Joining in the fun are pianist Fred Henke, bassist Reggie Johnson, and drummer Jimmy Cobb. ~ Matt Collar https://www.allmusic.com/album/im-confessin-mw0000747079

Personnel: Steve Grossman (tenor saxophone); Fred Henke (piano); Reggie Johnson (bass instrument); Jimmy Cobb (drums).

I'm Confessin'

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Teri Thornton - Devil May Care

Styles: Vocal
Year: 2011
Time: 81:20
File: MP3 @ 320K/s
Size: 187,3 MB
Art: Front

(2:47) 1. Lullaby of the Leaves
(3:29) 2. My Old Flame
(2:35) 3. Blue Skies
(3:10) 4. Detour Ahead
(5:58) 5. Dancing in the Dark
(5:52) 6. Blue Champagne
(3:47) 7. What's Your Story, Morning Glory
(2:46) 8. Devil May Care
(3:26) 9. Left Alone
(2:41) 10. I Feel a Song Comin' On
(4:09) 11. What's New?
(2:32) 12. The Song Is You
(2:59) 13. Somewhere In The Night
(2:51) 14. I've Got Your Number
(3:33) 15. There's A Boat Dat's Leavin Soon For New York
(2:52) 16. Lonely One
(2:29) 17. You've Got To Have Heart
(4:14) 18. Stormy Weather
(2:51) 19. I Believe In You
(4:33) 20. Mood Indigo
(2:26) 21. Quizas, Quizas, Quizas
(2:33) 22. I've Got The World On A String
(2:47) 23. Clap Yo' Hands
(3:49) 24. Serenade In Blue

Dubbed by Cannonball Adderley “the greatest voice since Ella Fitzgerald” Detroit-born Teri Thornton (1934-2000) moved to the Big Apple in 1960, where she was an immediate hit with the city’s seasoned jazz musicians and sophisti- cated audiences. It led to her first album, Devil May Care, for Riverside, where she was backed by some of New York’s brightest jazzmen, including Clark Terry, Britt Woodman, Seldon Powell and a rhythm section that boasted, among others, Wynton Kelly, Sam Jones, Jimmy Cobb and Freddie Green. A sagacious venture into the Great American Songbook allowed her to display a fine feel for the lyrics and a voice like nobody else’s.

In 1961 Chicago deejays gave her the “Coming Star of the Year” Award and the following year she signed for Dauntless. Hailed as “one of the most exciting voices of her generation”, she had a hit single with Somewhere in the Night, which became the name of her 1963 album. Again front-rank jazzmen were involved, among them Charlie Mariano, Joe Farrell, Nick Brignola, Eddie Bert and Dave Frishberg. Well-chosen material allowed her to make the most of her contralto-rich, distinctive vocal quality and decided individuality of delivery, and both albums add up to a fitting memorial to a singular jazz vocal talent of whom Freddie Green once said: “This girl has got to make it. If she doesn’t, something’s very wrong.” He was right.
https://www.freshsoundrecords.com/teri-thornton-albums/6520-lullaby-of-the-leaves-the-voice-of-teri-thornton-2-lp-on-1-cd.html

Album details: Teri Thornton, vocals in all tracks. Clark Terry, trumpet; Britt Woodman, trombone; Earl Warren, alto sax; Seldon Powell, tenor sax; Wynton Kelly, piano; Freddie Green (#1-6) or Sam Herman (#7-12), guitar; Sam Jones, bass; Jimmy Cobb, drums.

Devil May Care

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Miles Davis - Blue in Green

Styles: Trumpet Jazz
Year: 2023
Time: 62:14
File: MP3 @ 320K/s
Size: 143,0 MB
Art: Front

( 5:37) 1. Blue In Green
( 9:25) 2. So What
( 9:49) 3. Freddie Freeloader
( 2:49) 4. Générique
( 5:44) 5. Milestones
( 4:43) 6. Stella By Light
( 3:01) 7. 'Round Midnight
(11:35) 8. All Blues
( 9:26) 9. Flamenco Sketches

“Blue in Green” is arguably the most beautiful piece of music on Kind of Blue. The ensemble playing reaches new levels of subtlety and transcendence, and the work benefits greatly from the introduction of pianist Bill Evans, one of Miles Davis’ greatest collaborators. Indeed, his piano part is magnificent, and his solo is a masterpiece of his unrivalled lyricism.

The tempo of the tune is audaciously slow, and it’s easy for the listener to think that it will fall apart at any moment. It doesn’t, however, due to the genius of the ensemble. “Blue in Green” is also a greatly important piece; it shows that the values of “cool jazz” can have huge artistic value it’s not just laid-back music for the sake of it, it’s music of extraordinary depth of feeling. By Thomas Ward Miles Blue in Green by Miles Davis - Track Info | AllMusic

Personnel: Miles Davis – trumpet; John Coltrane – tenor saxophone; Bill Evans – piano; Paul Chambers – double bass; Jimmy Cobb – drums

Blue in Green

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Joe Henderson - Four!

Styles: Saxophone Jazz
Year: 1968
File: MP3@320K/s
Time: 71:45
Size: 165,9 MB
Art: Front

(13:37)  1. Autumn Leaves
(12:18)  2. Four
(14:57)  3. On The Trail
(11:46)  4. Star Dust / Old Folks
(16:04)  5. On Green Dolphin Street
( 3:00)  6. The Theme

This live session from 1968 features the great tenor Joe Henderson (who was then just a few days short of turning 31) playing for the first and possibly only time with the Wynton Kelly Trio. Henderson, pianist Kelly, bassist Paul Chambers, and drummer Jimmy Cobb really stretch out on six standards (including a two-song medley), all of which clock in between 11:47 and 16:05 (except for a three-minute "Theme"). Henderson really pushes the rhythm section (which, although they had not played with the tenor previously, had been together for a decade) and he is certainly inspired by their presence. This is a frequently exciting performance by some of the modern bop greats of the era. ~ Scott Yanow http://www.allmusic.com/album/four-mw0000120886

Personnel:  Joe Henderson – tenor saxophone;  Wynton Kelly – piano;  Paul Chambers – bass;  Jimmy Cobb – drums

Four

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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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Wayne Shorter - Introducing

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 66:00
Size: 151,6 MB
Art: Front

( 5:35)  1. Blues A La Carte
( 4:40)  2. Harry's Last Stand
( 9:41)  3. Down In The Depths
( 6:49)  4. Pug Nose
( 6:00)  5. Black Diamond
( 4:27)  6. Mack The Knife
( 5:43)  7. Blues A La Carte (alternate take)
( 4:59)  8. Harry's Last Stand (alternate take)
(10:18)  9. Down In The Depths (alternate take)
( 7:43) 10. Black Diamond (alternate take)

Also known as Blues A La Carte, this Vee Jay disc has tenor-saxophonist Wayne Shorter's first session as a leader and it shows that, even at this early stage, Shorter was far along toward developing his own sound. Teamed up with trumpeter Lee Morgan, pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb, the six selections (five of which are Shorter originals) capture the young tenor shortly after he joined Art Blakey's Jazz Messengers. The music is essentially hard bop and, although none of these Shorter tunes caught on, the music is quite enjoyable. A special treat is the one standard of the date, a swinging version of "Mack The Knife." ~ Scott Yanow http://www.allmusic.com/album/introducing-wayne-shorter-mw0000036851 

Personnel: Wayne Shorter: Tenor Saxophone; Lee Morgan: Trumpet; Wynton Kelly: Piano; Paul Chambers: Bass; Jimmy Cobb: Drums.

Introducing

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Jimmy Cobb's Mob - Cobb's Groove

Styles: Straight-ahead/Mainstream
Year: 2003
File: MP3@320K/s
Time: 57:39
Size: 132,4 MB
Art: Front

(7:04)  1. Cobb's Groove
(5:29)  2. I Miss You, My Love
(5:28)  3. Willow Tree
(6:28)  4. Sweet and Lovely
(5:56)  5. Jet Stream
(5:53)  6. Moment To Moment
(8:07)  7. Minor Changes
(6:51)  8. Bubblehead
(6:20)  9. Simone

Some decisions are good, others bad, and a few are quite simply inspired, such as producer Todd Barkan's decision to invite tenor saxophonist Eric Alexander to join drummer Jimmy Cobb's Mob on its latest album, Cobb's Groove. I can picture the session as being a pretty good one without Alexander sitting in; with him, it rises far above that, moving toward the adjectival equivalent of superlative. And that's no knock on Cobb, pianist Richard Wyands, guitarist Peter Bernstein or bassist John Webber, each of whom is a standout. But it is Alexander's overshadowing presence that sets the album apart and makes it special. One must, of course, allow for a certain bias here. As unofficial spokesman for the Eric Alexander Fan Club, I've been praising his talents for a number of years now, and others must agree, as Alexander is not only one of the best but also one of the busiest tenors on the New York scene, a throwback to the days when musicians would wind up a gig, then take their horns or whatever to another location and blow until sunrise and beyond. In short, this is one player who clearly loves what he is doing, and it shows. 

What I admire most about Alexander, aside, that is, from his gorgeous tone, impeccable technique and endless stream of persuasive ideas, is that he seems always to have something fresh to say, some new and unexpected twist that lets one know that he is not standing still but constantly working to enhance his artistry. Stylistically, Alexander is straight-on but never dull, forswearing flashy histrionics in favor of beauty and intelligence to underscore his musical point of view. Best of all, he invariably comes to play. Of course, Cobb and his Mob come to play too, and Groove would be a rather tedious session without them. While perhaps not as well known as such contemporaries as Art Blakey, Max Roach, Roy Haynes, Philly Joe Jones and others, Cobb is a tasteful and experienced timekeeper who adds class to any group. Bernstein, who has been with the Mob from its outset, is a staunch team player and resourceful soloist, as are Wyands and Webber. 

They're an impressive group on their own terms, an even better one with Alexander on board. Seven of the nine tunes on Groove are originals'three by Bernstein ("Jet Stream," "Minor Changes," "Bobblehead") and one each by Cobb ("Cobb's Groove"), Wyands ("Willow Tree"), Steve Batten ("I Miss You, My Love") and Frank Foster ("Simone"). Completing the program are Henry Mancini's "Moment to Moment" and another standard, "Sweet and Lovely." Alexander puts on the gloves and trades punches on every number, and he never fails to deliver a knockout blow. Cobb's Groove is a paradigm of swinging, straight-ahead contemporary jazz, superbly performed by five world-class musicians. Warmly recommended. ~ Jack Bowers  

http://www.allaboutjazz.com/cobbs-groove-jimmy-cobb-fantasy-jazz-review-by-jack-bowers.php#.U44Dkiioqdk
 

Personnel: Jimmy Cobb: drums; Richard Wyands: piano; Peter Bernstein: guitar; John Webber: bass. Special guest: Eric Alexander, tenor saxophone.

Cobb's Groove

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Jimmy Cobb's Mob - Only for the Pure at Heart

Styles: Jazz, Hard Bop
Year: 1998
File: MP3@320K/s
Time: 65:07
Size: 149,5 MB
Art: Front

( 8:07)  1. Delilah
( 5:51)  2. Say Little Mama Say
( 6:07)  3. Only For the Pure At Heart
( 4:03)  4. Stars Fell on Alabama
( 4:46)  5. Gingerbread Boy
( 6:10)  6. Johhny Red
( 5:58)  7. Smile
( 6:16)  8. Ma Turk
(10:58)  9. Vida Blue
( 6:48) 10. Riverside

Jimmy Cobb was in his late sixties when he recorded Only for the Pure at Heart, but the veteran drummer was still playing with the type of enthusiasm that had characterized his work with Miles Davis, Wes Montgomery, Cannonball Adderley, and other big names 35 and 40 years earlier. Of course, enthusiasm is easier to come by when you have as solid and cohesive a band as Cobb does on this often relaxed bebop date, which employs Richard Wyands on piano, John Webber on bass, and the Grant Green-influenced Peter Bernstein on guitar. Cobb called this working band Jimmy Cobb's Mob, although it shouldn't be confused with the Cobb's Mob that Texas tenor saxman Arnett Cobb led in the 1950s (when bassist George Duvivier wrote the song "Cobb's Mobb" for him). 

However, Jimmy Cobb's Mob of the late '90s isn't unlike the bands he'd helped bring to life in the 1950s and 1960s, and straight-up bop is exactly what the drummer provides on material ranging from "Smile" and "Stars Fell on Alabama" to Bernstein's catchy "Vida Blue" and Webber's moody "Johnny Red." In fact, much of the CD sounds like it could have been recorded 40 years earlier. Only for the Pure at Heart is the work of an accomplished drummer who, at 68, continued to excel by sticking with the tried and proven. ~ Alex Henderson  http://www.allmusic.com/album/only-for-the-pure-of-heart-mw0000038556

Personnel: Jimmy Cobb (drums); Richard Wyands (piano); Peter Bernstein (guitar); John Webber (bass).

Only for the Pure at Heart

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Sarah Vaughan - Live In Tokyo Disc 1, Disc 2

Album: Live In Tokyo, Japan Disc 1
Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 57:39
Size: 132,3 MB
Art: Front

(1:50) 1. A Foggy Day
(5:26) 2. Poor Butterfly
(1:46) 3. The Lamp Is Low
(5:40) 4. 'Round Midnight
(4:35) 5. Willow Weep For Me
(1:37) 6. There Will Never Be Another You
(3:23) 7. Misty
(7:20) 8. Wave
(2:38) 9. Like Someone In Love
(5:56) 10. My Funny Valentine
(2:21) 11. All Of Me
(5:12) 12. Love Story
(7:23) 13. Over The Rainbow
(2:26) 14. I Could Write A Book

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Album: Live In Tokyo, Japan Disc 2
Time: 56:22
Size: 129,3 MB

(6:59) 1. The Nearness Of You
(3:32) 2. I'll Remember April
(3:04) 3. Watch What Happens
(1:33) 4. I Cried For You
(4:01) 5. Summertime
(7:31) 6. The Blues
(5:09) 7. I Remember You
(4:03) 8. There Is No Greater Love
(6:10) 9. Rainy Days And Mondays
(3:08) 10. On A Clear Day
(6:34) 11. Bye Bye Blackbird
(1:05) 12. Tonight
(3:28) 13. Tenderly

Sarah Vaughan ( vocals ) Carl Schroeder ( pno ) John Gianelli ( bass ) Jimmy Cobb ( drs )

Unlike many singers Sarah Vaughan’s voice did not deteriorate with age but became more burnished and she never lost her vocal range. Throughout her career she worked and recorded with all types of ensembles from trios through medium sized bands to large orchestras with and without strings. Some of her best work was with piano trios where she had more flexibility to improvise but she appeared to be relaxed with any size of group. Some of the material she was given to record was not of the highest quality but she rose above the dross “and her skill and vocal abilities made the most of it. These two CDs contain a complete concert recorded whilst she was on tour in Japan during 1973. Like many singers she had a more or less set programme for her live performances which usually contained many of her popular recordings.

As this was Sarah’s regular backing trio at the time she sounds very much at ease which contributes to a stellar performance which is obviously adds to the delight of the Japanese audience. The album opens with a fast paced “A Foggy Day” which sets the pace for a programme of Sarah Vaughan most popular repertoire, the programme fluctuates between up tempo numbers and Sarah‘s caressing of ballads. After a longish introduction to “Willow Weep For Me” for not having sung it for some time she proceeds to scat and talk her way through the song adding her own alternative lyrics which is great fun. Jobim’s “Wave” is given a classic performance with Sarah wringing out the full emotion in the lyrics and given sympathetic backing by the trio.

Sarah’s interpretation of “Over The Rainbow” is a lesson for any budding singer of how to approach a song which has had so much exposure and give it new life, simply breath taking. For the opening track on CD Two Sarah takes over the piano chair to accompany herself on “The Nearness Of You” and shows she has lost none of skills at the instrument. “Watch What Happens” fits Sarah like a glove and sounds like it was written sceptically for her and it’s one of the finest tracks on the album. Sarah tries her hand at a more contemporary song with Paul Williams’ “Rainy Days and Mondays” which works a treat and does not feel like she is uncomfortable with the material. She chooses just the right approach to “Tenderly” by not giving it an over emotional treatment like many singers often do. The album closes on just the right note with Michel Legrand’s “The Summer Knows” with a heart felt rendition. Next to attending a live concert by Sarah this is the next best thing and is highly recommended.~Roy Booth https://www.jazzviews.net/sarah-vaughan---live-in-tokyo.html

Live In Tokyo,Japan Disc 1, Disc 2

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Peter Bernstein - Somethin's Burnin'

Styles: Guitar Jazz
Year: 1992
File: MP3@320K/s
Time: 60:03
Size: 137,7 MB
Art: Front

( 9:08)  1. This Could Be The Start Of Something Big
( 5:08)  2. Afterglow
(10:01)  3. Booker's Little Blues
( 7:18)  4. Mr. Kenyatta
( 7:02)  5. On A Misty Night
( 6:38)  6. Isn't This A Lovely Day
( 6:31)  7. Love For Sale
( 8:13)  8. Sideburns

Guitarist Peter Bernstein, who was 25 at the time, made his recording debut as a leader on this CD. He plays quite well, as does his friend, the up-and-coming pianist Brad Mehldau. Teamed with bassist John Webber and drummer Jimmy Cobb, Bernstein and Mehldau (who was almost recognizable at this early point) play three of the guitarist's originals, four jazz standards, and Lee Morgan's "Mr. Kenyatta," all in the modern hard bop style. Although Bernstein (who often sounds a bit like Wes Montgomery) and Mehldau would grow quite a bit from where they were in 1992, this was a fine start for their careers. ~ Scott Yanow https://www.allmusic.com/album/somethins-burnin-mw0000110257

Peter Bernstein Quartet: Peter Bernstein (guitar); Brad Mehldau (piano); John Webber (bass); Jimmy Cobb (drums).               

Somethin's Burnin'

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Geri Allen - Timeless Portrait And Dreams

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 58:27
Size: 134,3 MB
Art: Front

(1:52)  1. Oh Freedom
(7:07)  2. Melchezedik
(2:27)  3. Portraits And Dreams
(5:22)  4. Well Done
(4:21)  5. La Strada
(2:23)  6. I Have A Dream
(4:27)  7. Nearly
(5:40)  8. In Real Time
(2:48)  9. Embraceable You
(4:51) 10. Al-Leu-Cha
(4:21) 11. Just For A Thrill
(5:59) 12. Our Lady (for Billie Holiday)
(5:05) 13. Timeless Portrait And Dreams
(1:38) 14. Portrait And Dreams, reprise

There's a certain purity, perhaps innocence, about jazz that's played without the bells and whistles of modern technology and untainted by commercial trappings. When that purity is combined with superb songwriting, you have the makings of a recording that will never sound old. So it is with Timeless Portraits and Dreams.  A native of Detroit, Geri Allen began taking piano lessons at age eleven. She graduated from Howard University with a degree in jazz studies, and she later earned a master's degree in ethnomusicology from the University of Pittsburgh. Her professional career has included professorships in music at Howard and the University of Michigan; she has earned several awards. As a recording artist, she has collaborated with Mino Cinelu, Mary Wilson and the Supremes, Tony Williams, Ron Carter and Betty Carter, among others. On Timeless Portraits and Dreams, Allen delivers nearly an hour's worth of musical elegance. The stage is set on the opening tracks, "Oh Freedom and "Melchezedik, two originals that feature Allen on solo piano and then joined by her rhythm section of bassist Ron Carter and drummer Jimmy Cobb. On the latter piece, Carter stretches out. Allen is backed by the Atlanta Jazz Chorus on "Well Done, which features guest vocalist Carmen Lundy. Donald Walden introduces "I Have a Dream with a soft tenor sax solo. George Shirley, the first African-American tenor to sing at the Metropolitan Opera, sings lead on this tribute to the famous speech of Dr. Martin Luther King, Jr., accompanied by the Atlanta Jazz Chorus. 

Trumpeter Wallace Roney takes the lead on "In Real Time, an upbeat original penned by Allen and Roney. Allen's solo in the middle is one of the finer points of the album, aided by Carter's bass. Though he plays in the background for much of the album, Cobb steps up with a drum solo on the cover of Charlie Parker's "Ah-Leu-Cha. Throughout Timeless Portraits and Dreams, Allen's piano and Carter's bass keep the listener engaged. Cobb's drum work is subtle but effective. Lundy, Walden, Roney, Shirley and the Atlanta Jazz Chorus supplement the trio with great results. The collection includes a bonus CD single, "Lift Every Voice and Sing, which features Shirley and the Atlanta Jazz Chorus. Together, they form a gallery of emotions, thought-provoking messages and good jazz.~ Woodrow Wilkins https://www.allaboutjazz.com/timeless-portraits-and-dreams-geri-allen-telarc-records-review-by-woodrow-wilkins.php

Personnel: Geri Allen, piano; Ron Carter, bass; Jimmy Cobb, drums; Carmen Lundy, vocals; Wallace Roney, trumpet; George Shirley, vocals; Donald Walden, tenor saxophone; Atlanta Jazz Chorus, directed by Dwight Andrews.

Timeless Portrait And Dreams

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Mark Morganelli And The Jazz Forum All Stars - Speak Low

Styles: Trumpet Jazz 
Year: 1990
File: MP3@320K/s
Time: 60:26
Size: 139,7 MB
Art: Front

(7:27)  1. Speak Low
(6:39)  2. Dreams
(4:25)  3. Blues For Ian
(8:42)  4. When I Fall In Love
(6:58)  5. Summertime
(5:20)  6. Opus
(8:13)  7. Lamb Kurma
(6:25)  8. A Child Is Born
(6:14)  9. The Jolly Jumper

Mark Morganelli records infrequently as a leader, but he has been very active in New York City as a promoter and producer, and inevitably has been in charge of organizing the late-night jam sessions at the International Association of Jazz Educators Conference and the now-defunct Jazz Times Convention, as well as serving as the New York producer for Candid during its second incarnation. It's hard for a horn player to go wrong when he has recruited a rhythm section of Kenny Barron, Ron Carter, and Jimmy Cobb, and Morganelli seems additionally inspired by his company on this live date at Birdland. "Speak Low" is a real cooker, while Barron's "Dreams" is a gentle samba featuring the leader initially on flügelhorn before he returns on muted trumpet. Morganelli's dark flügelhorn and Barron's intriguing chord substitutions give a fresh sound to the oft-recorded "Summertime," and his waltzing version of another classic, "A Child Is Born," is also enjoyable. Morganelli also contributed two originals: the up-tempo post-bop "Blues for Ian" (in honor of his infant son) and a very happy sounding samba "The Jolly Jumper," named after one of his son's favorite toys. This CD will greatly please fans of hard bop and post-bop; Mark Morganelli clearly deserves to be recorded more frequently.~ Ken Dryden https://www.allmusic.com/album/speak-low-mw0000617098

Personnel: Trumpet, Flugelhorn – Mark Morganelli; Bass – Ron Carter; Drums – Jimmy Cobb; Piano – Kenny Barron

Speak Low

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Peter & Will Anderson - Peter and Will Anderson: Featuring Jimmy Cobb

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 64:44
Size: 149,5 MB
Art: Front

(5:43)  1. Two For One
(5:17)  2. Hot and Cold
(7:37)  3. Blues for You
(7:10)  4. Rhythm in F
(7:08)  5. Autumn in New York
(5:13)  6. Pick Your Spot
(8:08)  7. Someday My Prince Will Come
(6:09)  8. Jeannine
(7:28)  9. Polka Dots and Moonbeams
(4:45) 10. I'll Tell You Later

Grammy Award-winning saxophonists and identical twins, Peter and Will Anderson document another burner of a recording on their Featuring Jimmy Cobb album, released within days of the passing of the legendary drummer in May 2020. The last surviving member of the Miles Davis band that recorded the ground-breaking jazz album Kind of Blue (Columbia, 1959), Jimmy Cobb passed away at age 91. While not originally designed as a tribute project, this album may well be one of the last recordings featuring Cobb, as his last album as leader, This I Dig of You (Smoke Sessions Records, 2019), was released in 2019. The Anderson brothers craft an exciting session of music, mixing six new originals and four standards in which each piece is a keeper. Accompanying Will, on alto saxophone, and brother Peter, on tenor sax, are Jeb Patton on the piano, David Wong on bass and, of course, Jimmy Cobb. The band opens in blistering fashion, cooking through the first four originals: "Two for One," "Hot and Cold," "Blues for You," and "Rhythm In F," where the bebop and hard bop sounds paint this canvas red hot.

There are two relative soft spots on this album with the first belonging to the Anderson treatment of the Vernon Duke classic "Autumn In New York." On "Someday My Prince Will Come," and the time-honored standard from Duke Pearson, "Jeanine," the boys are wild with phenomenal call and response performances. The Jimmy Van Heusen standard "Polka Dots & Moonbeams," occupies the other mellow piece of the set with Will teeing off on the alto, marking this rendition of the piece as one of the finest. The brothers play in unison on the final track, "I'll Tell You Later," capping off an incredible session of hard-core bebop the way it was intended to be performed. The rhythm section, and especially Cobb, provide an amazing performance. As for the twins, we've heard the phrase "brothers in arms." Well, in this case it's "brothers in bebop," for Will and Peter Anderson Featuring Jimmy Cobb is one outstanding recording and remembrance of a legend.~ Edward Blanco https://www.allaboutjazz.com/featuring-jimmy-cobb-peter-and-will-anderson-outside-in-music

Personnel: Peter Anderson: saxophone, tenor; Will Anderson: saxophone, alto; Jimmy Cobb: drums; Jeb Patton: piano; David Wong: bass.

Peter and Will Anderson: Featuring Jimmy Cobb

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The Jimmy Cobb Quartet - Jazz in the Key of Blue

Styles: Jazz, Post Bop 
Year: 2009
File: MP3@320K/s
Time: 55:26
Size: 127,8 MB
Art: Front

(6:47)  1. Every Time We Say Goodbye
(5:30)  2. With You I'm Born Again
(5:08)  3. I'll Still Be in Love with You
(4:52)  4. Emily
(5:23)  5. Stairway to the Stars
(4:31)  6. I Had the Craziest Dream
(8:21)  7. Remembering U
(4:12)  8. What Will I Do
(6:25)  9. If Ever I Would Leave You
(4:16) 10. We'll Be Together Again

The 50th anniversary celebrations for Miles Davis's Kind of Blue in 2009 reminded the world that drummer Jimmy Cobb is the last surviving participant from that groundbreaking session. This set is a romantic-standards programme fronted by trumpeter and flugelhornist Roy Hargrove and guitarist Russell Malone, with only the swish of Cobb's understated brushwork testifying to his presence for long stretches. In an era in which such familiar jazz materials are frequently subverted, rhythmically reinvented or morphed into hybrids with other songs, it would be easy to write off this straightahead session as craftsmanlike but out of its time except that something, perhaps respect for Cobb's pedigree, stirs a dazzling inventiveness from the more familiarly funk-and-R&B-inclined Hargrove, and from Malone who sounds like the best of guitarists Charlie Christian, Jim Hall and himself  combined. Hargrove's breathy flugel immediately establishes his captivating poise on Everytime We Say Goodbye over Malone's cushioning chords, and his eruption into a fiercer attack after the delicate opening of With You I'm Born Again is a delicious shock. The trumpeter's New Orleans roots come out over Malone's bent notes and Charlie Christian swing on I Had the Craziest Dream. It shows just how much younger players cherish the standards book, and how unobtrusively a veteran such as Cobb can help them.

… just when we need it the most. Millions of readers around the world are flocking to the Guardian in search of honest, authoritative, fact-based reporting that can help them understand the biggest challenge we have faced in our lifetime. But at this crucial moment, news organisations are facing an unprecedented existential challenge. As businesses everywhere feel the pinch, the advertising revenue that has long helped sustain our journalism continues to plummet. We need your help to fill the gap. We believe every one of us deserves equal access to quality news and measured explanation. So, unlike many others, we made a different choice: to keep Guardian journalism open for all, regardless of where they live or what they can afford to pay. This would not be possible without financial contributions from our readers, who now support our work from 180 countries around the world.

We have upheld our editorial independence in the face of the disintegration of traditional media with social platforms giving rise to misinformation, the seemingly unstoppable rise of big tech and independent voices being squashed by commercial ownership. The Guardian’s independence means we can set our own agenda and voice our own opinions. Our journalism is free from commercial and political bias never influenced by billionaire owners or shareholders. This makes us different. It means we can challenge the powerful without fear and give a voice to those less heard. https://www.theguardian.com/music/2009/dec/31/jimmy-cobb-quartet-key-of-blue

R.I.P.
Born: 20. Januar 1929 in Washington, D.C;
Died: 24. Mai 2020 in New York

Jazz in the Key of Blue

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Jimmy Cobb - This I Dig of You

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 66:53
Size: 154,2 MB
Art: Front

(5:46)  1. This I Dig of You
(6:51)  2. Blood Wolf Moon Blues
(6:38)  3. I'm Getting Sentimental Over You
(4:58)  4. My Old Flame
(7:05)  5. Cheese Cake
(8:03)  6. Edward Lee
(6:22)  7. Somewhere in the Night
(6:35)  8. Yesterdays
(8:13)  9. I'll Wait and Pray
(6:17) 10. Full House

Is there a ride cymbal more integral to solid groove-making on more jazz recordings and performances than the one(s) played by drummer Jimmy Cobb, the last surviving musician from the sessions for Miles’ Kind of Blue? Cobb, also heard with the likes of Dizzy Gillespie, Dinah Washington, Sarah Vaughan, John Coltrane, and Cannonball Adderley over the decades, creates a special kind of graceful, creative, forward-moving swing when he locks in with a bassist and rhythm section (as I discovered firsthand, playing with the master trappist at a 2000 memorial concert for Nat Adderley in Florida). At 90, Cobb still has it, as he handily demonstrates on This I Dig of You, leading and driving a quartet on an uncluttered, frills-free program dominated by standards, some of which he’s been playing for decades. For these warmly recorded, intimate-sounding recordings, he’s joined by several musicians with whom he’s previously collaborated: pianist Harold Mabern and two former students of Cobb’s at the New School in New York, bassist John Webber and guitarist Peter Bernstein.

As a soloist, Cobb shines most when he’s most in the moment, directly responding to rhythmic and harmonic ideas tossed up by bandmates, as during the trading-bars sections on the title track, a fast-moving hard bop tune by Hank Mobley, and “Yesterdays,” a Cobb favorite. His deft touch as a ballad player enlivens “My Old Flame,” and he reinvigorates two tunes for which he drummed on the original recordings: Wes Montgomery’s bluesy “Full House,” one of several showcases for Bernstein’s agile, sometimes provocative soloing, and the Coltrane-associated “I’ll Wait and Pray.” Bernstein’s laidback “Blood Wolf Moon Blues,” which features a particularly buoyant improvisation by Webber, is the sole new original on the album, which also includes Mabern’s soul-jazz gem “Edward Lee,” in honor of Lee Morgan. Of This we dig. https://jazztimes.com/reviews/albums/jimmy-cobb-this-i-dig-of-you-smoke-sessions/

Personnel: Drums – Jimmy Cobb;  Bass – John Webber; Guitar – Peter Bernstein; Piano – Harold Mabern

R.I.P.
Born: 20. Januar 1929 in Washington, D.C;
Died: 24. Mai 2020 in New York

This I Dig of You

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Jimmy Cobb - Remembering U

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 64:15
Size: 148,7 MB
Art: Front

(6:06)  1. Eleanor
(3:36)  2. Pistachio
(6:18)  3. Man in the Mirror
(4:56)  4. Remembering U
(4:42)  5. JC's AC
(4:39)  6. Composition 101
(6:48)  7. I Just Can't Stop Loving You
(4:10)  8. Willow Weep for Me
(4:48)  9. W.K.
(6:23) 10. Cedar's Rainbow
(5:51) 11. I Don't Wanna Be Kissed (By Anyone but You)
(5:53) 12. Cobb's Belle

Legendary Drummer Jimmy Cobb Still Swinging After All These Years! Remembering U features a guest appearance by the late trumpeter Roy Hargrove and is the final session by legendary engineer Rudy Van Gelder. A consummate accompanist, unerring timekeeper, outstanding soloist and dynamic leader in his own right, revered drummer Jimmy Cobb showcases his inimitable touch on ballads and his irrepressibly swinging ride cymbal pulse on Remembering U. Accompanied by his working trio of Japanese pianist Tadataka Unno and Italian bassist Paolo Benedettini, Cobb's latest stands as a tribute to those people who have been a part of his long journey in jazz and are no longer with us. Special guests include tenor saxophonist Javon Jackson and the late trumpeter Roy Hargrove in one of his last studio sessions. The recording also marks the final session of legendary engineer Rudy Van Gelder, who presided over classic sessions for the Blue Note, Prestige and Impulse! labels. (Cobb remembers playing on a Van Gelder session in the mid 1950s when the fledgling engineer was operating out of his parents home in Hackensack, New Jersey.)

On Remembering U, 2009 NEA Jazz Masters Award winner Cobb proves beyond a shadow of a doubt that, at age 90, he is indeed still swinging after all these years. Cobb's expansive list of recording credits over seven decades reads like a Who's Who in Jazz. Among the countless sessions he participated in since the mid '50s are such landmark recordings as Miles Davis' Kind of Blue, Sketches of Spain, Porgy & Bess and Sorcerer, John Coltrane's Giant Steps and Coltrane Jazz, Wes Montgomery's Full House, Boss Guitar and Smokin' at the Half Note as well as potent sessions with Freddie Hubbard, Stan Getz, Bobby Timmons, Cannonball Adderley, Sarah Vaughan, Sonny Stitt and a string of acclaimed trio recordings with pianist Wynton Kelly and bassist Paul Chambers. On Remembering U, his 12th as a leader and first for his own Jimmy Cobb World label, Cobb and his versatile crew display remarkable chemistry on 12 tracks. https://news.allaboutjazz.com/jimmy-cobb-historic-release-featuring-roy-hargrove-remembering-u-final-session-by-rudy-van-gelder

Remembering U

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Hendrik Meurkens - Cobb's Pocket

Styles: Harmonica Jazz
Year: 2019
File: MP3@320K/s
Time: 50:18
Size: 116,3 MB
Art: Front

(6:07)  1. Driftin'
(4:47)  2. Cobb's Pocket
(8:34)  3. Frame for the Blues
(6:29)  4. Slidin'
(5:40)  5. Slow Hot Wind
(5:35)  6. Unit Seven
(6:25)  7. Polka Dots and Moonbeams
(6:38)  8. A Slow One

It may be posited that what Louis Armstrong was to the trumpet, Toots Thielemans was to the mouthorgan. With Thielemans now blowing in the Upper Room, the field is open to aspiring and worthy replacements. Hendrik Meurkens fits that bill appropriately and is a leading contender, for sure. Like his aforementioned hero, Meurkens is not only a superior harmonica player, he is, like Thielemans, a multi-instrument-playing musician.

Cobb's Pocket, a very fine effort, has Meurkens fronting a terrific rhythm section consisting of B-3 organ, guitar and drums. Not a lengthy album -there are only eight tracks. The session offers terrific ensemble playing and great jazz improv across a variety of grooves. "Driftin'" is a Herbie Hancock-composed head-tilting ear-wormer that has Meurkens and Bernstein's guitar working its way over a hip, with a struttin' head and LeDonne chiming in before Meurkens, Bernstein and LeDonne deliver pocketed solos. The pairing of harmonica and guitar on melodies is an excellent touch that adds a robust dimension. The title cut, a Meurkens composition, is a respectful and furiously-paced tip of the hat to legendary drummer Jimmy Cobb. It is a burner with leader and cadre delivering smoking solos. Maestro Meurkens is a technical wizard. He holds little back and swings heavily throughout the date. His chops have chops. His improvisations are swinging, extended lines that resemble of those of a saxophonist or pianist. Remember, Meurkens is also an ace vibraphonist. He is (and all are) soulful on Slide Hampton's "Frame for the Blues" and he demonstrates great dynamic taste on "Polkadots and Moonbeams." Bernstein offers great swing and a tasty solo on the leader's "Slidin' and Henry Mancini's bossa, "Slow Hot Wind." LeDonne, as underrated as he is talented, is a swinger in the finest B-3 tradition. Cobb, a near-nonegenarian at the time of the session, is tasty and driven throughout and offers a fine solo on "Unit Seven."

Cobb's Pocket is shorter in length, but extensive in its delivery of an A-1 entertaining session. This is a pocket to be picked. And yes, The Baron would be proud. https://www.allaboutjazz.com/cobbs-pocket-hendrik-meurkens-in-and-out-records-2

Personnel: Hendrik Meurkens: harmonica; Peter Bernstein: guitar; Mike LeDonne: B-3 organ; Jimmy Cobb: drums.

Cobb's Pocket

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Jimmy Cobb Italian Trio - With Respect to Bill Evans

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 50:31
Size: 116,7 MB
Art: Front

(5:34)  1. Show Type Tune
(4:11)  2. We Will Meet Again
(4:53)  3. Time Remembered
(4:06)  4. Peri's Scope
(4:25)  5. Very Early
(5:12)  6. Funkallero
(4:02)  7. The Opener
(5:18)  8. Bill's Hit Tune
(6:44)  9. Theme for Basie
(2:31) 10. I Just Can't Stop Loving You
(3:29) 11. After the Love Has Gone

Legendary jazz drummer, Jimmy Cobb, was born in Washington, D.C. on January 20, 1929. A superb, mostly self-taught musician, Jimmy is the elder statesman of all of the incredible Miles Davis bands. Jimmy's inspirational work with Miles, John Coltrane, Cannonball Adderly and Co. spanned 1957 until 1963, and included the masterpiece “Kind of Blue”, the most popular jazz recording in history. He also played on “Sketches of Spain”, Someday My Prince will Come”, “Live at Carnegie Hall, “Live at the Blackhawk”, “Porgy and Bess”, and many, many other watermark Miles Davis recordings. The Miles recordings and live performances are not the only high points of Jimmy's quiet, but truly outstanding career. Jimmy did his first recording with Earl Bostic. Known from an early age as a great accompanist, Jimmy played extensively with Dinah Washington, Billie Holiday, Pearl Bailey, Clark Terry, Dizzy Gillespie, Cannonball Adderly, before joining Miles in 1957. Tony Williams took over the Miles drum chair in 1963 and Jimmy left Miles to continue to work with Miles' rhythm section, Winton Kelly and Paul Chambers behind Wes Montgomery. In addition to several Winton Kelly Trio Albums, the three did albums with Kenny Burrell, and J.J. Johnson, among others, before disbanding in the late 60's. Mr. Cobb then worked with Sarah Vaughn for 9 years. Jimmy then continued to freelance with several great groups throughout the 70's 80's and 90's including, Sonny Stitt, Nat Adderly, Ricky Ford, Hank Jones, Ron Carter, George Coleman, Fathead Newman, The Great Jazz Trio, Dave Holland and Warren Bernhardt, and many, many others worldwide. (see list on succeeding pages). 

Eleana Tee produced a Television Special “So that Nobody Else Can Hear”, which aired on AandE in the early 90's featuring Jimmy playing and hangin' with Freddie Hubbard, Gregory Hines, Bill Cosby, Dave Leibman, Pee Wee Ellis, and others. Jimmy has played around the world from Newport to Monte Carlo, from LA to Japan. He has performed for President Carter, the Shah of Iran and many other dignitaries in his storied career and is quoted extensively in “Kind of Blue”, the Documentary of those legendary recording sessions. Now: Currently, Jimmy is not slowing down even a little. He splits any downtime between his New York City “digs” and his home in Woodstock, NY with his two children, Jaime and Serena, and long time partner and collaborator, Eleana Tee. However, he still tours with his own band, “Cobb's Mob” and combines with many incredible artists both old and new. Jimmy has just completed a “Four Generations of Miles” album with guitarist, Mike Stern, Ron Carter (bass), and George Coleman (tenor) for Chesky records. Jimmy is about to release his newest and long awaited solo album, “Yesterdays”, produced by Eleana Tee for Rteesan Productions. It features Michael Brecker on tenor, Marion Meadows on soprano, Roy Hargrove, trumpet and flugelhorn, Jon Faddis, trumpet, Eric Lewis, electric piano, Peter Bernstein, guitar, Jerry Mall, percussion and John Weber on bass. This album was done in Jimmy's two adopted home towns; recorded and shot in New York, and mixed and edited in Woodstock, NY. It includes a wide variety of arrangements ranging from a unique interpretation of Jimi Hendrix “Purple Haze” to ballads “Yesterdays” and blues (All Blues, Faddis, Monk) and standards, “Without a Song” and “Love Walked Right In”. This major musical statement will include several music videos and a complete television documentary. And as usual with Jimmy Cobb, you won't believe what's up next! https://musicians.allaboutjazz.com/jimmycobb

Jimmy Cobb Italian Trio with Jimmy Cobb (drum), Massimo Faraò (piano) and Aldo Zunino (db) : a tribute to Bill Evans

With Respect to Bill Evans

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Cannonball Adderley Quartet - Cannonball Takes Charge

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 52:53
Size: 122,1 MB
Art: Front

(5:32)  1. If This Isn't Love
(5:34)  2. I Guess I'll Hang My Tears Out To Dry
(4:16)  3. Serenata
(3:39)  4. I've Told Ev'ry Little Star
(7:03)  5. Barefoot Sunday Blues
(5:10)  6. Poor Butterfly
(6:55)  7. I Remember You
(7:48)  8. Barefoot Sunday Blues - Alternate Take
(6:52)  9. I Remember You - Alternate Take

The recording of Cannonball Takes Charge was sandwiched in between two events that would help earn Cannonball Adderley a permanent place in jazz lore. Just the day before the album’s first session, he participated in the completion of Miles Davis’s seminal Kind of Blue. Five months after Cannonball Takes Charge was finished, he had Riverside producer Orrin Keepnews record his newly formed quintet at the Jazz Workshop in San Francisco which helped launch his career as one of the leading proponents of “soul jazz.” But what about the album made in between these two momentous occasions? Cannonball Takes Charge ’s concept was a common one: the altoist is the lone horn in a quartet performing a program made up primarily of standards. The results are anything but routine though, and show that 1959 was a very good year for Cannonball Adderley.  The opening tune, “If This Isn’t Love,” kicks off the proceedings on an ebullient note with Adderley playing an infectious solo that can brighten even the gloomiest day. Things reach a more melancholic note only on “I Guess I’ll Hang My Tears Out To Dry” which features a fine ballad performance by the alto saxophonist. “Barefoot Sunday Blues,” the lone original composition, points to the gospel and soul-inflected jazz that would become Adderley’s calling card. The final selection, “I Remember You,” produces his finest performance on the album. Adderley is able to coax a five-chorus improvisation out of the standard’s changes that is always interesting and full of romantic lyricism. On the piano bench is Wynton Kelly who plays with the utmost of taste throughout. He makes his best impression when he dips in to a more earthy vibe on his last solo chorus of “Barefoot Sunday Blues” and in his work on “Poor Butterfly.” Joining Adderley and Kelly are Paul Chambers and Jimmy Cobb on four tracks, and Percy and Albert Heath on the rest. As an added bonus, this 2002 CD reissue adds alternate takes of “Barefoot Sunday Blues” and “I Remember You” that are well worth listening to. Adderley would rarely revisit the territory he covered in Cannonball Takes Charge in the years to come. His subsequent work on Riverside increasingly began to follow a formula: albums recorded live with the altoist’s working band. In 1961 though, Adderley would record another quartet album, Know What I Mean? , in which he managed to surpass the lofty heights achieved on Cannonball Takes Charge. ~ Robert Gilbert https://www.allaboutjazz.com/cannonball-takes-charge-julian-cannonball-adderley-capitol-records-review-by-robert-gilbert.php

Personnel: Cannonball Adderley - alto saxophone; Wynton Kelly - piano; Paul Chambers, Percy Heath - bass; Jimmy Cobb, Albert Heath - drums

Cannonball Takes Charge

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