Jimmy Heath Quartet - You've Changed

Bitrate: 320K/s

Time: 62:20

Size: 142.7 MB

Styles: Saxophone jazz, Hard bop

Year: 1991

Art: Front

[8:11] 1. Soul Eyes

[9:19] 2. Sleeves

[7:12] 3. Bluesville

[8:16] 4. You've Changed

[7:27] 5. Basic Birks

[7:10] 6. Last Night When We Were Young

[6:35] 7. Sassy Samba

[8:07] 8. Prince Albert

You've Changed presents journeyman saxophonist Jimmy Heath in an unadorned setting that exhibits his talents in full splendor. Also a noted composer -- three of the pieces here are his -- this session showcases Heath's sound, which is as smoky and sweet as the best whiskey. Heath plays with fluid drive. The composer in him never takes a break as evidenced by the logical flow of his melodic ideas. The band is a pared down version of the Heath Brothers with regulars Tony Purrone and brother Tootie Heath on board joined by bassist Ben Brown. Purrone's smooth, bluesy fretwork provides just the right foil for the leader. ~David Dupont

You've Changed

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Heath Brothers - In Motion

Styles: Jazz, Post Bop
Year: 1979
File: MP3@320K/s
Time: 36:53
Size: 88,7 MB
Art: Front

(6:06) 1. Feelin' Deelin'
(4:23) 2. The Voice Of The Saxophone
(6:44) 3. Project 'S'
(6:47) 4. Move To Groove
(5:28) 5. Passion Flower
(7:23) 6. (There's) A Time And A Place

The Heath Brothers was an American jazz group, formed in 1975 in Philadelphia, by the brothers Jimmy (tenor saxophone), Percy (bass), and Albert "Tootie" Heath (drums); and pianist Stanley Cowell. Tony Purrone (guitar) and Jimmy's son Mtume (percussion) joined the group later. Tootie left in 1978, and was replaced by Akira Tana for a short period before returning in 1982. They also added other sidemen for some of their recording dates. The group issued four singles between 1978 and 1981, "Mellowdrama", "For the Public", "Use it (Don't abuse it)" and "Dreamin'". "Dreamin'", a track from the 1980 LP, "Expressions of Life", had the most airplay in the UK despite not reaching the UK charts.

The group with just two of the brothers, Jimmy and Tootie, and additional sidemen as needed, continued to perform and record after Percy died in 2004. The DVD, Brotherly Jazz: The Heath Brothers, recorded in 2004, shortly before Percy's death, was one of the last times the three brothers played together and chronicled the brothers' personal lives as well as socio-political issues many jazz musicians dealt with in the later 20th century, including jail, drugs, discrimination and segregation. The 2009 CD Endurance was the first without Percy, and features seven original numbers by Jimmy, including "From a Lonely Bass", composed in memory of his late brother. https://en.wikipedia.org/wiki/Heath_Brothers

The Heath Brothers: Jimmy Heath (tenor saxophone); Percy Heath (bass); Albert "Tootie" Heath (drums); Stanley Cowell (piano); Tony Purrone (guitar).

In Motion

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Carmell Jones - Jay Hawk Talk

Bitrate: MP3@320K/s
Time: 38:11
Size: 87.4 MB
Styles: Bop, Trumpet jazz
Year: 1965/2000
Art: Front

[5:50] 1. Jay Hawk Talk
[4:56] 2. Willow Weep For Me
[8:56] 3. What Is This Thing Called Love
[5:32] 4. Just In Time
[6:17] 5. Beepdurple
[6:37] 6. Dance Of The Night Child

Bass – George Tucker; Drums – Roger Humphries; Piano – Barry Harris; Tenor Saxophone – Jimmy Heath; Trumpet – Carmell Jones. Recorded May 8, 1965.

Hard bopper Carmell Jones is in fine form on this 1965 outing, Jay Hawk Talk. Together with tenor Jimmy Heath, pianist Barry Harris, bassist George Tucker, and drummer Roger Humphries, Jones confidently tackles a half-dozen tunes. From the piano/bass riff at the beginning of "Jay Hawk Talk" to the Parker-esque kickoff of "Beepdurple," the band holds a steady, driving groove. Both of those instrumentals, plus "Dance of the Night Child," were written by Jones and stand comfortably beside the other selections on this album. Tucker kicks off a particularly affecting version of "Willow Weep for Me," with a simple descending bass run. Jones enters with a full and rich tone for a beautiful, extended solo, and is followed by Harris, who emphasizes the bluesy, late-night feel of the piece. The band turns in a nine-minute version of Porter's "What Is This Thing Called Love?" that pulls out all the stops, and gives Heath plenty of room to show that he can fly as high and play as fast as Charlie Parker himself. Throughout the album, Tucker's bass work adds greatly to the overall texture; Tucker and Humphries together provide a steady pulse with lots of charged rhythm to keep the whole project stimulating. Jay Hawk Talk will remind everyone of Jones' distinctive voice. Like Johnny Griffin, Jones moved to Europe in the '60s, greatly lowering his profile in the United States. This re-release of an old classic should help to familiarize everyone once again with a great trumpeter. ~Ronnie D. Lankford Jr.

Jay Hawk Talk

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The Heath Brothers - Brotherly Love

Styles: Jazz, Hard Bop
Year: 1982
File: MP3@320K/s
Time: 37:18
Size: 86,0 MB
Art: Front

(7:10) 1. A Sound For Sore Ears
(5:49) 2. Autumn In New York
(6:40) 3. No End
(6:53) 4. Life In The City
(6:08) 5. Homes
(4:36) 6. Rejoice

By their sixth album, the Heath Brothers (consisting of Jimmy on tenor and soprano, Percy Heath on bass, keyboardist Stanley Cowell, guitarist Tony Purrone and drummer Akira Tana) were sticking to their basic hard bop format, with an occasional poppish tune tossed in to give the group variety and possible commercial potential. This excellent set finds the band performing Kenny Dorham's "No End," "Autumn In New York," Percy's "Rejoice," and three originals by Jimmy. With eight years of constant playing, the Heath Brothers had developed into a solid working group with a sound of its own; Jimmy Heath's writing and solos gave the band its own personality. This Antilles set, which has been reissued on CD, is an excellent example of their playing.~ Scott Yanow https://www.allmusic.com/album/brotherly-love-mw0000651137

Personnel: Bass – Percy Heath; Drums – Akira Tana; Guitar – Tony Purrone; Keyboards – Stanley Cowell; Saxophone – Jimmy Heath

Brotherly Love

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Jimmy Heath - Peer Pleasure

Styles: Saxophone Jazz
Year: 1987
File: MP3@256K/s
Time: 47:50
Size: 87,7 MB
Art: Front

(7:23) 1. Trane connection
(6:15) 2. Song for Ben Webster
(7:01) 3. You Can See
(6:01) 4. Is That So?
(6:25) 5. Ellington's Stray Horn
(8:03) 6. Forever Sonny
(6:40) 7. I Waited for You

The most unusual aspect of this CD is that Jimmy Heath, in addition to his usual tenor and soprano, also plays alto (his original instrument) on two of the six numbers. The material pays tribute to John Coltrane, Sonny Rollins, Ben Webster (an Ernie Wilkins original), and Dizzy Gillespie, and "Ellington's Stray Horn" is included along with a Monty Alexander original. Two songs are played by Heath with guitarist Tony Purrone, bassist Stafford James and drummer Akira Tana; pianist Larry Willis makes the group a quintet on one piece, and trumpeter Tom Williams expands the band to a sextet for the three remaining selections. The largely straight-ahead set benefits from the changing instrumentation and the fresh material, and Jimmy Heath (60 at the time) shows that he was still very much in prime form.~ Scott Yanow https://www.allmusic.com/album/peer-pleasure-mw0000651348

Personnel: Tenor Saxophone, Soprano Saxophone, Alto Saxophone – Jimmy Heath; Trumpet, Flugelhorn – Tom Williams; Acoustic Bass – Stafford James; Drums – Akira Tana; Electric Guitar – Tony Purrone ; Piano – Larry Willis

Peer Pleasure

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Roberta Gambarini - Connecting Spirits: Sings The Jimmy Heath Songbook

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 59:24
Size: 138,7 MB
Art: Front

(4:59)  1. Without Song
(4:04)  2. Growing - New Picture
(4:14)  3. The Rio Dawn
(5:23)  4. The Thumper
(5:30)  5. A Loved One Lost
(4:23)  6. Life In The City
(5:42)  7. The Voice Of The Saxophone
(5:03)  8. Mandela
(4:23)  9. A Harmonic Future
(4:20) 10. A Mother's Love
(4:03) 11. A Sassy Samba
(2:51) 12. Ellington's Stray Horn
(4:22) 13. Frank Foster

Born and raised in Turin, Italy, to music loving parents (who had actually first met at a jazz concert), two-times Grammy nominated singer Roberta Gambarini grew up constantly listening to her father’s record collection. Her first vocal inspiration was the music of Louis Armstrong and Ella Fitzgerald , but she soon discovered Sarah Vaughan, Billie Holiday,and Carmen McRae, as well as gospel and blues artists such as Mahalia Jackson and Bessie Smith. At age 12 she began studying clarinet, but realizing the versatility and talents of her clear alto, she moved to voice, singing and performing in clubs by the time she was 17. In 1998, Gambarini received a scholarship to study for two years at the New England Conservatory in Boston. Barely 2 weeks after setting foot on american soil for the first time, Roberta surprised the jazz world by being one of the runner-ups in the 1998 Thelonious Monk Vocal Competition.

With this recognition as a springboard and the assistance of some of the greatest musicians in the world, who immediately appreciated her talent and invited her to perform with them, she quickly became a fixture on the international jazz circuit, appearing in major concert halls, Festivals and clubs around the globe ( Carnegie Hall, The Kennedy Center, Hollywood Bowl , Jazz at Lincoln Center , the North Sea Jazz Festival, and many more) . As a result, Roberta has had the good fortune to appear in concert and record with such Giants as Dave Brubeck, James Moody, Hank Jones, Clark Terry, Herbie Hancock, Michel & Randy Brecker, Jimmy Heath, Roy Hargrove, Jimmy Cobb, Al Foster, Slide Hampton, Frank Wess, Harold Mabern, Toots Thielemans, Paquito D’Rivera, Chucho Valdez, Mark O’Connor, Cyrus Chestnut, Percy Heath, Ron Carter, Johnny Griffin, the Dizzy Gillespie All Stars Big Band, Billy Higgins, Cedar Walton, Ray Drummond, George Cables, Mulgrew Miller, Kenny Burrell, Wynton Marsalis’ Jazz at Lincoln Center orchestra, and many others.

Roberta’s first American release ‘Easy to love’, earned the accolades of fans and critics alike and prestigious Grammy nomination, as did her third, ‘So in love’ ,which was also awarded the Grand Prix du Jazz Vocal 2009 by the Jazz Academy of France. She was twice named the “Female Jazz Singer of the Year” by the Jazz Journalists Association (2007 & 2009 ). One of the most important music figures of the 20th century, the late Benny Carter, cited Roberta as his favorite singer. James Moody, the legendary saxophonist and singer, was Roberta’s mentor and teacher, and introduced her to many of the major venues in the world. In 2008 Roberta recorded a superb duet album titled ‘You are there’ with the Legendary pianist Hank Jones. Mr. Jones,who accompanied most of the celebrated vocalists of 20th Century such as Ella Fitzgerald, Sarah Vaughan, Frank Sinatra, Peggy Lee, Carmen McRae, and Nat King Cole, declared Roberta Gambarini to be the best singer to emerge in the last 60 years . In 2015 , Roberta recorded ‘Connecting spirits’, a collection of compositions written by yet another of her mentors: Master saxophonist, composer and arranger Jimmy Heath . Along with Jimmy’s own lyrics, the album includes some of Roberta’s own lyrics to Mr Heath’s tunes performed with the legendary Heath Brothers ,with Master drummer Tootie Heath. Every once in a while, a truly great singer comes along who possesses the beauty, individuality, and talent to remind us once again of the magical majesty of the human voice ( without the aid of today’s technological tricks! ). That singer is ROBERTA GAMBARINI. https://musicians.allaboutjazz.com/robertagambarini

Personnel: Roberta Gambarini (vocal); Jimmy Heath (ts,ss); Jeb Patton (p); David Wong (b); Albert 'Tootie' Heath (ds); James Mtume (per); Freddie Hendrix (tp); Ed Cherry (g); Dave Stricker (g)Tommy Campbell (ds); Cyrus Chestnut (p); John Lee (b)

Connecting Spirits: Roberta Gambarini Sings The Jimmy Heath Songbook

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Jimmy Heath - Love Letter

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 44:19
Size: 102,0 MB
Art: Front

(4:16)  1. Ballad From Upper Neighbors Suite
(4:26)  2. Left Alone
(4:50)  3. Inside Your Heart
(7:12)  4. La Mesha
(5:32)  5. Don't Misunderstand
(5:12)  6. Con Alma
(5:37)  7. Fashion Or Passion
(7:11)  8. Don’t Explain

Often nicknamed "Little Bird," Jimmy Heath began on the alto saxophone acquiring this informal title by dedicating his studies to Charlie Parker and his wee stature. Although not a familiar name to many outside of the devoted jazz community, Heath would go on to pursue a remarkable 76-year career sadly passing away in January, 2020. A fabled musician to many tenor players, Heath presents us with his final testament, a collection of formative ballads. Enhancing the already prolific status that Love Letter features, guest appearances are warmly welcomed that include trumpeter Wynton Marsalis with vocalists Gregory Porter and Cecile McLorin Salvant. The robust rhythm section that accompany Heath are: NEA Jazz Master Kenny Barron on piano, Russell Malone on guitar, vibraphone veteran Monte Croft, bassist David Wong and longstanding jazz drummer Lewis Nash.

Whilst serving his four-and-a-half-year internment, Heath would manage the prison big band and also write for them. It was only the day after his discharge in 1959 when he met his lover, Mona Brown, a marriage which would span sixty years. Due to his parole restrictions, Heath was restricted to staying in Philadelphia which precluded him from embarking on an opportunity to succeed John Coltrane in Miles Davis' group. After being prompted by Cannonball Adderley and Philly Joe Jones, he signed with Riverside Records where he served as an arranger and releasing notable tracks such as "Gemini" and "Gingerbread Boy."  The opener, written by Heath more than twenty-five years ago, is named "Ballad from Upper Neighbors Suite" and makes use of brilliant bassist David Wong with an arco introduction. "Left Alone" is written by Mal Waldron and words originally by Billie Holiday, although she never recorded it. Salvant gives an intrinsic display of quality showing true justice to Holliday's lyricism. "Inside Your Heart" demonstrates Heath's idiomatic ability on soprano saxophone while "La Mesha" is proudly driven by Wynton Marsalis in honour of Kenny Dorham who wrote the tune.

"Don't Misunderstand" falls to Gregory Porter with "Con Alma" following, a composition by Dizzy Gillespie who was both a mentor and friend to Heath. The penultimate track on Love Letter is the third tune composed by Heath, "Passion or Fashion." It was originally composed to guide Lyndon B Johnson's civil rights address, "The American Promise." The final track named "Don't Explain" was a suggestion from Barron, Heath allowed it on the album commenting that he only permitted tunes that he knew the lyrics to. Jimmy Heath brings forward his final chapter where we experience melodic artistry. In 2001, Benny Golson said Heath "moved through chords, not scientifically, but melodically. He plays ideas. It's like a conversation, but musical, not linguistic. He has a story to tell, and it's right in tune with those chords" .~ Thomas Fletcher https://www.allaboutjazz.com/love-letter-jimmy-heath-verve-music-group__347

Personnel: Jimmy Heath: saxophone, tenor; Kenny Barron: piano; Russell Malone: guitar, electric; Monte Croft: vibraphone; David Wong: bass; Lewis Nash: drums.

Love Letter

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Jimmy Heath Quintet - On The Trail

Styles: Saxophone Jazz 
Year: 1964
File: MP3@320K/s
Time: 38:23
Size: 88,7 MB
Art: Front

(5:07)  1. On The Trail
(4:20)  2. Cloak And Dagger
(4:40)  3. Vanity
(5:21)  4. All The Things You Are
(5:32)  5. Gingerbread Boy
(5:16)  6. I Should Care
(8:02)  7. Project S

Unlike some of his other Riverside recordings, the accent on this Jimmy Heath CD reissue is very much on his tenor playing (rather than his arrangements). Heath is in excellent form with a quintet that also includes pianist Wynton Kelly, guitarist Kenny Burrell, bassist Paul Chambers, and drummer Albert "Tootie" Heath. The instantly recognizable hard bop saxophonist performs four standards and three of his own compositions, including the original versions of "Gingerbread Boy" and "Project S." It's a good example of his playing talents. ~ Scott Yanow https://www.allmusic.com/album/on-the-trail-mw0000173712

Personnel: Jimmy Heath - tenor saxophone; Wynton Kelly - piano;  Kenny Burrell - guitar;  Paul Chambers - bass;  Al Heath - drums.

On The Trail

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Nancy Wilson - Turned To Blue

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 52:09
Size: 120,7 MB
Art: Front

(5:56)  1. This Is All I Ask
(4:30)  2. Take Love Easy
(4:02)  3. Turned To Blue
(3:53)  4. Knitting Class
(3:55)  5. Be My Love
(3:17)  6. Taking A Chance On Love
(4:21)  7. Just Once
(6:10)  8. The Golden Years
(5:17)  9. I Don't Remember Ever Growing Up
(5:24) 10. Old Folks
(5:17) 11. I'll Be Seeing You

This recording is like heirloom silver: finely etched and gleaming with a rich and mellow sheen. Its many delights include top-level players, excellent arrangements and production values, and a variety of configurations from a smoking all-star big band to intimate quartets. There are also great solo turns by the likes of John Clayton, James Moody, Bob Mintzer, Hubert Laws, Tom Scott, Dave Samuels, Andy Narrell and Billy Taylor. Then there's the introduction of splendid new material, including a great breakup song ("Knitting Class") that's sure to be covered more often than cake at a picnic. Maya Angelou's poetry becomes a haunting ballad, "Turned to Blue," while the composer of the profoundly moving "Here's to Life" offers a sequel: "I Don't Remember Ever Growing Up," which could be the next boomer anthem. All of this provides the perfect setting for the center sparkler, Nancy Wilson herself. At age 69, she remains the musical definition of class, using her lovely, flexible, still-powerful voice to caress and swing, whisper and wail. Unlike much of the current crop of female singers, she aims her spotlight on emotional meaning, rather than melismatic tricks; the ever-elegant Wilson, a master of nuanced dynamics, never crosses the line into schmaltz. And when she tells her song-stories, you believe every word she's met love and loss in all their permutations, and her disclosures reach out to touch the listener, heart to heart. Wilson's genuine lyrical connection and deep musicality are evident throughout (catch that involuntary sensuous reaction to uber-bassist Clayton's solo opening on "Just Once"), and her trademark is here her bluesy vocal hitch, that patented uptick that conveys such passion and soul. This release will surely delight the legions of long-term Wilson fans, even as it gains her new ones. Turned to Blue is a worthy followup to Wilson's 2005 Grammy-winner, R.S.V.P. (Rare Songs, Very Personal), adding to the growing reputation of the MCG Jazz label for carefully crafted, reliably excellent music. ~ Dr Judith Schlesinger https://www.allaboutjazz.com/turned-to-blue-nancy-wilson-review-by-dr-judith-schlesinger.php

Personnel: Nancy Wilson: vocal; Alon Yavnai, Llew Matthews, Dr. Billy Taylor: piano; Marty Ashby, acoustic guitar; Nilson Matta, Rufus Reid, Kip Reed, John Clayton: bass; Mike Tomaro, Tia Fuller, alto saxophone; Bob Mintzer, Tom Scott, Andy Snitzer, Eric DeFade, Jimmy Heath, James Moody, tenor saxophone; Jim Hynes, Steve Hawk, Sean Jones, Jack Schantz, trumpet; Ed Kocher, Douglas Purviance, Jay Ashby, trombone; Hubert Laws, Jennifer Conner: flute; Mike Tomaro: clarinet, bass clarinet; Jim German: baritone saxophone; Jeremy Black, Kate Black, Kate Hatmaker, Stephanie Tertick: violin; Mikhail Istomin: cello; Vito DiSalvo: accordian; Andy Narrell: steel pans; Dave Samuels: vibraphone; Winard Harper, Jamey Haddad, Roy McCurdy, Terry Clarke, Portinho, Jay Ashby: drums, percussion.

R.I.P.
Born:  February 20, 1937
Died: December 13, 2018

Turned To Blue

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Johnny Hartman - Today + I've Been There

Styles: Vocal
Year: 1997
File: MP3@320K/s
Time: 77:00
Size: 179,7 MB
Art: Front

(3:59)  1. By The Time I Get To Phoenix
(4:27)  2. Didn't We
(4:27)  3. Games People Play
(4:12)  4. Betcha By Golly Wow
(3:21)  5. Summer Wind
(4:04)  6. Help Me Make It Through The Night
(5:44)  7. Folks Who Live On The Hill
(5:07)  8. We've Only Just Begun
(4:43)  9. I've Got To Be Me
(2:08) 10. 59th Street Bridge Song (Feelin' Groovy)
(4:49) 11. Raindrops Keep Falling On My Head
(3:34) 12. If
(3:56) 13. Rainy Days And Mondays
(3:38) 14. You Go To My Head
(4:16) 15. Meditation
(3:56) 16. The First Time Ever I Saw Your Face
(3:51) 17. Sunday Sun
(4:07) 18. For The Good Times
(2:32) 19. Easy Come, Easy Go

Today and I've Been There were both ill-advised attempts at bringing Johnny Hartman into the pop mainstream in the early '70s. Previously, Hartman's rich voice sounded as if was capable of anything, but these records prove that wasn't the case. Recorded for the Perception label, these two albums find Hartman running through such '70s pop and soul standards as "By the Time I Get to Phoenix," "Games People Play," "Betcha By Golly Wow," "Help Me Make It Through the Night," "We've Only Just Begun," "59th Street Bridge Song," "If," "Rainy Days and Mondays," "The First Time Ever I Saw Your Face" and "For the Good Times." Although he sounds fine, he doesn't sound comfortable and the slick musical backdrops aren't well-suited for the hushed intimacy of his voice. Occasionaly, as on the lush treatment of "Summer Wind," everything falls together and the music achieves the high standards of Hartman, but for the most part this single-disc pairing of Today and I've Been There is certainly sub-par. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/today-ive-been-there-mw0000031664

Personnel: Vocal - Johnny Hartman; Arranged By – Tony Monte (2);  Bass – Earl May (tracks: 10-19); Drums – Don Reid (tracks: 10-19); Flute – Jimmy Heath (tracks: 10-19); Guitar – Al Gaffa (tracks: 10-19), Bob Rose (tracks: 10-19);  Keyboards – Ken Ascher (tracks: 10-19);  Tenor Saxophone – Jimmy Heath (tracks: 10-19)

I've Been There

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Jimmy Heath Big Band - Turn Up The Heath

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 73:52
Size: 170,3 MB
Art: Front

(7:02)  1. Big P
(7:16)  2. Heritage Hum
(9:23)  3. Gemini
(4:52)  4. Like A Son
(8:59)  5. I'm Glad There's You
(8:06)  6. One For Juan
(6:29)  7. Project S
(6:42)  8. Sources Says
(8:47)  9. No End
(6:12) 10. Basic Birks

Back in the early '90s I asked tenor saxophonist Jimmy Heath if he planned a followup to his Grammy-nominated album, Little Man Big Band (Verve, 1992). As I recall, he smiled politely but didn't really answer the question. Now he has and with an exclamation point. Describing how his latest superb album, Turn Up the Heath, came about, Jimmy writes, "The Jazz Masters award [from NEA and IAJE] in 2003 made it possible. As to why: "...there were so many orchestrations I wanted to document. There are also special people he wanted to praise and remember, and it is entirely appropriate that Heath should begin with "Big P, a brisk and warmhearted salute to his late brother, bassist Percy Heath. "Gemini was written for Heath's daughter, Roslyn; "Basic Birks for Dizzy Gillespie; "Like a Son for alto saxophonist Antonio Hart; "Heritage Hum for "my people, and the snappy samba "One for Juan for that ubiquitous purveyor of Colombian coffee, Juan Valdez. Completing the program are Heath's "Project S and "Sources Say," and his arrangements of Kenny Dorham's "No End and the standard "I'm Glad There Is You (the last an exquisite showpiece for Heath's fluent, evocative tenor and Jeb Patton's lucid piano). Heath's tenor is also heard on "Heritage Hum, "Gemini, "One for Juan, "Project S and "Basic Birks, his soprano on "No End. As for his colleagues, Heath says he met many of them "while playing with the Dizzy Gillespie Alumni All-Star Band, a reasonable assertion, as each one is an all-star, whether soloing or hunkering down as a member of the ensemble. The rhythm section, comprised of Patton, bassist Peter Washington and drummer Lewis Nash, is as solid and perceptive as they come, and Washington does Percy's memory proud on "Big P. The remarkable cavalcade of commendable improvisers includes Patton; Washington; Hart; trumpeters Greg Gisbert, Sean Jones, Terell Stafford and Michael Philip Mossman; trombonists Benny Powell, Slide Hampton, Steve Davis, Jason Jackson and John Mosca; alto Mark Gross; tenors Charles Davis, Bobby LaVell and Andres Boiarsky; baritones Jay Branford and Gary Smulyan; and flutist Lew Tabackin, a standout on "Gemini. Heath's charts are delightful, fairly bursting with energy and good humor, and if I have my personal favorites, I'm sure you will too. Even fourteen years onward, this is one sequel that was well worth the wait. Turn Up the Heath, crank up the volume, relax and enjoy.
 

Personnel: (Tracks 1,2,4-7) Jimmy Heath: leader, tenor sax; Frank Greene, Nick Marchione, Michael Philip Mossman, Terell Stafford: trumpet; Mark Gross: alto sax, flute; Antonio Hart: alto, soprano sax, flute; Bobby LaVell, Charles Davis: tenor sax; Jay Branford: baritone sax; John Mosca, Slide Hampton, Benny Powell: trombone; Douglas Purviance: bass trombone; Jeb Patton: piano; Peter Washington: bass; Lewis Nash: drums. (3,8-10) Jimmy Heath: leader, tenor sax; Greene, Mossman, Greg Gisbert, Sean Jones: trumpet; Gross: alto sax, flute; Hart: alto, soprano sax, flute; LaVell, Andres Boiarsky: tenor sax; Gary Smulyan: baritone sax; Mosca, Steve Davis, Jason Jackson: trombone; Purviance: bass trombone; Patton: piano; Washington: bass; Nash: drums. Guest artists: Lew Tabackin: flute (3); Joe Gonzales: congas (2)

Turn Up The Heath

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Elmo Hope Sextet And Trio - Homecoming!

Styles: Piano Jazz

Year: 1961

File: MP3@320K/s

Time: 50:26

Size: 116,6 MB

Art: Front

(5:56)  1. Moe, Jr. (take 4)

(4:41)  2. Moe, Jr. (take 2)

(3:14)  3. La Berthe

(6:33)  4. Eyes So Beautiful As Yours

(5:15)  5. Homecoming

(6:48)  6. One Mo' Blues

(5:33)  7. A Kiss For My Love (take 5)

(5:39)  8. A Kiss For My Love (take 4)

(6:43)  9. Imagination

Homecoming! is a particularly high-spirited record for this stage in Hope's troubled career. Following an extended stay in Los Angeles, a number of the day's top players helped welcome a refreshed Hope back to New York on this session. Tenor saxophonists Frank Foster and Jimmy Heath, as well as trumpeter Blue Mitchell, form the front line on the sextet numbers, while on all tracks Hope is joined by the rhythm section of Percy Heath and Philly Joe Jones. Four of the album's (original) seven tracks are sextet performances and the two alternate takes only appear on the Fantasy Original Jazz Classics CD reissue. The Dameron-esque bop numbers sizzle and weave and the tenor work of Frank Foster is especially rewarding on the album's bouncing opener, "Moe, Jr.," take four on the CD. The three ballads are equally fresh and less doom-ridden than comparable performances found elsewhere in his catalog. Expect fine performances by all. This great hard bop record is highly recommended. ~ Brandon Burke https://www.allmusic.com/album/homecoming%21-mw0000093981

Personnel:  Elmo Hope - piano;  Blue Mitchell - trumpet (tracks 1, 2, 4, 7 & 8);  Frank Foster, Jimmy Heath - tenor saxophone (tracks 1, 2, 4, 7 & 8);  Percy Heath - bass;  Philly Joe Jones - drums

Homecoming!

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Jimmy Heath - Triple Threat

Bitrate: MP3@320K/s
Time: 37:21
Size: 85.5 MB
Styles: Bop, Saxophone jazz
Year: 1962/2000
Art: Front

[6:09] 1. Gemini
[5:14] 2. Bruh Slim
[7:07] 3. Goodbye
[5:03] 4. Dew And Mud
[3:42] 5. Make Someone Happy
[4:21] 6. The More I See You
[5:42] 7. Prospecting

Bass – Percy Heath; Drums – Albert Heath; French Horn – Julius Watkins; Piano – Cedar Walton; Saxophone [Tenor] – Jimmy Heath; Trumpet – Freddie Hubbard.

Jimmy Heath has long been at least a triple threat as a musician (tenor, flute and soprano), arranger and composer. On this 1998 CD reissue, Heath sticks to tenor, performing "Make Someone Happy" and "The More I See You' while joined by pianist Cedar Walton and his two brothers, bassist Percy Heath and drummer Albert "Tootie" Heath. The other five numbers consist of four of his originals (best-known is "Gemini") plus a reworking of the ballad "Goodbye." For these selections, the quartet is augmented by young trumpeter Freddie Hubbard (who takes a few fiery solos) and Julius Watkins on French horn. The arrangements of Heath uplift the straightahead music and make each selection seem a bit special. ~Scott Yanow

Triple Threat mc
Triple Threat zippy

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Ray Brown, Milt Jackson - Ray Brown, Milt Jackson

Bitrate: MP3@320K/s
Time: 40:13
Size: 92.1 MB
Styles: Bop, Big band
Year: 1965/1982
Art: Front

[5:30] 1. Lined With A Groove
[4:33] 2. For Someone I Love
[4:15] 3. Dew And Mud
[6:15] 4. I Just Can't Fool Myself
[4:49] 5. Lazy Theme
[5:12] 6. Now Hear My Meaning
[6:01] 7. In A Crowd
[3:35] 8. Monterey Mist

Bass, Leader – Ray Brown; Drums – Al Heath, Grady Tate; French Horn – Ray Alonge; Piano – Hank Jones; Saxophone – Danny Bank, Jerome Richardson, Jimmy Heath, Phil Woods, Bob Ashton, Romeo Penque; Trombone – Jimmy Cleveland, Tom McIntosh, Tony Studd, Urbie Green; Trumpet – Ernie Royal, Eugene Young; Trumpet, Flugelhorn – Clark Terry; Vibraphone [Vibes], Leader – Milt Jackson.

Ray Brown, Milt Jackson mc
Ray Brown, Milt Jackson zippy

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Milt Jackson - Olinga

Bitrate: MP3@320K/s
Time: 45:35
Size: 104.4 MB
Styles: Bop, Vibraphone jazz
Year: 1974/2000
Art: Front

[3:47] 1. Olinga
[6:09] 2. Rerev
[6:18] 3. The Metal Melter
[5:28] 4. The Steel Bender
[4:34] 5. Lost April
[7:54] 6. I'm Not So Sure
[6:13] 7. The Metal Melter (Alternate Take)
[5:09] 8. The Steel Bender (Alternate Take)

Bass – Ron Carter; Drums – Mickey Roker; Piano – Cedar Walton; Soprano Saxophone, Tenor Saxophone – Jimmy Heath; Vibraphone – Milt Jackson.

Originally out on the CTI label, this set features vibraphonist Milt Jackson with some of his favorite musicians (pianist Cedar Walton, bassist Ron Carter, drummer Mickey Roker, and Jimmy Heath on tenor and soprano) along with an occasional string section. The performances are pretty straight-ahead for CTI, with Bags and company performing the ballad "Lost April," Dizzy Gillespie's "Olinga," a Walton original, and three recent songs by Jackson. Although Cedar Walton does not sound as formidable on electric piano as on acoustic and the other solos overall are a bit safe, this is a nice album. ~Scott Yanow

Olinga

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Kenny Dorham - Jerome Kern Showboat

Styles: Trumpet Jazz
Year: 1960
File: MP3@320K/s
Time: 32:27
Size: 74,5 MB
Art: Front

(6:02)  1. Why Do I Love You?
(5:41)  2. Nobody Else But Me
(6:37)  3. Can't Help Lovin' Dat Man
(5:49)  4. Make Believe
(4:15)  5. Ol' Man River
(4:01)  6. Bill

This CD reissue of a Kenny Dorham session that was originally on the Time label features the talented trumpeter and an all-star quintet (with Jimmy Heath on tenor, pianist Kenny Drew, bassist Jimmy Garrison and drummer Art Taylor) playing six famous themes from the Jerome Kern play Show Boat. All of the melodies ("Why Do I Love You?," "Nobody Else but Me," "Can't Help Lovin' Dat Man," "Make Believe," "Ol' Man River" and "Bill") are heard in likable and swinging versions. This is one of Dorham's better sessions from the era and is easily recommended to his fans and collectors of hard bop. ~ Scott Yanow http://www.allmusic.com/album/show-boat-mw0000197461

Personnel:  Kenny Dorham – trumpet;  Jimmy Heath - tenor saxophone;  Kenny Drew – piano;  Jimmy Garrison – bass;  Art Taylor - drums

Jerome Kern Showboat

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Jimmy Heath - Picture Of Heath

Bitrate: MP3@320K/s
Time: 41:36
Size: 95.2 MB
Styles: Bop, Saxophone jazz
Year: 1975/2015
Art: Front

[7:23] 1. For Minors Only
[7:24] 2. Body And Soul
[6:02] 3. Picture Of Heath
[9:00] 4. Bruh' Slim
[6:28] 5. All Members
[5:17] 6. CTA

As was true of most Xanadu dates, the accent is on bebop during this Jimmy Heath LP. Doubling on tenor and soprano, Heath is heard on five of his better originals, including "For Minor's Only," "CTA" and the title cut, plus "Body and Soul." The great tenorman was clearly inspired by the stellar rhythm section (pianist Barry Harris, bassist Sam Jones and drummer Billy Higgins), resulting in one of his best blowing sessions. ~Scott Tanow

Picture Of Heath

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Milt Jackson - In A New Setting

Bitrate: MP3@320K/s
Time: 39:50
Size: 91.2 MB
Styles: Bop, Vibraphone jazz
Year: 1964/1999
Art: Front

[3:37] 1. Sonny's Blues
[3:32] 2. I'm Gonna Laugh You Right Out Of My Life
[3:17] 3. Spanish Fly
[3:25] 4. No Moon At All
[4:54] 5. Slow Death
[2:47] 6. Clay's Blues
[2:45] 7. Lazy Melody
[4:11] 8. Project S
[2:40] 9. Ev'ry Time We Say Goodbye
[2:57] 10. That's In
[2:33] 11. Ineffable
[3:07] 12. The Other Half

Bass – Bob ; Drums – Connie Kay; Piano – McCoy Tyner; Tenor Saxophone – Jimmy Heath; Vibraphone – Milt Jackson.

Milt Jackson made a number of solo albums during his long tenure with the Modern Jazz Quartet, but this long unavailable release, finally reissued on CD, is one of his best as a leader. With young pianist McCoy Tyner and tenor saxophonist Jimmy Heath, Jackson puts together a great session, kicking off with his hard driving "Sonny's Blues." The leader's percussive but swinging style, plus the potent solos by Tyner and Heath, are all appealing. The only reservation about this CD is the deteriorated condition of the master tape from which it was made; it is rather noticeable on several tracks, though finding a mint copy of the original record is not a viable option for most collectors. Pick this one up in a heartbeat. ~Ken Dryden

In A New Setting

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Nat Adderley & The Big Sax Section - That's Right!

Bitrate: MP3@320K/s

Time: 37:57

Size: 86.9 MB

Styles: Bop, Soul-jazz

Year: 1960/1993

Art: Front

[3:56] 1. The Old Country

[6:10] 2. Chordnation

[4:15] 3. The Folks Who Live On The Hill

[4:17] 4. Tadd

[4:16] 5. You Leave Me Breathless

[2:28] 6. Night After Night

[3:49] 7. E.S.P

[8:43] 8. That's Right!

Alto Saxophone – Julian "Cannonball" Adderley; Baritone Saxophone – Tate Houston; Bass – Sam Jones; Cornet – Nat Adderley; Drums – Jimmy Cobb; Flute – Yusef Lateef; Guitar – Jim Hall; Oboe – Yusef Lateef; Piano – Wynton Kelly; Tenor Saxophone – Charlie Rouse, Jimmy Heath, Yusef Lateef. Recorded Aug. 9 and Sept., 1960.

One of cornetist Nat Adderley's best early albums, That's Right has eight selections (seven of which were arranged by Jimmy Heath) that feature Nat with five saxophonists (altoist Cannonball Adderley, baritonist Tate Houston, and the tenors of Yusef Lateef, Jimmy Heath, and Charlie Rouse), and a rhythm section led by pianist Wynton Kelly. Despite Cannonball's presence, this is very much Nat's date (the altoist has just one solo), although there is some ample solo space for the three tenors. Highlights include Nat's memorable original "The Old Country," a touching version of "The Folks Who Live on the Hill," and "You Leave Me Breathless." Recommended. ~Scott Yanow

That's Right! 

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Cal Tjader - Soul Sauce

Styles: Vibraphone Jazz
Year: 1964
File: MP3@320K/s
Time: 58:30
Size: 134,7 MB
Art: Front

(2:27)  1. Soul Sauce (Guachi Guaro)
(4:30)  2. Afro-Blue
(3:38)  3. Pantano
(3:16)  4. Somewhere in the Night
(4:03)  5. Maramoor Mambo
(5:30)  6. Tanya
(5:21)  7. Leyte
(4:03)  8. Spring Is Here
(4:52)  9. João
(2:32) 10. Soul Sauce (Rough Mix)
(5:42) 11. Monkey Beams
(8:42) 12. Ming
(3:48) 13. Mamblues

Soul Sauce is one of the highlights from Tjader's catalog with its appealing mixture of mambo, samba, bolero, and boogaloo styles. Tjader's core band  long-time piano player Lonnie Hewitt, drummer Johnny Rae and percussionist's Willie Bobo and Armanda PerazaÑ starts things off with a cooled down version of Dizzy Gillespie and Chano Pozo's latin jazz classic "Guachi Guaro (Soul Sauce)". With the help of guitarist Kenny Burrell, trumpeter Donald Byrd, and tenor saxophonist Jimmy Heath they offer up a lively version of Mongo Santamaria's "Afro Blue." Sticking to his music's "Mambo Without a Migraine" reputation, though, Tjader's musicians keep things fairly calm, especially on Latinized ballads such as Billy May's "Somewhere In the Night" and on midtempo swingers like "Tanya." On Soul Sauce Tjader had perfected a middle ground between the brisk, collegiate mambo of his early Fantasy records and the mood-heavy sound of Asian themed albums like Breeze From the East. In the process, he dodged the "Latin lounge" label with an album full of smart arrangements, subtly provocative vibe solos, and intricate percussion backing. ~ Stephen Cook http://www.allmusic.com/album/soul-sauce-mw0000319658

Personnel: Cal Tjader (vibraphone); Willie Bobo (vocals, percussion); June Magruder (vocals); Kenny Burrell (guitar); Jimmy Heath (tenor saxophone); Donald Byrd (trumpet); Lonnie Hewitt (piano); Bob Bushnell (electric bass, bongos); Grady Tate, Johnny Rae (drums); Alfredito Valdez, Jr., Alberto Valdés, Armando Peraza (percussion).

Soul Sauce

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