Art Blakey's Jazz Messengers - A Night in Tunisia

Styles: Jazz, Hard Bop
Year: 1957
File: MP3@320K/s
Time: 74:48
Size: 172,8 MB
Art: Front

(12:55)  1. A Night in Tunisia
( 7:16)  2. Off the Wall
( 9:46)  3. Theory of Art
( 8:12)  4. Couldn't It Be You?
( 6:30)  5. Evans
(12:30)  6. A Night in Tunisia [alt. take]
( 7:21)  7. Off the Wall [alt. take]
(10:14)  8. Theory of Art [alt. take]

All tracks have been digitally remastered. First Editions Series Recorded at RCA Studio 3, New York, New York on April 8, 1957. Originally released on Vik (1115). Includes liner notes by Nat Hentoff and Mark Gardner. Reissue producer: Ben Young. http://www.cduniverse.com/productinfo.asp?pid=2887752&style=music&fulldesc=T

Recording information: RCA Studios, New York, NY (04/08/1957).

Personnel: Art Blakey (drums); Jackie McLean (alto saxophone, percussion); Johnny Griffin (tenor saxophone, percussion); Bill Hardman (trumpet, percussion); Sam Dockery (piano); Spanky De Brest (bass).

A Night in Tunisia

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Jan Lundgren Trio - Plays The Music Of Victor Young

Bitrate: MP3@320K/s
Time: 60:51
Size: 139.3 MB
Styles: Bop, Piano jazz
Year: 2016
Art: Front

[3:49] 1. I Don't Stand A Ghost Of A Chance With You (With Stacey Kent)
[5:19] 2. A Weaver Of Dreams (With Johnny Griffin)
[5:44] 3. Song Of Delilah
[2:36] 4. Golden Earrings
[5:02] 5. A Hundred Years From Today (With Deborah Brown)
[3:56] 6. Street Of Dreams (With Stacey Kent)
[4:41] 7. Sweet Sue (Just You)
[3:59] 8. Love Letters
[6:21] 9. Stella By Starlight (With Deborah Brown)
[6:19] 10. When I Fall In Love (With Johnny Griffin)
[5:35] 11. Alone At Last
[4:37] 12. Beautiful Love (With Deborah Brown)
[2:47] 13. My Foolish Heart (With Stacey Kent)

Pianist Jan Lundgren is a jazz musician much in the mold of such '60s icons as Dave Brubeck and Horace Silver. Lundgren's measured and crisp technique give him an edge in bringing challenging, modern jazz to a wider more populist audience. He plays in an "in" style reminiscent of many late-'50s to early-'60s musicians but always seems to be able to add a harmonic nod toward the future. Similarly, Victor Young, one of the most prolific Hollywood composers during the 1940s, produced some of the most performed songs in jazz history. These "standards" with their unique combination of hummable melodies over complex harmonic arrangements fit perfectly with Lundgren's style. This immensely listenable session opens with a gorgeous rendition of "I Don't Stand a Ghost of a Chance With You" featuring vocalist Stacey Kent. Kent has a sweet, sprightly, utterly irresistible voice that is the perfect introduction to the rest of this well-paced album. Juxtaposed to Kent's light, swinging approach is adventurous vocalist Deborah Brown who combines the best improvisatory abilities of Betty Carter and Ella Fitzgerald. Brown joins Lundgren and bandmates, bassist Mattias Svensson and drummer Rasmus Kihlberg on songs such as "Stella By Starlight" and "Beautiful Love." Rounding out the disc is the legendary tenor saxophonist Johnny Griffin who brings his ruddy, warm sound to the up-tempo "A Weaver of Dreams" and "When I Fall in Love." ~Matt Collar

Plays The Music Of Victor Young

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Johnny Griffin & Eddie Lockjaw Davis - Ow! Live at the Penthouse

Styles: Saxophone Jazz
Year: 1962/ 2021
File: MP3@320k/s
Time: 58:38
Art: Front

1. Intermission Riff I.Introduction by Jim Wilke (Live)(0:53)
2. Blues Up and Down (Live) (6:48)
3. Ow! (Live) (8:20)
4. Spoken Outro I. (Live) (0:09)
5. Bahia (Live) (8:43)
6. Spoken Introduction I. (Live) (0:05)
7. Blue Lou (Live) (4:11)
8. Second Balcony Jump (Live) (7:14)
9. Spoken Outro II. (Live) (0:09)
10. How Am I to Know? (Live) (10:14)
11. Spoken Introduction II. (Live) (0:09)
12. Sophisticated Lady (Live) (4:03)
13. Spoken Introduction III. (Live) (0:09)
14. Tickle Toe (Live) (6:36)
15. Intermission Riff II. Outro by Jim Wilke (Live)(0:56)

In the 1960s a weekly radio show hosted by Jim Wilke was broadcast live from the Penthouse jazz club in Seattle, Washington. Over 200 performances there were recorded by the radio station KING-FM. In recent years several labels have tapped into this large, rich tape archive. OW! is the second Penthouse release by a new historical label, Reel to Real.

In the culture of hard-bop tenor saxophone, Johnny Griffin and Eddie “Lockjaw” Davis were keepers of the flame. From 1960 to 1962 they teamed up as the “Tough Tenors” and made nine LPs on the Prestige and Jazzland labels. The folklore of the “tenor battle” was in the air, and the debut “Tough Tenors” album was called Battle Stations.

But what Griffin and Davis did together was not a competition. It was collaboration, mutual inspiration and a special art form based on similarity and contrast.~ByThomas Conrad https://jazztimes.com/reviews/albums/johnny-griffin-eddie-lockjaw-davis-quintet-ow-live-at-the-penthouse-reel-to-real/

Featuring: Johnny Griffin & Eddie Lockjaw Davis: tenor saxophones, Horace Parlan piano, Buddy Catlett bass, Art Taylor drums

Retrospect

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Bennie Green Quintet - Glidin' Along

Styles: Trombone Jazz
Year: 1961
File: MP3@320K/s
Time: 39:52
Size: 91,7 MB
Art: Front

(5:47)  1. African Dream
(8:04)  2. Sweet Sucker
(5:11)  3. Glidin' Along
(8:29)  4. Green's Scene
(4:03)  5. Milkshake
(4:16)  6. Stardust
(4:00)  7. Expubidence

Bennie Green was one of the few trombonists of the 1950s who played in a style not influenced by J.J. Johnson (Bill Harris was another). His witty sound and full tone looked backwards to the swing era yet was open to the influence of R&B. After playing locally in Chicago, he was with the Earl Hines Orchestra during 1942-1948 (except for two years in the military). Green gained some fame for his work with Charlie Ventura (1948-1950) before joining Earl Hines' small group (1951-1953). He then led his own group throughout the 1950s and '60s, using such sidemen as Cliff Smalls, Charlie Rouse, Eric Dixon, Paul Chambers, Louis Hayes, Sonny Clark, Gildo Mahones, and Jimmy Forrest. 

Green recorded regularly as a leader for Prestige, Decca, Blue Note, Vee-Jay, Time, Bethlehem, and Jazzland during 1951-1961, although only one further session (a matchup with Sonny Stitt on Cadet in 1964) took place. Bennie Green was with Duke Ellington for a few months in 1968-1969 and then moved to Las Vegas, where he spent his last years working in hotel bands, although he did emerge to play quite well at the 1972 Newport Jazz Festival and in New York jam sessions.~Scott Yanow http://www.allmusic.com/artist/bennie-green-mn0000160618/biography

Personnel: Bennie Green (trombone); Johnny Griffin (saxophone, tenor saxophone); Junior Mance (piano); Ben Riley (drums)

Glidin' Along

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Johnny Griffin, Eddie 'Lockjaw' Davis - Pisces

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 50:17
Size: 116,8 MB
Art: Front

(4:13)  1. Pisces
(4:36)  2. Midnight Sun
(4:32)  3. Willow Weep For Me
(3:44)  4. Bewitched, Bothered And Bewildered
(3:33)  5. What Is There To Say?
(4:32)  6. She's Funny That Way
(4:16)  7. Yesterdays
(4:09)  8. Sophisticated Lady
(4:46)  9. Willow Weep For Me (alternate)
(4:14) 10. She's Funny That Way (alternate)
(4:06) 11. Sophisticated Lady (alternate)
(3:31) 12. What Is There To Say (alternate)

The early '60s was a golden age for tenor tandems. Towering team-ups like Gene Ammons and Sonny Stitt, Zoot Sims and Al Cohn, and Eddie "Lockjaw" Davis and Johnny Griffin were illustrative of the Zeitgeist. Such a simple formula, joining the talents of two titans on that most popular of jazz horns, but it's one that consistently yielded both artistic and financial profit. For a time the partnership of Davis and Griffin stood at the front of the pack. The 1962 recording Pisces is unique in discography of Davis and Griffin for several reasons. Firstly, though the saxophonists share billing on the traycard as well as the same rhythm section, none of the tracks feature the pair together. Secondly, the set list is comprised almost completely of ballads. The only exception arises in the Griffin-penned title waltz that ambles along at a medium tempo. Thirdly, and perhaps most surprisingly, the tape reel sat sequestered on a shelf for the better part of forty years. The chosen schematic removes the possibility of sparks striking between the two men, but each is so versed at fronting an ensemble that it's worth paying attention to his interplay with the Parlan-led rhythm team that also employs supple bass of Buddy Catlett and the always ecumenical drumming of Art Taylor. 

Aside from Griffin's jovial opener the remaining cuts predictably draw from the jazz standard songbook. For some inexplicable reason Davis is saddled with Parlan's decision to play celeste on his featured tracks and the cloying wind chime tonalities of the instrument quickly pall. Even Catlett and Taylor sound a bit stultified by the situation. Luckily the robust purr of Davis' horn acts as an effective antidote, gliding eloquently through choruses and offering a salty tang to the otherwise saccharine surroundings. Parlan's piano work is a different story, nimble and elegant and dulcetly supportive of Griff's mellifluous lines, particularly on pieces like the positively intoxicating reading of "Willow Weep For Me." Adding measurably to an already valuable trove are four alternate takes (three by Griff and one by Jaws) that bolster the running time to just over fifty fulsome minutes. According the liner notes, the pair cut the date at a New York studio and interest swiftly waned toward the results. Davis' topflight session at Rudy Van Gelder's taped two days earlier with the same rhythm section and conguero Willie Bobo added (released as Goin' to the Meeting ) may have also swayed opinions against releasing the material. Today's vantage point makes room for a different appraisal. Davis' catalog is now a finite commodity, making virtually any "new" work worth scrutiny. Griffin continues to record, but again anything of antique vintage unearthed in his oeuvre is cause for collectors and casual fans to take notice. Despite a minor complaint or two, this collection is certainly that, and one that any fan of either man should waste no time in checking it out. ~ Derek Taylor https://www.allaboutjazz.com/pisces-johnny-griffin-riverside-review-by-derek-taylor.php

Personnel: Johnny Griffin- tenor saxophone; Eddie 'Lockjaw' Davis- tenor saxophone; Horace Parlan- piano, celeste; Buddy Catlett- bass; Arthur Taylor- drums.

Pisces

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Johnny Griffin - Take My Hand

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 65:01
Size: 149,6 MB
Art: Front

(10:47) 1. Isfahan
( 9:39) 2. Take My Hand
( 6:30) 3. All Through The Night
( 5:16) 4. Coming On The Hudson
(11:06) 5. Woe Is Me
( 7:33) 6. Hush-A-Bye
( 6:05) 7. Out Of This World
( 8:01) 8. If I Should Lose You

One of the more obscure recordings in Johnny Griffin's discography, this studio session from some time during the 1980s features the tenor saxophonist with a solid rhythm section consisting of pianist Michael Weiss, bassist Dennis Irwin, and the in-demand drummer Kenny Washington. At times, one gets the idea that Griffin has slowed down his playing style a bit, though blistering originals like "Take My Hand" quickly shake that notion. The lush, extended treatment of Billy Strayhorn's "Isfahan" (oddly credited to Griffin on the back insert) contrasts with the percolating take of Thelonious Monk's quirky and infrequently performed "Coming on the Hudson." Griffin's bluesy "Woe Is Me" is the perfect number for late, lonely nights, suggesting the last remaining patron in a bar about to close. Another bizarre packaging mistake switches the titles to "If I Should Lose You" and "Out of This World," the former a spirited hard bop arrangement, the latter ending the CD with a light Latin flavor.~Ken Dryden https://www.allmusic.com/album/take-my-hand-mw0000593067

Personnel: Tenor Saxophone – Johnny Griffin; Bass – Dennis Irwin; Drums – Kenny Washington; Piano – Michael Weil

Take My Hand

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Johnny Griffin - Johnny Griffin

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 26:05
Size: 60,0 MB
Art: Front

(3:35) 1. I Cried For You
(3:03) 2. Satin Wrap
(2:29) 3. Yesterdays
(3:09) 4. Riff-Raff
(3:51) 5. Bee-
(3:17) 6. The Boy Next Door
(3:33) 7. These Foolish
(3:05) 8. Lollypop

Instead there are more formalist notions that suggest Paul Gonsalves and Coleman Hawkins. In addition, the album-closer, "Lollypop," comes out swinging hard with an R&B hook that digs in. Mance propels Griffin with fat, greasy chords that suggest a Chicago bar-walking honk frenzy, but Griffin's own playing is too sophisticated and glides like Lester Young around the changes. Also notable here is Ware's beautiful bop run "Riff Raff."

The bassist knew not only how to write for but arrange for horns. Mance and Griffin are in it knee-deep, note for note, with Mance adding beefy left-hand clusters to the melody as Ware and Smith play it straight time until the solo, when the middle breaks up and everybody goes in a different direction. It's got the hard bop blues at its root. This recording is brief, as it originally came out on a 10" LP, but is nonetheless a necessary addition to any shelf that pays Johnny Griffin homage.~ Thom Jurek https://www.allmusic.com/album/johnny-griffin-mw0000461284

Personnel: Johnny Griffin – tenor saxophone; Junior Mance – piano; Wilbur Ware – bass; Buddy Smith – drums

Johnny Griffin

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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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Johnny Griffin - Change Of Pace

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 39:13
Size: 90,5 MB
Art: Front

(3:43) 1. Soft And Furry
(3:29) 2. In The Still Of The Night
(4:20) 3. The Last Of The Fat Pants
(4:25) 4. Same To You
(4:01) 5. Connie's Bounce
(3:56) 6. Situation
(5:27) 7. Nocturne
(5:02) 8. Why Not?
(4:46) 9. As We All Know

When Griffin wanted to record with a group comprised of Watkins, bassists Bill Lee and Larry Gales and drummer Ben Riley, his producer wondered where the idea had come from. Perhaps the Pettiford groups discussed above influenced the tenorman’s thinking, but the two-bass format is even trickier than the bass-cello combination-not that you would know it from this great 1961 record. Usually Lee plays arco to Gales’ pizzicato but sometimes they both bow or pick simultaneously, albeit in well-defined situations. Griffin also contributed some very unique original writing. I have always thought of Griffin as a fire-breathing soloist, but with Change of Pace he revealed a talent for arranging that few might suspect, and the band sounds like they’re having a blast.~ Duker Baker https://jazztimes.com/archives/johnny-griffin-change-of-pace/

Personnel: Tenor Saxophone – Johnny Griffin; Bass – Bill Lee (2), Larry Gales; Drums – Ben Riley; French Horn – Julius Watkins

Change Of Pace

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Tadd Dameron - The Magic Touch

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 36:37
Size: 85,0 MB
Art: Front

(2:59)  1. On A Misty Night
(4:11)  2. Fontainebleau
(4:54)  3. Just Plain Talking
(3:18)  4. If You Could See Me Now
(2:51)  5. Our Delight
(3:01)  6. Dial B For Beauty
(4:56)  7. Look, Stop And Listen
(3:31)  8. Bevan's Birthday
(3:42)  9. You're A Joy
(3:12) 10. Swift As The Wind

Tadd Dameron is known to proclaim that he became an arranger rather than stay an exclusive instrumentalist because it was the only way he could get his music played. In retrospect, considering his best-known works are widely revered, few of them are frequently played by other bands, and only the finest musicians are able to properly interpret them. Dameron's charts had an ebb and flow that superseded the basic approach of Count Basie, yet were never as quite complicated as Duke Ellington. Coming up in the bop movement, Dameron's music had to have been by definition holding broader artistic harmonics, while allowing for the individuality of his bandmembers. The Magic Touch includes a handful of Dameron's most beloved compositions, as well as those that were more obscure, and have still never been covered. When you look at the sheer talent level of the players on this recording Clark Terry, Charlie Shavers, Joe Wilder, Jimmy Cleveland, Britt Woodman, Julius Watkins, Jerry Dodgion, Jerome Richardson, Johnny Griffin, Bill Evans, Ron Carter, George Duvivier, et al.one has to be in awe of them, and that only Dameron was able to convene such a band of extraordinary jazz performers in their prime. To effectively rein them all in was the trick, keeping solos at a bare minimum, and blending their personalized sounds together so harmoniously. "If You Could See Me Now" is the most famous, the immortal ballad of regret featuring the Sarah Vaughan styled vocal of Barbara Winfield. She also appears on the restrained and serene "You're a Joy." Dameron was known for his wonderfully piquant flute arrangements, with Dodgion, Richardson, and Leo Wright doing the honors, sounding chirpy during "If You Could See Me Now," in wonderfully supple Japanese style trills during "Dial B for Beauty," in staccato bop trim for "Swift as the Wind," or in heightened dramatic, evocative romantic nuances on the classic "Fontainebleau." The other classic standards include the definitive, spirited, cohesive rock 'em sock 'em horn punctuations and the great drumming of Philly Joe Jones for "On a Misty Night," and the direct, simple, hard swinging bop of "Our Delight" charts in most every big band's repertoire. The blues infused "Just Plain Talkin'" take the flutes and alto saxophonist Dodgion to a higher atmospheric level, "Look, Stop & Listen" is a quirky bop managed in choppy horn layers, while "Bevan's Birthday" is a Latin to easy swing and back inversion, triggered by the flutes to go back to the spicy beats. This CD version features several shorter alternate takes, thus increasing the value of the original sessions, not with longer solos, but different improvisational nuances. As close to a definitive recording as Dameron issued, and considering his very small discography, The Magic Touch is a recording that all modern jazz lovers need to own and take further lessons from. ~ Michael G.Nastos https://www.allmusic.com/album/the-magic-touch-of-tadd-dameron-mw0000378367

Personnel: Tadd Dameron - Piano, Arranger, Conductor; Clark Terry - Trumpet; Ernie Royal - Trumpet; Charlie Shavers - Trumpet; Joe Wilder - Trumpet; Jimmy Cleveland - Trombone; Britt Woodman - Trombone; Julius Watkins - French Horn; Jerry Dodgion - Alto Sax, Flute; Leo Wright - Alto Sax, Flute; Jerome Richardson - Tenor Sax, Flute; Johnny Griffin - Tenor Sax; Tate Houston - Baritone Sax; Bill Evans - Piano; Ron Carter - Bass; George Duvivier - Bass; Philly Joe Jones - Drums; Barbara Winfield - Vocals

The Magic Touch

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Philly Joe Jones Dameronia - Look, Stop, and Listen

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 55:16
Size: 128,3 MB
Art: Front

(5:52)  1. Look, Stop and Listen
(5:34)  2. If You Could See Me Now
(5:30)  3. Choose Now
(5:49)  4. Focus
(6:08)  5. Killer Joe
(5:05)  6. Dial B for Beauty
(4:28)  7. Our Delight
(5:52)  8. Theme of No Repeat
(5:41)  9. If You Could See Me Now - 1st Take
(5:12) 10. Look, Stop and Listen - 1st Take

Philly Joe Jones was Tadd Dameron's roommate for nine years and long thought that the pianist/composer's contributions had been pretty much overlooked. He formed the tribute band Dameronia to make explore the late composer's music, debuting with a small group in the spring of 1982. With the help of trumpeter Don Sickler (who makes a pair of rare appearances on tenor sax as well) as musical director, the band expanded by the time of its first recording a few months later to a nonet. By the time of its second recording the following year, the personnel had changed slightly, now including pianist Walter Davis, Jr., tenor giant Johnny Griffin, tenor saxophonist Charles Davis and alto saxophonist Frank Wess (both of whom double on flute), baritone saxophonist Cecil Payne, trombonist Benny Powell, trumpeter Virgil Jones, and bassist Larry Ridley. Sickler's transcriptions of Dameron's arrangements reveal the depth of his music. "Look, Stop and Listen" is a showcase for the leader, while Griffin shines in the richly textured ballad "If You Could See Me Now," backed by the lush flutes and brass. Wess' flighty alto and Powell's sassy trombone are featured in the rarely performed "Focus." Another gem is the infrequently heard "Dial B for Beauty," spotlighting Davis in a ballad setting instead of the driving hard bop often associated with him. The sole composition not by Dameron is a hard-charging take of "Killer Joe," again showcasing Griffin, who was invited as a guest for two songs initially but encouraged by the musicians to hang around and play on other tracks. Not satisfied with the original mix of the LP due to the dominant presence of the leader's drums (due to the fact that he refused to play in an isolation booth), original session engineer Rudy Van Gelder remixed the album, improving the sound and adding two alternate takes. Highly recommended. ~Ken Dryden https://www.allmusic.com/album/look-stop-and-listen-mw0001954564

Personnel: Philly Joe Jones – drums; Johnny Griffin - tenor saxophone; Don Sickler – trumpet, tenor saxophone, director; Virgil Jones – trumpet; Benny Powell – trombone; Frank Wess – alto saxophone, flute; Charles Davis – tenor saxophone, flute; Cecil Payne – baritone saxophone; Walter Davis Jr. – piano; Larry Ridley – double bass

Look, Stop, and Listen

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Johnny Griffin - The Kerry Dancers and Other Swinging Folk (Remastered)

Styles: Saxophone Jazz
Year: 1962 /2018
File: MP3@320K/s
Time: 39:02
Size: 90,9 MB
Art: Front

(4:45)  1. The Kerry Dancers
(6:15)  2. Black Is the Color of My True Love's Hair
(4:38)  3. Green Grow the Rushes
(4:56)  4. The Londonderry Air
(4:42)  5. 25 1/2 Daze
(5:11)  6. Oh, Now I See
(4:55)  7. Hush-A-Bye
(3:34)  8. Ballad for Monsieur

Many straight-ahead bop musicians would never consider recording traditional folk songs from the British Isles, but that's exactly what Johnny Griffin does on The Kerry Dancers and Other Swinging Folk and this Orrin Keepnews-produced album just happens to be one of his best releases of the 1960s. Joined by pianist Barry Harris, bassist Ron Carter, and drummer Ben Riley, the big-toned Chicago tenor man turns his attention to four traditional folk melodies: "The Londonderry Air" (also known as "Danny Boy"), "Green Grow the Rushes" (a Scottish favorite), "The Kerry Dancers" (an Irish piece), and "Black Is the Color of My True Love's Hair" all of which work perfectly well in an acoustic jazz setting. Not everything on this album (which was recorded in late 1961 and early 1962) is a folk song from the British Isles; the other half of the album ranges from Griffin's moody "Oh, Now I See" to the John Coltrane-influenced "25 1/2 Daze." On Riverside's original LP version of this album, Griffin's bop interpretations of folk songs were confined to side one while the other material was placed on side two. But when Fantasy reissued this album on CD in 2001 on its Original Jazz Classics imprint, there was no interruption between the folk and non-folk material you no longer had to get up and turn the record over. And that's just as well, because Griffin brings a jazz mentality to everything on the album; he is as hard-swinging and improvisatory on "The Londonderry Air" as he is on "25 1/2 Daze" and "Oh, Now I See." The Kerry Dancers and Other Swinging Folk is among the many Griffin releases that the Chicagoan can be proud of. ~ Alex Henderson https://www.allmusic.com/album/the-kerry-dancers-and-other-swinging-folk-mw0000016413

Personnel:  Johnny Griffin — tenor saxophone; Barry Harris - piano; Ron Carter - bass; Ben Riley - drums

The Kerry Dancers and Other Swinging Folk (Remastered)

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Dexter Gordon & Johnny Griffin' - Great Encounters

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 44:50
Size: 102,9 MB
Art: Front

(14:05)  1. Blues Up And Down
( 4:52)  2. Diggin' In
(12:04)  3. Cake
( 8:41)  4. Ruby, My Dear
( 5:08)  5. It's Only A Paper Moon

The two great tenors, Dexter Gordon and Johnny Griffin, battle it out on in exciting fashion on live versions of "Blues Up and Down" and "Cake." Bop singer Eddie Jefferson and trumpeter Woody Shaw join Gordon and his quartet (pianist George Cables, bassist Rufus Reid and drummer Eddie Gladden) on "Diggin' In" and "It's Only a Paper Moon" and Gordon takes Thelonious Monk's ballad "Ruby My Dear" as his feature. Everything works quite well on this diverse but consistent LP, one of Dexter Gordon's later efforts. ~ Scott Yanow https://www.allmusic.com/album/great-encounters-mw0000421077

Personnel:  Dexter Gordon, Johnny Griffin (Tenor Saxophone); Rufus Reid (Double Bass); Eddie Gladden (Drums); George Cables (Piano); Curtis Fuller (Trombone); Woody Shaw (Trumpet); Eddie Jefferson (Vocals).

Great Encounters

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Johnny Griffin - Live In Tokyo

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 56:37
Size: 130,2 MB
Art: Front

(18:53)  1. All The Things You Are
(17:08)  2. When We Were One
( 3:47)  3. Wee
(16:47)  4. The Man I Love

The great tenor Johnny Griffin really gets a chance to stretch out on this two-LP set. Joined by pianist Horace Parland, bassist Mads Vinding and drummer Art Taylor for this Tokyo concert, Griffin digs into three standards and a pair of his originals; all except for a rapid "Wee" are at least 16 minutes long. 

Griffin's long cadenza on "The Man I Love" is a highlight.~ Scott Yanow https://www.allmusic.com/album/live-in-tokyo-mw0000094442

Personnel:  Johnny Griffin (saxophone), Horace Parlan (piano), Art Taylor (drums), Mads Vinding (bass).

Live In Tokyo

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Johnny Griffin - Dance Of Passion

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 58:02
Size: 133,9 MB
Art: Front

(5:26)  1. From Here To There
(8:36)  2. Dance Of Passion
(5:31)  3. Make Up Your Mind
(6:54)  4. The Way It Is
(8:00)  5. Take My Hand
(7:20)  6. You've Never Been There
(8:07)  7. Dawn
(8:04)  8. All Through The Night

As with many other jazz legends during the hard bop revival of the '80s, tenor saxophonist Johnny Griffin was signed to a major label after having cut titles for a plethora of independent (often European) jazz labels in the late '60s and throughout the '70s. From 1955 until the mid-'60s, Griffin had made a major splash with other young turks like Hank Mobley, Donald Byrd, Lee Morgan, and Coltrane, and became a sought-after sideman by the likes of Thelonious Monk, Eddie "Lockjaw" Davis, and Wes Montgomery. The rise of rock and soul, though, forced Griffin to move overseas and join several other ex-pat jazz stars. And while Griffin has remained in Europe, he has consistently recorded in the states. This fine 1993 release marks one of Griffin's recent recording triumphs for the above-mentioned major labels and finds him in the company of such stellar guest soloists as trombonist Steve Turre, tuba player Dave Bargeron, and French horn player John Clark; the band's core is made up by Griffin's then regular quartet featuring pianist Michael Weiss, bassist Peter Washington, and drummer Kenny Washington. This supple but tight ensemble ably handle Griffin's rich store of seven originals and a cover of Cole Porter's "All Through the Night." The updated hard bop arrangements by Griffin and Weiss are all engaging and prove to be prime solo vehicles for Turre especially; Griffin avails himself admirably too with a somewhat refined, yet still meaty version of his once big and fast tenor sound. A treat for Griffin fans and one of the more enjoyable modern trad dates available.~ Stephen Cook https://www.allmusic.com/album/dance-of-passion-mw0000092915

Personnel:   Johnny Griffin - Tenor saxophone;  Michael Weiss - piano, arranger;   Peter Washington - bass;  Kenny Washington - drums;  Steve Turre - trombone;  John Clark - French horn;   Dave Bargeron - tuba.

Dance Of Passion

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Johnny Griffin - Introducing

Bitrate: MP3@320K/s
Time: 47:18
Size: 108.3 MB
Styles: Bop, Saxophone jazz
Year: 2007
Art: Front

[3:52] 1. Mil Dew
[5:36] 2. Chicago Calling
[5:08] 3. These Foolish Things
[4:53] 4. The Boy Next Door
[4:18] 5. Nice And Easy
[5:00] 6. It's All Right With Me
[7:53] 7. Lover Man
[6:19] 8. The Way You Look Tonight
[4:15] 9. Cherokee

Bass – Curly Russel; Drums – Max Roach; Piano – Wynton Kelly; Tenor Saxophone – Johnny Griffin. Recorded At Van Gelder Studio, Hackensack, New Jersey on April 17, 1956.

Johnny Griffin had been kicking around in R&B bands for years before his Blue Note debut in 1956. A tenor saxophonist with fresh sounds, a warm, soulful style and the fastest technique in jazz, he moves from lyrical ballads to blistering tempos with ease. Two bonus tracks from the session have been added to the original LP. The first-class accompaniment is provided by Wynton Kelly, Curly Russell and Max Roach. Within two years, Griff would becomes one of the leading tenor saxophonists in jazz as a member of Thelonious Monk's quartet.

Introducing mc
Introducing zippy

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Wes Montgomery - In Paris: The Definitive ORTF Recording

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 102:50
Size: 235,9 MB
Art: Front

( 6:35)  1. Four On Six
(10:03)  2. Impressions
( 6:44)  3. The Girl Next Door
( 8:31)  4. Here's That Rainy Day
(12:33)  5. Jingles
(11:09)  6. To Wane
(10:48)  7. Full House
( 9:26)  8. 'Round Midnight
(13:14)  9. Blue 'N Boogie / West Coast Blues
(13:42) 10. Twisted Blues

Zev Feldman has called Resonance Records, "The house Bill Evans and Wes Montgomery built." That may be hyperbolic, but the label has liberated from obscurity many previously unreleased or rarely heard performances by the two artists. Regarding Montgomery, Resonance has released four Montgomery recordings to date: Echoes of Indiana Avenue (Resonance, 2012); In The Beginning (Resonance, 2015); One Night in Indy (Resonance, 2016); and Smokin' in Seattle: Live At the Penthouse 1966 (Resonance, 2017). The label now adds a diamond pin to this crown in the form of the present In Paris The Definitive ORTF Recording. Afraid of flying, Montgomery made only a single trip to Europe, only after he was assured that the rest of the tour he would travel by train. On this tour, Montgomery appeared in Paris on March 27, 1965 at the Theatre Des Champs-Elysee. The concert was recorded, and the tapes retained by the National Audiovisual Institute of France (INA), a public institution overseeing the historic office of French Radio and Television (ORTF). This is Resonance Records second collaboration with the organization, the first being Larry Young's In Paris: The ORTF Recordings (Resonance Records, 2016). It is a hopeful sign that there is more of this great, previously unrelease music to come.

Disc one contains solid performances of Montgomery's "Four on Six" and "Jingles," as well as John Coltrane's "So What" contrafact "Impressions." This is the introspective part of the performance, Montgomery's articulation precise and emotive. All pieces receive a lengthy airing with compact support from his traveling trio of pianist Harold Mabern, bassist Arthur Harper, and drummer Jimmy Lovelace. If disc one is introspective, disc two is radioactively extroverted. Opening with Mabern's nod to tenor saxophonist Wayne Shorter, "To Wane," Montgomery consumes his part at a relentless tempo. Then the show becomes all Montgomery, adding tenor saxophonist Johnny Griffin to reprise his performances of a sturdily -built "Full House" and "Blue 'N Boogie" from the previously recorded concert Full House (Riverside, 1962/2007). "'round Midnight was always a good vehicle for Montgomery, here sharing duties with Griffin and turning in a near iconic performance. 

The aforementioned "Blue 'N Boogie is coupled with Montgomery's "Kansas City Blues" creating an effective 12-bar bop juggernaut that leads to an equal length reading of Montgomery's "Twisted Blues." This particular concert has been bootlegged since the mid-1970s, typically with inferior sound quality. That almost justifies its existence as such because of Montgomery's brief corporeal and recording life. Resurrected with a brand-new shine on it, In Paris The Definitive ORTF Recording is not merely for Montgomery completists, but is as necessary as the live recordings Full House or Wynton Kelly Trio With Wes Montgomery  Smokin' At The Half Note (Verve, 1965) are to the Montgomery discography. ~ C.Michael Bailey https://www.allaboutjazz.com/in-paris-the-definitive-ortf-recording-wes-montgomery-resonance-records-review-by-c-michael-bailey.php

Personnel: Wes Montgomery: guitar; Harold Mabern: piano; Arthur Harper: bass; Jimmy Lovelace: drums; Johnny Griffin: tenor saxophone.

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In Paris: The Definitive ORTF Recording

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Johnny Griffin, Art Taylor - Johnny Griffin / Art Taylor

Bitrate: MP3@320K/s
Time: 69:43
Size: 159.6 MB
Styles: Saxophone jazz
Year: 1996
Art: Front

[17:34] 1. What Is This Thing Called Love
[ 9:26] 2. Body And Soul
[ 4:48] 3. Wee Dot
[19:26] 4. Doctor's Blues
[ 9:56] 5. Exactly Like You
[ 8:30] 6. A Night In Tunisia

Johnny Griffin (ts & vo), Kenny Drew (p), Niels-Henning Ørsted Pedersen (b) and Art Taylor (dr).

This live CD marks the first release of music recorded during a series of dates led by Johnny Griffin at Montmartre Jazzhaus, with Kenny Drew, Niels Pedersen and Art Taylor Johnny Griffin/Art Taylor In Copenhagen buy CD music. Both "What Is This Thing Called Love?" and Griffin's "Doctor's Blues" are long jams, with the latter including a humorous vocal by the leader Johnny Griffin/Art Taylor In Copenhagen CD music. All of the musicians are in top form throughout, highlighted by the pulsating "Wee Dot" and a tribal chant-like introduction to build tension as they launch "A Night In Tunisia." Johnny Griffin/Art Taylor In Copenhagen album for sale. These recordings are a little bit on the bassy side, and there are noticeable tape dropouts at times Johnny Griffin/Art Taylor In Copenhagen songs. ~ Ken Dryden

Johnny Griffin / Art Taylor mc
Johnny Griffin / Art Taylor zippy

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Rolf Ericson & Johnny Griffin - Sincerely Ours

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 38:36
Size: 89,6 MB
Art: Front

(5:53)  1. Double Digit
(8:02)  2. Fragrance
(6:06)  3. Oblivion
(5:53)  4. Taboo
(4:42)  5. Sweet And Handsome
(7:58)  6. Korn Blues

One of Sweden's finest trumpeters, Rolf Ericson played in the U.S. often enough to gain a strong reputation. He started on trumpet when he was eight and, after hearing Louis Armstrong play in Stockholm in 1933, he switched to jazz. Ericson recorded in Sweden with Alice Babs and others starting in 1945, moved to New York in 1947, and played with Charlie Barnet (1949) and Woody Herman (1950). After returning to Sweden in 1950, he recorded as a leader and with Arne Domnérus and Leonard Feather's Swinging Swedes. He also toured and recorded with Charlie Parker. Back in the U.S. during 1953-1956, Ericson played with the big bands of Charlie Spivak, Harry James, the Dorsey Brothers, and Les Brown and was with the Lighthouse All-Stars. In 1956, he toured Sweden and played with Ernestine Anderson and Lars Gullin. During 1956-1965 in the U.S., Ericson was with Dexter Gordon, Harold Land, Stan Kenton, Woody Herman, Maynard Ferguson (1960-1961), Buddy Rich, Benny Goodman, Gerry Mulligan, and Charles Mingus, among others. There were also occasional tours with Duke Ellington during 1963-1971 and plenty of freelance jobs. In 1971, he settled in Germany as a studio musician, but Ericson returned to the U.S. several times over the next couple of decades. His warm tone and creative yet melodic style were always considered an asset. ~ Scott Yanow https://itunes.apple.com/us/album/sincerely-ours/id305133628

Personnel:  Trumpet – Rolf Ericson;  Tenor Saxophone – Johnny Griffin;  Piano – Fritz Pauer;  Bass – Lukas Lindholm;  Drums – Ronnie Stephenson;  Flugelhorn – Rolf Ericson

Sincerely Ours

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Ira Sullivan - Blue Stroll

Styles: Saxophone And Trumpet Jazz 
Year: 1959
File: MP3@320K/s
Time: 54:20
Size: 125,6 MB
Art: Front

( 6:07)  1. Wilbur's Tune
( 6:44)  2. My Old Flame
( 5:56)  3. Blue Stroll
( 7:28)  4. 63rd Street Theme
(19:50)  5. Bluzinbee
( 8:13)  6. Wilbur's Tune (alternate)

Many years have passed since Ira Sullivan, who turned 80 on May 1, 2011, left Chicago. The multi-hornman moved to Florida in the early '60s, and he never moved back to the Windy City. But Sullivan was so revered on the Chicago jazz scene of the '50s that local musicians still associate him with Chi-Town after all these years. Sullivan was still living in Chicago when, in 1959, he recorded Blue Stroll, an excellent hard bop date that united him with tenor saxophonist Johnny Griffin, pianist Jodie Christian, bassist Victor Sproles, and drummer Wilbur Campbell. The musicians' rapport is as strong on "Wilbur's Tune" (Delmark's CD version offers both the six-minute master take and an eight-minute alternate take), "63rd Street Theme," and the title track as it is on the Sam Coslow/Arthur Johnston standard "My Old Flame," which is the album's lone ballad. Sullivan plays no less than four different instruments on this CD: trumpet, alto sax, baritone sax, and the peck horn. In fact, he solos on all four instruments on "Bluzinbee," an exuberant 19-minute jam that finds Griffin making rare appearances on the alto and baritone saxes. Griffin, of course, is best remembered for his big-toned tenor playing, and hearing him solo on alto and baritone is a pleasant surprise (much like Charlie "Bird" Parker's appearances on tenor in 1947 and 1953 or Jackie McLean's tenor playing on his 1957 session A Long Drink of the Blues). Many of Chicago's bop musicians have lamented Sullivan's decision to move to Florida and wish he had never left Chi-Town; listening to the rewarding Blue Stroll, it isn't hard to understand why they feel that way. ~ Alex Henderson https://www.allmusic.com/album/blue-stroll-mw0000269751

Personnel: Ira Sullivan (alto saxophone, tenor saxophone, baritone saxophone, trumpet); Johnny Griffin (saxophone, alto saxophone, tenor saxophone, baritone saxophone); Jodie Christian (piano); Wilbur Campbell (drums).    

Blue Stroll

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