Horace Silver - Song for My Father

Styles: Piano Jazz
Year: 1964
File: MP3@320K/s
Time: 42:28
Size: 97,2 MB
Art: Front

(7:20)  1. Song for My Father
(6:12)  2. The Natives Are Restless Tonig
(8:32)  3. Calcutta Cutie
(7:49)  4. Que Pasa
(5:27)  5. The Kicker
(7:06)  6. Lonely Woman

One of Blue Note's greatest mainstream hard bop dates, Song for My Father is Horace Silver's signature LP and the peak of a discography already studded with classics. Silver was always a master at balancing jumping rhythms with complex harmonies for a unique blend of earthiness and sophistication, and Song for My Father has perhaps the most sophisticated air of all his albums. Part of the reason is the faintly exotic tint that comes from Silver's flowering fascination with rhythms and modes from overseas the bossa nova beat of the classic "Song for My Father," for example, or the Eastern-flavored theme of "Calcutta Cutie," or the tropical-sounding rhythms of "Que Pasa?" Subtle touches like these alter Silver's core sound just enough to bring out its hidden class, which is why the album has become such a favorite source of upscale ambience. 

Song for My Father was actually far less focused in its origins than the typical Silver project; it dates from the period when Silver was disbanding his classic quintet and assembling a new group, and it features performances from both bands. Still, it hangs together remarkably well, and Silver's writing is at its tightest and catchiest. The title cut became Silver's best-known composition, partly because it provided the musical basis for jazz-rock group Steely Dan's biggest pop hit "Rikki Don't Lose That Number." Another hard bop standard is introduced here in the lone non-Silver tune, tenor saxophonist Joe Henderson's "The Kicker," covered often for the challenge of its stuttering phrases and intricate rhythms. Yet somehow it comes off as warm and inviting as the rest of the album, which is necessary for all jazz collections -- mainstream hard bop rarely comes as good as Song for My Father. ~ Steve Huey   http://www.allmusic.com/album/song-for-my-father-mw0000241423

Personnel: Horace Silver (piano); Carmell Jones, Blue Mitchell (trumpet); Joe Henderson, Junior Cook (tenor saxophone); Teddy Smith, Gene Taylor (bass); Roger Humphries, Roy Brooks (drums).

RIP

Set/1928-Jun/2014

Song for My Father

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Blue Mitchell - Down With It

Styles: Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 41:36
Size: 95,8 MB
Art: Front

(8:23)  1. Hi-Heel Sneakers
(5:41)  2. Perception
(7:45)  3. Alone, Alone And Alone
(6:16)  4. March On Selma
(7:30)  5. One Shirt
(5:59)  6. Samba De Stacy

Down With It is a fairly standard bop and soul-jazz session from Blue Mitchell. Leading a quintet that features a young Chick Corea on piano, tenor saxophonist Junior Cook, bassist Gene Taylor, and drummer Al Foster, Mitchell creates a laid-back atmosphere which makes R&B covers like "Hi-Heel Sneakers" or the lite bossa nova of "Samba De Stacy" roll along nicely. Just as often, the record is so relaxed that it fails to generate much spark, but each the soloists have fine moments that makes the session worthwhile for jazz purists. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/down-with-it%21-mw0000091737

Personnel:  Blue Mitchell – trumpet; Junior Cook – tenor saxophone; Chick Corea – piano; Gene Taylor – bass; Al Foster – drums

Down With It

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Horace Silver - Live At Newport '58

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 44:46
Size: 103,1 MB
Art: Front

( 0:44)  1. Introduction By Willis Connover
(13:10)  2. Tippin'
(11:47)  3. The Outlaw
( 8:42)  4. Señor Blues
(10:21)  5. Cool Eyes

For a jazz artist of such longevity, pianist Horace Silver has precious few live recordings as leader. Before Paris Blues: Olympia Theater, Paris, 1962 (Fantasy, 2003) was released, Silver's single live recording was Doin' The Thing At The Village Gate (Blue Note, 2006/1961). This fact makes any newly discovered and released live recording somewhat of an event. Enter Horace Silver Live At Newport '58. Horace Silver Live At Newport '58 aurally details July 6, 1958 at the Newport Jazz Festival. The Horace Silver Quintet closed that Sunday afternoon's performances with a 40-minute set drawn from music Silver was composing and recording during at the time. The performance falls between Silver's recording of Further Explorations (Blue Note, 1958) and Finger Poppin' (Blue Note, 1959) and includes "The Outlaw" from that session and "Tippin'," recorded on June 15, 1958 for the b-side of the vocal version of "Senor Blues" (Bill Henderson, vocals). This performance is notable for the presence of trumpeter Louis Smith, who served as a bridge between Donald Byrd and Blue Mitchell. This represents the only full performance by Smith as part of Silver's quintet and one of the only times that "Tippin'" was recorded live by its original quintet. To be sure, Smith is neither Byrd nor Mitchell. He is a lightning bolt briefly illuminating the jazz sky with force and brilliance. This earliest example of live Silver shows the leader fully formed as a stage personality. If Horace Silver can be described as anything, it would be as his music is described: "funky cool." Horace Silver is part of the hard bop trinity, along with trumpeter Miles Davis and drummer Art Blakey. This trio ushered in a more accessible form of be-bop, making it acceptable to a wider audience by their infusion of blues and gospel elements. Hard bop was the first jazz genre to tax the confines of description. It is a more subtle artifact of jazz evolution than the earthquake which produced be-bop, which was a major mutation of jazz genes. Hard bop is extroverted where be-bop is introverted. It is muscular and brash, loose and sensual or frankly sexual music, particularly in the blues. 

The Newport performance is book ended with two classic be-bop constructions shot through with hard bop swagger. "Tippin'" is a classic AABA composition after Gershwin's "I Got Rhythm." It sports a complicated head and assertive soloing, and it swings with a jackhammer momentum, driven by the muscular drumming of Louis Hayes, who prefaces Tony Williams a decade later. "Cool Eyes" is similarly constructed with a devilishly complex Horace Silver head. Both pieces illustrate how hard bop was born out of be-bop. Those pieces performed between are the heart of hard bop, compositions that adopt challenging structures and time signatures. "The Outlaw"is pure genius, carefully constructed to convey the maximum drama. It stirs blues, Tin Pan Alley, church, and disorder at the border into a potent cocktail intended to weaken one's knees after the first shot. That soloists can spin their respective wares over these challenges is a credit to their musicianship. "Senor Blues" needs little introduction. It is the minor key blues of "Birk's Works" introduced to "My Little Red Shoes" with plutonium added for a slow burn. "Senor Blues" showcases its composer, allowing him to demonstrate the universe of his composing and pianist talents. If the late 1950s has a soundtrack, it would be "Senor Blues." Horace Silver Live At Newport '58 joins three other recent releases from trumpeter Dizzy Gillespie/saxophonist Charlie Parker, pianist Thelonious Monk and saxophonist John Coltrane as one of the most significant new finds in jazz. It appropriately casts Horace Silver as a significant jazz composer and reminds the modern listener that there are still giants among us, no matter how briefly. ~ C.Michael Bailey https://www.allaboutjazz.com/horace-silver-live-at-newport-58-by-c-michael-bailey.php?width=1920

Personnel: Horace silver: piano; Louis Smith; trumpet; Junior Cook: tenor Saxophone; Gene Taylor: bass; Louis Hayes: drums.

Live At Newport'58

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Bill Hardman - Focus

Styles: Trumpet Jazz
Year: 1980
File: MP3@320K/s
Time: 38:36
Size: 89,1 MB
Art: Front

(6:03)  1. Avila & Tequila
(6:19)  2. Cubicle
(6:07)  3. Too Little, Too Late
(5:39)  4. Focus
(9:14)  5. My One And Only Love
(5:11)  6. Minority

Always a bit underrated and overshadowed, trumpeter Bill Hardman was a solid soloist in the tradition of Clifford Brown. He led three Muse albums during 1978-81, of which this was the second. Matched as usual with his fellow hard bop stylist, tenor saxophonist Junior Cook, along with trombonist Slide Hampton, pianist Walter Bishop, Jr., bassist Leroy Williams and drummer Stafford James, Hardman is heard in top form on such numbers as Hank Mobley's "Avila & Tequila," Tadd Dameron's "Focus" and "Minority." ~ Scott Yanow https://www.allmusic.com/album/focus-mw0000923787

Personnel:  Bill Hardman - trumpet;  Junior Cook - tenor saxophone;  Slide Hampton - trombone;  Walter Bishop Jr. - piano;  Stafford James - bass;  Leroy Williams - drums;  Mark Elf - guitar

Focus

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Roy Brooks - Beat

Styles: Jazz, Post Bop 
Year: 1963
File: MP3@320K/s
Time: 31:13
Size: 71,7 MB
Art: Front

(5:16)  1. Homestretch
(4:48)  2. If You Could See Me Now
(4:36)  3. Passin' The Buck
(4:31)  4. Soulin'
(5:07)  5. Soulsphere
(6:54)  6. My Secret Passion

Recorded for Berry Gordy's short-lived Workshop Jazz imprint, Roy Brooks' simply but authoritatively titled Beat fuses the intellectual rigors of the modern idiom with the physical prowess of soul-jazz to create a record of uncommon scope and reach. Working with Horace Silver Quintet colleagues Blue Mitchell, Junior Cook, and Gene Taylor alongside Detroit contemporaries George Bohannon and Hugh Lawson, Brooks channels influences spanning the breadth of the Motor City scene, resulting in a clutch of challenging but engaging performances with the unmistakable patina of the embryonic Motown sound. While their technical proficiency is stunning, Brooks' rhythms never lose sight of the almighty groove, and for its hard bop stridency, the record has the proverbial good beat and you can dance to it. ~ Jason Ankeny https://www.allmusic.com/album/beat-mw0000383433

Personnel: Drums – Roy Brooks;  Bass – Eugene Taylor;  Piano – Hugh Lawson;  Tenor Saxophone [Tenor Sax] – Junior Cook;  Trombone – George Bohanon;  Trumpet – Blue Mitchell

Beat

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Bill Hardman - What's Up

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 67:33
Size: 154,9 MB
Art: Front

( 5:25)  1. Fuller Up
( 9:22)  2. I Should Care
( 8:20)  3. Whisper Not
(10:31)  4. Straight Ahead
( 7:10)  5. P.B.
( 8:57)  6. Like Someone In Love
( 7:42)  7. Yo What's Up
(10:03)  8. Rooms Blues

A reliable hard bop-oriented trumpeter, Bill Hardman never became famous, but he helped out on many sessions. While a teenager, Hardman gigged with Tadd Dameron, and after graduating high school he was with Tiny Bradshaw (1953-1955). He debuted on record with Jackie McLean (1955), played with Charles Mingus (1956), and gained recognition for his work with Art Blakey's Jazz Messengers (1956-1958). 

Hardman worked with Horace Silver (1958), Lou Donaldson (on and off during 1959-1966), re-joined Blakey twice (1966-1969 and in the late '70s), was with Mingus again during parts of 1969-1972, and led a group with Junior Cook (1979-1981). Bill Hardman had an appealing style in the Clifford Brown tradition and recorded as a leader for Savoy (1961) and Muse. 

~ Scott Yanow https://itunes.apple.com/us/album/whats-up/159915066

Personnel:  Bill Hardman - trumpet;  Junior Cook - tenor saxophone;  Robin Eubanks - trombone;  Mickey Tucker - piano;  Paul Brown - bass;  Leroy Williams - drums

What's Up 

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Louis Smith Sextet - Strike Up The Band

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 69:44
Size: 159,9 MB
Art: Front

(10:31)  1. I Hear A Rhapsody (Frejus-Baker-Gasparre)
( 6:33)  2. It's All Right (Edwards)
( 8:15)  3. Don't Misunderstand (Parks)
( 7:38)  4. Edwaa (L. Smith)
(10:45)  5. Stablemates (B. Golson)
( 9:06)  6. Lover (Rodgers)
( 9:10)  7. Night and Day (C. Porter)
( 7:43)  8. Strike Up The Band (Gershwin)

This session, under the leadership of trumpeter Louis Smith, brings hard bop veterans together with a couple newcomers who were at the time helping to revive the style. This is the kind of recording session where one gets a taste of the fireworks that would result from a live jam session featuring the participants. Each soloist launches into the heart of the tune, cutting out the preliminaries and never reaching the heights more extended blowing would allow. Each song gives the frontline and pianist Kevin Hays a chance to have their say. The hornmen have complementary yet distinctive approaches. Tenor saxophonist Junior Cook, like Smith a former member of Horace Silver's combo, is a study in soulful reserve, whittling statements from the grain of the tunes. Alto saxophonist Vincent Herring, in contrast, plays with barely restrained passion. He can't seem to wait to burst into doubletime. On &"Stablemates" he picks up Cook's last phrase and rips ahead like the anchor runner on a relay team. The leader's style has Cook's restraint matched with Herring's penchant for rapid fire runs. No matter how fast he plays, though, he never loses his knack for plucking the plumpest notes off the chords. That harmonic structure is well rooted by the rhythm section, especially bassist Steve LaSpina. On the ballad &"Don't Misunderstand", LaSpina burrows deep to create a melodic as well as harmonic counterline to Smith's tender theme and variations. 

~ David Dupont https://www.allmusic.com/album/strike-up-the-band-mw0000978277  

Personnel:  Trumpet, Flugelhorn – Louis Smith ;  Alto Saxophone – Vincent Herring;  Bass – Steve LaSpina;  Drums – Leroy Williams;  Piano – Kevin Hays;  Tenor Saxophone – Junior Cook

Strike Up The Band

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Junior Cook - The Place To Be

Bitrate: MP3@320K/s
Time: 60:32
Size: 138.6 MB
Styles: Saxophone jazz
Year: 1989
Art: Front

[ 5:02] 1. Cedar's Blues
[11:36] 2. I Should Have Known
[ 5:34] 3. Are You Real
[ 4:30] 4. She Rote
[ 9:01] 5. Gnid
[ 7:49] 6. This Is The Place To Be
[ 8:52] 7. Over The Rainbow
[ 8:04] 8. Cup Bearer

This 1988 recording is the first of three excellent recordings under Junior Cook's leadership on the Steeplechase label. This Europeon label seems to record older, lesser known jazz musicians that U.S. labels won't touch. The description "lesser known" applies to Junior as well as any description. Although he has had a long and distinguished musical career, he was eclipsed by such tenor giants as Coltrane and Rollins. He has played with Horace Silver, Cedar Walton, Blue Mitchell, and led his own groups. He died at age 58 in 1992. In the last few years of his life, he was a featured soloist in the McCoy Tyner Big Band.(If you haven't heard this band, get their recordings.)

He is a fine, swinging hard bop tenor player. If anything, he reminds me of Hank Mobley and George Coleman, who are also lesser known greats. Not bad company. The quartet features Mickey Tucker on piano and a fabulous drummer, Leroy Williams. Mickey Tucker may not be a star, but he plays brilliantly. Wayne Dockery ably holds the bass chair. This quartet swings with a joyful abandon. Although the tune selection includes lesser known originals and standards, they are delightful tunes, which this group grabs a hold of takes to the skies. ~A Jazz Lover Since 1960/Amazon

The Place To Be

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Blue Mitchell - The Cup Bearers

Styles: Trumpet Jazz
Year: 1962
File: MP3@320K/s
Time: 43:47
Size: 101,3 MB
Art: Front

(5:03)  1. Turquoise
(5:28)  2. Why Do I Love You?
(5:41)  3. Dingbat Blues
(6:04)  4. Capers
(6:15)  5. Cup Bearers
(6:43)  6. How Deep Is The Ocean?
(8:31)  7. Tiger Lily

Trumpeter Blue Mitchell and four-fifths of the Horace Silver Quintet (with Cedar Walton in Silver's place) perform a variety of superior songs on The Cup Bearers, including Walton's "Turquoise," Tom McIntosh's "Cup Bearers," Thad Jones' "Tiger Lily," and a couple of standards. The music swings hard, mostly avoids sounding like a Horace Silver group, and has particularly strong solos from Mitchell, tenor saxophonist Junior Cook and Walton. Excellent hard bop. ~ Scott Yanow http://www.allmusic.com/album/the-cup-bearers-mw0000110417

Personnel:  Blue Mitchell – trumpet;  Junior Cook - tenor saxophone;  Cedar Walton – piano;  Gene Taylor – bass;  Roy Brooks - drums

The Cup Bearers

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Junior Cook Quartet & George Coleman Octet - Stablemates

Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 79:58
Size: 183,5 MB
Art: Front

( 5:28)  1. Sweet lotus lips
( 4:44)  2. The crucifier
( 4:46)  3. Not quite that
( 8:51)  4. Yardbird suite
(11:00)  5. Moment to moment
(11:00)  6. Green dolphin street
( 7:59)  7. Frank's tune
( 4:55)  8. Big George
( 5:05)  9. Joggin'
(10:31) 10. Body and soul
( 5:35) 11. Revival

Known as two of the pre-eminent modern mainstream tenor saxophonists of the '60s with Horace Silver or Miles Davis respectively, Junior Cook and George Coleman each blazed their own trails in post-bop jazz with styles and techniques that influenced their much more renowned peer, John Coltrane. These sessions from 1977 showcase the horn players in their prime of life, invigorated to play their own music, and surrounded with like-minded experts of contemporary expressionism that lifts this music to the rafters. Legitimate stablemates in the eight-piece group, Cook's quartet with the reliable pianist Mickey Tucker, and the mighty octet of Coleman featuring Cook split the program, and both consistently prove their distinctive mettle throughout. Cook's small ensemble offers the flowing modal waltz "Sweet Lotus Lips" with an outstanding solo from bassist Cecil McBee, the light shuffle "Not Quite That" similar to Duke Pearson's "Jeanine" with Cook in a restrained Coltrane-ish mode, while the outstanding modal version of Henry Mancini's "Moment to Moment" has a bossa nova feel and palpable Joe Henderson inferences. The band does "Yardbird Suite" with Cook's tenor, not alto as Charlie Parker played on his original, sporting fluid dynamics, executed in a loose fashion, and with a delightfully playful facade. Coleman's exceptional octet, with fellow Memphis musicians, alto saxophonist Frank Strozier and pianist Harold Mabern, baritone saxophonist Mario Rivera, and trumpeter Danny Moore form one of the great front lines of all time. 

But sheer talent is not so much the key as is their teamwork and innate ability to play these tough, intriguing, and uplifting charts. A crazy fast unison approach contrasting mad changes by Coleman and Cook hardly suggests the melody of "Green Dolphin Street," a unique touch that sets the tone for the octet. Drummer Idris Muhammad fires up "Big George" with a hard bop fervor rivaled only by Elvin Jones not surprising considering this track sounds like it is based on a merge of John Coltrane's "Giant Steps" and the Miles Davis classic "Tune Up." Rivera naturally underpins the Latin feel of a starkly dramatic "Joggin'," while the bright big-band feel of "Frank's Tune" suggests the progressive bent of the Thad Jones-Mel Lewis Orchestra. Coleman's octet saves the best for last, as "Revival" is an epic modal anthem, with Moore's burnished trumpet up front working in counterpoint with the other horns over a dense, delicious, and dramatic baseline reverting to a tuneful repeat phrase over constantly changing dynamics and shifting rhythms. It's one for the ages. Special kudos goes to Mabern, the glue of the band from a supportive rhythmic and melodic standpoint, and again to Muhammad for his intelligent design in navigating rhythm in a manner far from stock, standard timekeeping. 

This is an important album in many ways, not only for the status of Cook and Coleman, but for the highly original classic music that clearly is identified with the '50s, brought into contemporary times, and everlasting. ~ Michael G.Nastos http://www.allmusic.com/album/stablemates-mw0000311269

Personnel:  Lisle Atkinson – Bass;  George Coleman Octet - Primary Artist;  Junior Cook - Primary Artist, Sax (Tenor);  Frank Eyton – Composer;  Johnny Green – Composer;  Edward Heyman – Composer;  Harold Mabern – Piano;  Henry Mancini – Composer;  Cecil McBee – Bass;  Johnny Mercer – Composer;  Idris Muhammad – Drums;  Mario Mártires Rivera - Sax (Baritone);  Robert Sour – Composer;  Frank Strozier - Sax (Alto);  Mickey Tucker - Composer, Piano;  Azzedin Weston – Percussion;  Leroy Williams - Drums

Stablemates

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Junior Cook - You Leave Me Breathless

Styles: Saxophone Jazz
Year: 1994
File: MP3@224K/s
Time: 66:11
Size: 106,2 MB
Art: Front

( 6:37)  1. Junior's Cook
( 8:17)  2. Envoy
( 9:02)  3. Warm Valley
( 7:22)  4. Sweet Lotus Lips
(10:01)  5. Vierd Blues
(12:09)  6. You Leave Me Breathless
( 6:53)  7. Fiesta Español
( 5:47)  8. Mr. P.C.

Tenor saxophonist Junior Cook's final recording, cut less than two months before his death, finds the veteran hard bop stylist in surprisingly prime form, taking upbeat solos and swinging hard. On this CD, one can really hear the mutual influence that Cook had on Joe Henderson. Trumpeter Valery Ponomarev is also in particularly fine form, and the rhythm section (pianist Mickey Tucker, bassist John Webber and drummer Joe Farnsworth) is somewhat obscure but excellent. Three group originals, Cedar Walton's "Fiesta Espanol" and four standards (including a warm tenor feature on "Warm Valley" and a hard-swinging "Mr. P.C.") comprise what was one of Junior Cook's finest sessions as a leader; he definitely exited on top.~ Scott Yanow http://www.allmusic.com/album/you-leave-me-breathless-mw0000050689

Personnel: Junior Cook (tenor saxophone); Valery Ponomarov (trumpet); Mickey Tucker (piano); John Webber (bass); Joe Farnsworth (drums).

You Leave Me Breathless

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Blue Mitchell - The Thing To Do

Bitrate: MP3@320K/s

Time: 39:58

Size: 91.5 MB

Styles: Trumpet jazz

Year: 2004

Art: Front

[ 7:44] 1. Fungii Mama

[ 5:14] 2. Mona's Mood

[ 7:03] 3. The Thing To Do

[10:22] 4. Step Lightly

[ 9:33] 5. Chick's Tune

Blue Mitchell, Junior Cook, Chick Corea, Gene Taylor, Aloysius Foster.

Trumpeter Blue Mitchell had a sound in every way as individual as his label-mates Freddie Hubbard and Lee Morgan, and like them, tragically, he could misuse studio time recording uninspired bop and funk. The Thing To Do makes you wish Mitchell had been this focused and well accompanied more of the time.

Blessed with a lyrically brassy tone imbued with a shade of vulnerability perfect for ballads, Mitchell absolutely reveals a confidence and zest in this finely programmed set. A young Chick Corea does for Mitchell what Herbie Hancock did for Miles: create challenging rhythmic and harmonic gambits that inspired the trumpeter to soar. The album's hit was "Fungii Mama," a bit of sly calypso in the vein Sonny Rollins has transmuted so deftly, but the most memorable selection might be the hard driving "Step Lightly," a Joe Henderson tune saxman Junior Cook handles with great elan. The rhythm team of bassist Gene Taylor and Al Foster (mysteriously identified on the CD cover as "Aloysius Foster") is supple and thoughtful.

This album serves as a reminder of the deep musical communion Mitchell and Cook could create outside of their tenure in the Horace Silver group, and the fact that Mitchell's glowing legacy is worthy of serious reconsideration, in spite of his uneven back catalog. ~Norman Weinstein

The Thing To Do

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The Dave Bailey Sextet - One Foot In The Gutter

Bitrate: MP3@320K/s
Time: 75:36
Size: 173.1 MB
Styles: Bebop, Contemporary jazz
Year: 2007/2012
Art: Front

[11:02] 1. One Foot In The Gutter
[12:58] 2. Well you needn't
[19:41] 3. Sandu
[17:13] 4. Blues For J.P
[ 7:55] 5. Two Feet In The Gutter
[ 6:44] 6. Our Miss Brooks

Bass – Peck Morrison; Drums – Dave Bailey; Piano – Horace Parlan; Tenor Saxophone – Junior Cook; Trombone – Curtis Fuller; Trumpet – Clark Terry. Recorded at Columbia 30th Street Studio, New York City, on July 19 and 20, 1960. Digitally remastered at La Source Mastering Paris, France.

All sides here were recorded during a series of blowing sessions that put great emphasis on the soloists. The moving spirit behind them was drummer Dave Bailey. All musicians involved play without strain, generating the kind of explosion only jazz can create. The three opening tunes were issued on the album One Foot in the Gutter, the first Bailey did as a leader, and as he himself explained in the original liner notes, “we had unusual freedom throughout, not only in what we played, but in what we did, and at one point you can hear Clark Terry and Junior Cook enthusiastically applauding one of Curtis Fuller’s solos. That was the spirit of the session, and the audience joined right in.”

One Foot In The Gutter

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Blue Mitchell - Boss Horn

Bitrate: MP3@320K/s
Time: 38:41
Size: 88.5 MB
Styles: Hard bop, Trumpet jazz
Year: 2005
Art: Front

[6:12] 1. Millie
[5:31] 2. O Mama Enit
[7:28] 3. I Should Care
[6:18] 4. Rigor Mortez
[6:34] 5. Tones For Joan's Bones
[6:34] 6. Straight Up And Down

Originally recorded on November 17, 1966 at the Van Gelder Studio, Englewood Cliffs, New Jersey. All transfers from analog to digital were made at 24-bit resolution. Alto Saxophone, Flute – Jerry Dodgion; Baritone Saxophone – Pepper Adams; Bass – Gene Taylor; Drums – Mickey Roker; Piano – Cedar Walton, Chick Corea; Tenor Saxophone – Junior Cook; Trombone – Julian Priester; Trumpet – Blue Mitchell.

Trumpeter Blue Mitchell delivers a solid hard bop date with his 1966 Blue Note release Boss Horn. [The Rudy Van Gelder edition of Boss Horn features remastered sound by original producer Van Gelder that does significanly improve the overall sound quality over the original release.] ~Matt Collar

Boss Horn

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Junior Cook Feat. Blue Mitchell - Junior's Cookin'

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 39:15
Size: 91,4 MB
Art: Front

(7:18)  1. Myzar
(5:48)  2. Turbo Village
(6:16)  3. Easy Living
(3:57)  4. Blue Farouq
(5:27)  5. Sweet Cakes
(3:57)  6. Field Day
(6:29)  7. Pleasure Bent

This first solo release from tenor sax player Junior Cook came at the midpoint of his six-year tenure with the Horace Silver Band. It's a relaxed affair, paced a couple of notches below the intensity of a typical Silver date. Still, with Cook's front-line partner in the Silver group trumpeter Blue Mitchell on board, along with Silver's rhythm section, the 1961 session has a definite affinity with the hard bop style of the more famous parent group. There are also links to the cool tones of Miles Davis' early-'50s Blue Note releases and to the transitional work of the mid-'50s Max Roach-Clifford Brown Band. If the overall approach is subdued, this generally works to the music's benefit by bringing out the finer points of Cook's and Mitchell's' playing. 

Both players emphasize tone, phrasing, and an ability to sail their choruses elegantly along the current of the rhythm section. The writing here is not particularly distinctive, but what it lacks in originality, the players make up for with their audible pleasure in working through the familiar changes. The result, while not essential listening, is a satisfying and honest set that provides an appealing portrait of both Cook and Mitchell, two central, although not seminal, figures in the development of hard bop. ~ Jim Todd  http://www.allmusic.com/album/juniors-cookin-mw0000048941

Personnel: Junior Cook (saxophone, tenor saxophone); Blue Mitchell (trumpet); Dolo Coker, Ronnie Mathews (piano); Roy Brooks (drums).

Junior's Cookin'

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