Al Smith - Midnight Special

Bitrate: MP3@320K/s
Time: 32:15
Size: 73.9 MB
Styles: Urban blues, Soul-blues
Year: 1961/1996
Art: Front

[7:00] 1. Five Long Years
[4:30] 2. You're A Sweetheart
[3:32] 3. Don't Worry 'bout Me
[2:33] 4. Ride On Midnight Special
[4:08] 5. The Bells
[3:21] 6. Goin' To Alabama
[3:37] 7. I'll Never Let You Go
[3:30] 8. I Can't Make It By Myself

Bass – Leonard Gaskin; Drums – Bobby Donaldson; Guitar – Jimmy Lee; Organ – Robert Banks; Tenor Saxophone – King Curtis; Vocals – Al Smith. Recorded at Van Gelder Studio, Englewood Cliffs, NJ; August 11, 1960.

For many decades, African-American churches have worried about losing their best singers to secular music. And inevitably, many of them will, in fact, explore secular music instead of devoting 100 percent of their time to gospel. Al Smith is a perfect example. The obscure singer's roots were gospel, but he favored a jazz-influenced approach to blues and soul when he recorded two albums for Prestige/Bluesville: Hear My Blues in 1959 and Midnight Special in 1960. Recorded at Rudy Van Gelder's famous New Jersey studio, Midnight Special finds Smith backed by a rock-solid quintet that consists of King Curtis on tenor sax, Robert Banks on organ, Jimmy Lee Robinson on electric guitar, Leonard Gaskin on acoustic bass, and Bobby Donaldson on drums. While the lyrics are totally secular, Smith's gospel background never goes away. You can tell that the passionate, highly expressive singer has a church background whether he is embracing straight-up blues on "Goin' to Alabama" and Eddie Boyd's "Five Long Years" or getting into soul on "I Can't Make It By Myself," "You're a Sweetheart," and "The Bells." Smith has a big, full, rich voice, and he uses it to maximum advantage throughout this excellent album (which Fantasy reissued on CD in 1996 for its Original Blues Classics series). With the right exposure, Smith might have become a major name in 1960s blues and R&B -- he certainly had the chops and the talent. But, unfortunately, he never enjoyed the commercial success that he was most deserving of. Nonetheless, Midnight Special is an album to savor if you're the type of listener who holds classic soul and the blues in equally high regard. ~Alex Henderson

Midnight Special mc
Midnight Special zippy

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Herbie Mann - Our Mann Flute

Styles: Flute Jazz
Year: 1966
File: MP3@320K/s
Time: 32:47
Size: 75,8 MB
Art: Front

(2:34)  1. Scratch
(2:28)  2. Philly Dog
(2:09)  3. Happy Brass
(2:51)  4. Good Lovin'
(5:07)  5. Theme from "This Is My Beloved"
(2:15)  6. Frere Jacques
(2:44)  7. Our Mann Flint
(2:22)  8. Fiddler on the Roof
(2:17)  9. Theme from "Malamondo"
(2:34) 10. Down by the Riverside
(2:58) 11. Monday, Monday
(2:22) 12. Skip to My Lou

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest. Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute. After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc. ~ Scott Yanow https://itunes.apple.com/ie/album/our-mann-flute/76152839

Personnel:  Herbie Mann - flute, alto flute, arranger, conductor, writer;  Leo Ball, Doc Cheatham, Al DeRisi, Jerome Kail, Marky Markowitz, Joe Newman, Jimmy Owens, Ernie Royal, Ziggy Schatz, Clark Terry, Snooky Young - trumpet;  Bob Alexander, Quentin Jackson, Jimmy Knepper, Joe Orange, Santo Russo, Chauncey Welsch - trombone;  Tony Studd - bass trombone;  Jerry Dodgion - flute, clarinet, alto saxophone;  Richie Kamuca - clarinet, tenor saxophone;  King Curtis - tenor saxophone, baritone saxophone;  Pepper Adams - baritone saxophone;  Dave Pike, Johnny Rae - vibraphone;  Don Friedman, Jimmy Wisner - piano;  Al Gorgoni, Mundell Lowe, Charles Macey, Attila Zoller - guitar;  Milt Hinton, Jack Six, Knobby Totah, Reggie Workman - bass;  Joe Mack - electric bass;  Bruno Carr, Rudy Collins, Bernard Purdie, Bobby Thomas - drums;  Willie Bobo, Gary Chester - timbales, percussion;  Ray Barretto, Warren Smith, Carlos "Patato" Valdes - congas;  Ray Mantilla - bongos;  Michael Olatunji - percussion, vocals;  George Devens - percussion;  Maya Angela, Dolores Parker - vocals;  Anthony Bambino, Hinda Barnett, Emanuel Green, Harry Katzman, Leo Kruczek, Gene Orloff, Paul Winter - violin;  Charles McCracken, Kermit Moore - cello;  Arif Mardin, Oliver Nelson, Richard Wess, Jimmy Wisner - arranger, conductor

Our Mann Flute

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King Curtis - Night Train

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 63:54
Size: 147,0 MB
Art: Front

(2:45)  1. Fever
(4:53)  2. Honky Tonk
(2:36)  3. So Rare
(2:33)  4. Tippin' In
(2:23)  5. You Came a Long Way from St. Louis
(3:00)  6. Tuxedo Junction
(2:48)  7. The Hucklebuck
(3:00)  8. Lean Baby
(3:57)  9. Harlem Nocturne
(3:00) 10. Night Train
(2:54) 11. Soft
(4:11) 12. Free for All
(3:53) 13. Easy Like
(2:17) 14. Hot Saxes
(2:18) 15. I'll Wait for You
(2:22) 16. The Party Time Twist
(2:36) 17. Low Down
(2:09) 18. Keep Movin'
(2:13) 19. (Let's Do) The Hully Gully Twist
(2:59) 20. Slow Motion
(2:31) 21. Firefly
(2:25) 22. Something Frantic

King Curtis, R&B's great tenor sax player, rides grooves like a cowboy does unruly steeds. Curtis blows ferociously but is always in control, unlike Junior Walker, whose sax seems to be cussing you out at times (which is Walker's charm). Accompanied by several noted jazz artists Jack McDuff (organ), Eric Gale (guitar), Willie Rodriguez (bongos, conga), and Ray Lucas (drums) Curtis serenades and balms on "Harlem Nocturne," bops-u-silly on "Honky Tonk," and boogies on "The Hucklebuck" and "(Let's Do) The Hully Gully Twist." But those are only a small part of the 22 tracks, all of which emphasize Curtis' patented groove and powerful exhortations. 

Engineer Rudy Van Gelder keeps the sound squeaky clean and the levels balanced. Excellent party or card game music. ~ Andrew Hamilton https://www.allmusic.com/album/night-train-mw0000644718  

Personnel: King Curtis (alto & tenor saxophones); Billy Butler, Eric Gale (guitar); Jack McDuff (organ); Bob Bushnell (bass); Ray Lucas (drums); Willie Rodriguez (bongoes, congas).

Night Train

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King Curtis Quintet - The New Scene Of King Curtis / Soul Meeting

Bitrate: MP3@320K/s
Time: 79:05
Size: 181.0 MB
Styles: Soul-jazz
Year: 2012
Art: Front

[ 5:08] 1. Da-Duh-Dah
[10:22] 2. Have You Heard
[ 5:23] 3. Willow Weep For Me
[ 8:34] 4. Little Brother Soul
[10:49] 5. In A Funky Groove
[ 7:00] 6. Soul Meeting
[ 7:15] 7. Lazy Soul
[ 5:31] 8. All The Way
[ 6:54] 9. Jeep's Blues
[ 5:40] 10. What Is This Thing Called Love
[ 6:25] 11. Do You Have Soul Now

Twofer: Tracks #1-5, from the New Jazz 12" album The New Scene of King Curtis (NJ8237),Tracks #6-11, from the Prestige 12" album Soul Meeting (ST7222). Bass – Paul Chambers; Cornet – Nat Adderley; Drums – Belton Evans (tracks: 6 to 11), Oliver Jackson (tracks: 1 to 5); Piano – Wynton Kelly; Tenor Saxophone – King Curtis. Recorded At Rudy Van Gelder Studio – 1960.

Tenorman King Curtis (1934-1971) is best known as a rhythm and blues star. But, as he shows here, fronting two coruscating rhythm sections graced by pianist Wynton Kelly, and sharing the front line with the sparkling trumpet and cornet of Nat Adderley, there was much more to him than that.

Confident, fluent and agile, he builds his solos with care and economy, his big, warm, wraparound tone recalling the blues-drenched power and authority of Gene Ammons. He has an ideal partner in the ebulliently inventive Adderley, while Kelly once dubbed the most swinging pianist ever by no less than drummer Jimmy Cobb, who played with him and the bassist here, Paul Chambers, in Miles Daviss rhythm section lifts these sessions as only he could. Ably abetted by Chambers, one of the best on his instrument in jazz, Kelly, impeccable both as soloist and accompanist, is an indispensable element in the success of these sessions.

The New Scene Of King Curtis / Soul Meeting

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King Curtis - Have Tenor Sax, Will Play / Instant Groove

Album: Have Tenor Sax, Will Play (Original Album Plus Bonus Tracks 1959)
Size: 104,9 MB
Time: 39:20
File: MP3 @ 320K/s
Released: 1959/2006
Styles: Jazz, Soul, R&B, Rock
Art: Front

01. Midnight Ramble (2:33)
02. Linda (3:12)
03. The Shake (2:40)
04. Jay Walk (4:14)
05. Lil Brother (4:54)
06. Peter Gunn (2:53)
07. The Groove (3:09)
08. Snake Eyes (2:57)
09. Cuban Twilight (2:48)
10. Birth Of The Blues (2:32)
11. Chili (2:06)
12. Jest Smoochin' (Bonus Track) (2:42)
13. The Birth Of The Blues (Bonus Track) (2:32)

This is one fun dance record, right from the opening bars of "Midnight Ramble," a piece that sounds like a cross-breeding of "Bo Diddley," with both the sax and the lead guitar having fun with the central riff, and "Yakety Sax." Not everything here is as delightful, hypnotically frenetic as that Curtis Ousley semi-original, but most of the album is done with an infectious sense of humor, and even the predictable numbers here, like "Linda," with its tango tempo, is eminently listenable, if not exactly breaking any new horizons in R&B. Other tracks, like "Jaywalk" and "Lil Brother," are slightly more adventurous; and the band has a lot of fun with "Peter Gunn." The final two numbers, "Birth of the Blues" and "Chili," don't quite fit in with the rest of the record, both utilizing orchestral accompaniment in lieu of the band. ~by Bruce Eder

Have Tenor Sax, Will Play

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Album: Instant Groove
Size: 82,9 MB
Time: 34:43
File: MP3 @ 320K/s
Released: 1969/2015
Styles: Jazz Soul, Jazz Rock, R&B
Art: Front

01. Instant Groove (2:21)
02. Hey Joe (2:53)
03. Foot Pattin' (4:45)
04. Wichita Lineman (3:03)
05. Games People Play (2:44)
06. Sing A Simple Song (2:48)
07. The Weight (2:43)
08. La Jeanne (2:53)
09. Little Green Apples (2:43)
10. Somewhere (2:27)
11. Hold Me Tight (2:06)
12. Hey Jude (3:12)

King Curtis was the last of the great R&B tenor sax giants. Born Curtis Ousley in Fort Worth, Texas, he came to prominence in the mid-'50s as a session musician in New York, recording, at one time or another, for most East Coast R&B labels. A long association with Atco/Atlantic began in 1958, especially on recordings by the Coasters. He recorded singles for many small labels in the '50s -- his own Atco sessions (1958-1959), and Prestige/New Jazz and Prestige/Tru-Sound for jazz and R&B albums (1960-1961). Curtis also had a number one R&B single with "Soul Twist" on Enjoy (1962). He was signed by Capitol (1963-1964), where he cut mostly singles, including the number 20 R&B hit "Soul Serenade." He returned to Atco/Atlantic in 1965, where he remained for the rest of his life. He had solid R&B single success with "Memphis Soul Stew" and "Ode to Billie Joe" (1967). Beginning in 1967, Curtis started to take a more active studio role at Atlantic, leading and contracting sessions for other artists, producing with Jerry Wexler, and later on his own. He also became the leader of Aretha Franklin's backing unit, the Kingpins. He compiled several albums of singles during this period. All aspects of his career were in full swing at the time he was murdered in 1971. He was inducted into the Rock & Roll Hall of Fame in 2000. ~by Bob Porter

Instant Groove

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King Curtis - Plays Great Memphis Hits

Styles: Jazz Funk
Year: 1967
File: MP3@320K/s
Time: 31:10
Size: 71,9 MB
Art: Front

(2:58)  1. Knock On Wood
(2:27)  2. Good to Me
(2:39)  3. Hold On! I'm Coming
(3:17)  4. When Something Is Wrong With My Baby
(2:20)  5. Green Onions
(2:43)  6. You Don't Miss Your Water
(2:38)  7. Fa-Fa-Fa-Fa-Fa (Sad Song)
(2:36)  8. In the Midnight Hour
(2:36)  9. The Dog (aka Walking the Dog)
(2:24) 10. I've Been Loving You Too Long
(2:30) 11. Last Night
(1:56) 12. Jump Back

King Curtis was the last of the great R&B tenor sax giants. He came to prominence in the mid-'50s as a session musician in New York, recording, at one time or another, for most East Coast R&B labels. A long association with Atlantic/Atco began in 1958, especially on recordings by the Coasters. He recorded singles for many small labels in the '50s -- his own Atco sessions (1958-1959), then Prestige/New Jazz and Prestige/TruSound for jazz and R&B albums (1960-1961). Curtis also had a number one R&B single with "Soul Twist" on Enjoy Records (1962). He was signed by Capitol (1963-1964), where he cut mostly singles, including "Soul Serenade." Returning to Atlantic in 1965, he remained there for the rest of his life. He had solid R&B single success with "Memphis Soul Stew" and "Ode to Billie Joe" (1967). Beginning in 1967, Curtis started to take a more active studio role at Atlantic, leading and contracting sessions for other artists, producing with Jerry Wexler, and later on his own. He also became the leader of Aretha Franklin's backing unit, the Kingpins. He compiled several albums of singles during this period. All aspects of his career were in full swing at the time he was murdered in 1971. ~ Bob Porter  https://itunes.apple.com/us/artist/king-curtis/id823440#fullText

Plays Great Memphis Hits

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King Curtis - The Blues Don't Care

Size: 180,6 MB
Time: 77:55
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Saxophone Jazz, Blues Jazz, Soul Jazz
Art: Front

01. Ain't Nobody's Business (3:04)
02. Soul Street (9:06)
03. I Have To Worry (2:40)
04. Jivin' Time (4:48)
05. Fever (2:40)
06. Lazy Soul (7:12)
07. Night Train (2:56)
08. Trouble In Mind (2:57)
09. Tuxedo Junction (2:56)
10. Soul Meeting (6:57)
11. Nobody Knows You When You're Down And Out (3:22)
12. So Rare (2:32)
13. Blues At The Five Spot (5:39)
14. All The Way (5:28)
15. Lean Baby (2:57)
16. Jeep's Blues (6:54)
17. Woke Up In The Morning (2:49)
18. Sweet And Lovely (2:51)

Curtis Ousley (February 7, 1934 – August 13, 1971), who performed under the name King Curtis, was an American tenor, alto, and soprano saxophonist who played rhythm and blues, soul, rock, and soul jazz.

Curtis was born in Fort Worth, Texas. During the 1950s and early to mid 1960s he both worked as a session player on such records as Yakety Yak and recorded his own singles. His best known singles from this period are “Soul Twist” (Enjoy) and “Soul Serenade” (Capitol). In 1965 he moved to Atlantic Records, where his most successful singles were “Memphis Soul Stew” and “Ode to Billie Joe. ” He led Aretha Franklin’s backup band, The Kingpins, and produced records, at first with Jerry Wexler and then by himself.

Curtis guested on John Lennon’s Imagine and was capable of attracting the best session musicians to put in appearances for his own albums, including Eric Clapton, guitarist Duane Allman on Instant Groove, and organist Billy Preston and drummer Bernard Purdie on Live At Fillmore West.

On Saturday August 13 1971 he was stabbed outside his apartment and pronounced dead upon arrival at hospital.

The Blues Don't Care

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King Curtis - The Best Of King Curtis

Bitrate: MP3@320K/s
Time: 42:15
Size: 96.7 MB
Styles: R&B-Blues-Southern Soul
Year: 1996
Art: Front

[2:31] 1. Night Train
[2:38] 2. One Mint Julep
[2:38] 3. Soul Twist
[2:56] 4. Soul Serenade
[2:50] 5. Honky Tonk
[2:33] 6. Slow Drag
[2:26] 7. Hide Away
[2:40] 8. Strollin' Home
[2:55] 9. Sister Sadie
[2:15] 10. Tanya
[2:34] 11. Summer Dream
[3:20] 12. Hung Over
[2:00] 13. Bill Bailey, Won't You Please Come Home
[2:41] 14. More Soul
[2:35] 15. Shake
[2:36] 16. A Change Is Gonna Come

Recording Date: August 23, 1962 - March 11, 1965

Best of King Curtis collects the bulk of King Curtis' singles for Capitol, plus selected album tracks. Although he didn't have many hits while on Capitol -- only "Soul Serenade" hit the charts -- this collection demonstrates the depths of Curtis' talents, showcasing his stabs at jazz and blues in addition to his trademark R&B. Instant Soul remains a stronger introduction, but for fans that want to dig a little deeper,

The Best of King Curtis is an excellent purchase. ~Stephen Thomas Erlewine

The Best Of King Curtis

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King Curtis - That Lovin' Feeling

Bitrate: 320K/s
Time: 30:54
Size: 70.7 MB
Styles: Soul-jazz-funk
Year: 1966/2006
Art: Front

[2:56] 1. The Shadow Of Your Smile
[2:06] 2. Michelle
[2:37] 3. Cryin' Time
[2:14] 4. I Left My Heart In San Francisco
[3:03] 5. Moonglow
[2:43] 6. Spanish Harlem
[3:18] 7. You've Lost That Loving Feeling
[2:24] 8. What Now My Love
[2:26] 9. And I Love Her
[2:05] 10. Make The World Go Away
[2:44] 11. The Girl From Ipanema
[2:12] 12. On Broadway

That Lovin' Feeling was originally released in 1966 on Atlantic subsidiary Atco Records and featured King Curtis playing saxello (a soprano saxophone, for all practical purposes) on a dozen 1960s pop hits. This isn't the hard-blowing and honking Curtis that most people will recall from his Enjoy sessions, but shows him in a jazzy MOR mode working with heavily orchestrated arrangements done by Arif Mardin. The end result is a restrained and refined album with a mellow, after-hours feel, and if Curtis fails to really belt anything out, his tone is always appropriate (with just the hint of an edge) and his lead lines show his jazz roots and his ease with a ballad. The standout tracks are both Jerry Leiber and Mike Stoller songs, the beautiful and easy groove of "Spanish Harlem" and the light, rhythmic funk of "On Broadway." Curtis is in full lyrical mode on these cuts, playing within the arrangements, and if this style is not the one most people expect from him, it is revealing to realize how versatile he was as a horn man (one of the reasons he was so in demand as a session player). Fans of King Curtis' more familiar hard R&B sax sound may want to skip this release, but listeners who want a full and rounded portrait of this wonderful musician's range should definitely give That Lovin' Feeling a try. ~Steve Leggett

That Lovin' Feeling

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King Curtis - Azure

Bitrate: 320K/s
Time: 38:00
Size: 87.0 MB
Styles: Soul-jazz, R&B
Year: 2006
Art: Front

[2:34] 1. Close Your Eyes
[2:27] 2. Unchained Melody
[3:03] 3. Off Shore
[2:58] 4. Nearness Of You
[2:46] 5. Misty
[2:43] 6. Stranger
[2:35] 7. When I Fall In Love
[2:55] 8. It Ain't Necessarily So
[2:54] 9. Our Love Is Here To Stay
[2:27] 10. My Love Is Your Love
[2:47] 11. Sweet And Lovely
[3:04] 12. Azure
[2:04] 13. The Lone Prarie
[2:36] 14. Jay Walk

King Curtis' lone LP for the tiny Everest label eschews his signature gutbucket R&B approach in favor of a late-night, bluesy atmosphere that brilliantly captures the unparalleled soulfulness of his tenor sax solos. Ballads and standards spanning from "Unchained Melody" to "The Nearness of You" are vividly realized by the lush arrangements of Sammy Lowe, complete with vocal contributions from the Malcolm Dodds Singers. Still, it's Curtis' melancholy leads that command the spotlight, boasting the cerebral intricacy of jazz and the emotional heft of soul. ~Jason Ankeny

Azure

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Oliver Nelson - Soul Battle

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 47:03
Size: 108,0 MB
Art: Front

(5:43)  1. Blues at the Five Spot
(9:37)  2. Blues for M.F. (Mort Fega)
(5:42)  3. Anacruses
(9:22)  4. Perdido
(7:30)  5. In Passing
(9:07)  6. Soul Street

This intriguing session matches together three powerful tenor players: Oliver Nelson, King Curtis (in a rare jazz outing) and Jimmy Forrest. With fine backup work by pianist Gene Casey, bassist George Duvivier and drummer Roy Haynes, the tenors battle to a draw on a set of blues and basic material (including a fine version of "Perdido"). This CD reissue adds one selection ("Soul Street") from the same date to the original LP program and is easily recommended to fans of big-toned tenors and straightahead swinging. ~ Scott Yanow  http://www.allmusic.com/album/soul-battle-mw0000612736

Soul Battle

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King Curtis - Soul Meeting

Styles: Jazz
Year: 1960/1994
File: MP3@320K/s
Time: 79:04
Size: 181,2 MB
Art: Front

( 5:11)  1. Da-Duh-Dah
(10:23)  2. Have You Heard?
( 5:25)  3. Willow Weep For Me
( 8:34)  4. Little Brother Soul
(10:36)  5. In A Funky Groove
( 7:01)  6. Soul Meeting
( 7:16)  7. Lazy Soul
( 5:31)  8. All The Way
( 6:57)  9. Jeep's Blues
( 5:42) 10. What Is This Thing Called Love?
( 6:25) 11. Do You Have Soul Now?

King Curtis, an influential and greatly in-demand R&B tenorman, made relatively few jazz dates in his career. This CD has two of the best, complete albums originally called The New Scene of King Curtis and Soul Meeting; the former is also available as a separate CD but should be skipped in favor of this one. Curtis teams up with the passionate cornetist Nat Adderley, pianist Wynton Kelly, either Paul Chambers or Sam Jones on bass and Oliver Jackson or Belton Evans on drums. The music is blues-based bop, with seven basic Curtis originals and four standards. Highly recommended, this set serves as proof that King Curtis could have been a viable jazz player.~ Scott Yanow 

http://www.allmusic.com/album/soul-meeting-compilation-mw0000124320

Soul Meeting

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