Cannonball Adderley / Nat Adderley Quintet - What Is This Thing Called Soul (Live In Europe)

Styles: Saxophone And Cornet Jazz
Year: 1960
File: MP3@320K/s
Time: 42:06
Size: 96,7 MB
Art: Front

(8:51) 1. Azule Serape
(6:43) 2. Big "P"
(6:36) 3. One For Daddy-O
(9:59) 4. The Chant
(8:26) 5. What Is This Thing Called Love
(1:29) 6. Cannonball's Theme

Cannonball Adderley's 1960 Quintet (with cornetist Nat Adderley and pianist Victor Feldman) was in top form during their tour of Europe. Norman Granz did not release the music heard on this CD until almost 25 years after the fact but the strong solos and enthusiastic ensembles had not dated nor faded with time. These versions of "The Chant," "What Is This Thing Called Love?" and "Big 'P'" make for interesting comparisons with the better-known renditions. Adderley fans will want this set. By Scott Yanow https://www.allmusic.com/album/what-is-this-thing-called-soul-mw0000674626


Personnel: Alto Saxophone – Cannonball Adderley; Cornet – Nat Adderley; Drums – Louis Hayes; Piano – Vic Feldman; Bass – Sam Jones.

What Is This Thing Called Soul (Live In Europe)

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Grant Green - Born To Be Blue

Bitrate: MP3@320K/s
Time: 59:10
Size: 135.5 MB
Styles: Bop, Guitar jazz
Year: 1962/1989
Art: Front

[6:29] 1. Someday My Prince Will Come
[4:56] 2. Born To Be Blue
[4:41] 3. Born To Be Blue (Alternate Take)
[6:05] 4. If I Should Lose You
[8:04] 5. Back In Your Own Back Yard
[5:50] 6. My One And Only Love
[6:21] 7. Count Every Star
[7:57] 8. Cool Blues
[8:44] 9. Outer Space

Bass – Sam Jones; Drums – Louis Hayes; Guitar – Grant Green; Piano – Sonny Clark; Tenor Saxophone – Ike Quebec. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey. B3 recorded on December 23, 1961. All other titles recorded March 1st, 1962. Digitally remastered.

Although Grant Green provided his share of groove-oriented soul-jazz and modal post-bop, his roots were hard bop, and it is in a bop-oriented setting that the guitarist excels on Born to Be Blue. Most of the material on this five-star album was recorded at Rudy Van Gelder's New Jersey studio on December 11, 1961, when Green was joined by tenor titan Ike Quebec, pianist Sonny Clark, bassist Sam Jones, and drummer Louis Hayes. Tragically, Quebec was near the end of his life -- the distinctive saxman died of lung cancer at the age of 44 on January 16, 1963 -- but there is no evidence of Quebec's declining health on Born to Be Blue. He was playing as authoritatively as ever well into 1962, and the saxman is in fine form on hard-swinging interpretations of "Someday My Prince Will Come" and Al Jolson's "Back in Your Own Back Yard." It's interesting to hear Quebec playing bop, for his big, breathy tone was right out of swing and was greatly influenced by Coleman Hawkins and Ben Webster. Although Quebec and Green (who was 14 years younger) had very different musical backgrounds, they were always quite compatible musically. They clearly enjoyed a strong rapport on the uptempo selections as well as ballads like "My One and Only Love" and Mel Torme's "Born to Be Blue." Originally a vinyl LP, this album was reissued on CD in 1989, when Blue Note added an alternate take of the title song and a previously unreleased version of Charlie Parker's "Cool Blues." ~Alex Henderson

Born To Be Blue

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Cannonball Adderley Quintet - In Concert

Styles: Saxophone Jazz
Year: 1961/2023
File: MP3@320K/s
Time: 71:56
Size: 165,2 MB
Art: Front

( 8:09) 1. Exodus
(10:55) 2. Hi Fly
( 8:16) 3. Our Delight
( 5:46) 4. Serenity
(14:07) 5. Sack O' Woe
( 6:38) 6. Lisa
( 8:49) 7. This Here
( 9:11) 8. New Delhi

When Cannonball first played New York, he was welcomed as a successor to Charlie Parker. Easy to see why, Cannonball has the fluency and a tone that has a serrated edge. The special value of Cannonball’s music is that there is little that is startlingly new about it but it was contemporary in conception and steeped in the traditions of jazz. Adderley was a populiser. He could sense what would play with an audience, luckily it was what he wanted to play. He was a player with a secure sense of swing and an alto sound reminiscent of Parker in addition to a touch of sanctified soul and gospel. His energetic effortless style, eloquent and outgoing. encouraged audiences to warm to his optimism: a consolidator rather than an innovator.

Nat Adderley is the surprise of the album and in many ways he edits his solos in contrast to his loquacious brother. Consistently underrated and underappreciated, Nat started his professional life trying to sound like Chet Baker. He moved eventually to work on the Gillespie approach. He believed the reason that the Adderley music was appreciated was because it was based on the Black Southern Church, not the classical tradition.

Victor Feldman is one of the few UK musicians who moved successfully to the US. He was a composer: he wrote four of the pieces on the album. Before joining Cannonball, he worked with Woody Herman and Shelly Manne. His percussive piano playing is featured throughout.

The superb rhythm section powers all the music. Louis Hayes eventually spent six years with Cannonball. He is one of the key bop drummers. His work on this album shows him to be the kind of drummer who works for the band rather than to inflate his own ego. The fluidity of Sam Jones playing is matched by the rich sound he plucks from his bass. Eventually he spent seven years with Cannonball.

The rolling rhythm of ‘Exodus opens the album before a scorching solo from Cannonball establishes the joyful mood. A more restrained solo from Nat has him, after a while, reaching for the upper register. Victor Feldman tries to keep the intensity high.

Randy Weston’s ‘Hi Fly’ is introduced by Feldman on piano and the jaunty theme is played before Feldman turns to the vibraphone with the alto and trumpet punctuating the vibraphone solo. Nat Adderley’s solo is slightly more abstract than some of this other work. The assertive Cannonball finishes the piece with a flourish.

The group uncoils Tadd Dameron’s ‘Our Delight’ with energy and zest. The speed suits Cannonball who races ahead to challenge; his brother who is less happy with the tempo. Feldman uses the vibes for his solo before Louis Hayes has a brief musical comment.

‘Serenity’ is one of those pieces that is programmed to give the alto and trumpet some respite. It is a tune that is shapely, rhapsodic, romantic and not very memorable. However, the interplay with Sam Jones gives the piece added depth. ‘Sack O’ Woe’ and ‘This Here’ are feel-good pieces precursors of the kind of compositions that Cannonball would play in the future such as ‘Mercy Mercy’. In 1961, at a time when others were experimenting, Cannonball played straightahead jazz. This album was recorded at a time, just after his stint with Miles Davis on ‘Kind of Blue’. Cannonball connected with audiences who appreciated the great passion that he could bring to his improvisation.

Record producer Orrin Keepnews described Cannonball as ‘one of the most completely alive human beings I had ever encountered: a big man and a joyous man.’ You get a sense of some of those qualities when listening to the music of this night in Copenhagen.By Jack Kenny https://jazzviews.net/cannonball-adderley-quintet-in-concert/

Personnel: Cannonball Adderley (alto saxophone); Nat Adderley (trumpet); Victor Feldman (piano, vibraphone); Sam Jones (bass); Louis Hayes (drums)

In Concert

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Eddie 'Cleanhead' Vinson With The Cannonball Adderley Quintet - Back Door Blues

Bitrate: MP3@320K/s
Time: 61:40
Size: 141.2 MB
Styles: Blues/Jazz/R&B, West Coast Blues
Year: 1962/2013
Art: Front

[2:12] 1. Bright Lights, Big City
[2:33] 2. This Time
[4:17] 3. Hold It
[6:30] 4. Arriving Soon
[4:17] 5. Kidney Stew
[2:19] 6. Back Door Blues
[2:46] 7. Person To Person
[3:02] 8. Just A Dream
[4:48] 9. Audrey
[4:03] 10. Vinsonology
[6:30] 11. Cannonizing
[6:20] 12. Bernice's Bounce
[4:16] 13. Kidney Stew (Alt Take)
[3:35] 14. Back Door Blues (Alt Take)
[4:04] 15. Vinsonology (Alt Take)

Alto Saxophone – Julian "Cannonball" Adderley* (tracks: 1 to 9, 11), Eddie "Cleanhead" Vinson (tracks: 3, 4, 6, 9, 11); Bass – Sam Jones; Cornet – Nat Adderley; Drums – Louis Hayes; Piano – Joe Zawinul; Vocals – Eddie "Cleanhead" Vinson (tracks: 1, 2, 4, 5, 7, 8, 10).

A plethora of "lost" recording dates have popped up since the dawn of the compact disc, especially in the jazz world. Unfortunately, most of them haven't been worth the wait and, indeed, as underwhelming as some of them have been, it might at least aesthetically speaking have been better had they not been unearthed. Happily, this isn't one of these occasions. The two sessions here were recorded in 1961 and 1962 in Chicago and New York, and feature Cannonball Adderley's quintet that included pianist Joe Zawinul, bassist Sam Jones, drummer Louis Hayes, and brother Nat on cornet. Cleanhead sings his ass off and plays some alto with Cannonball. These dates reveal an anomaly in jazz at the time: The recordings are the place on the map where jazz and R&B meet head on, bringing the full force of their respective traditions and neither giving an inch. And it works so well from the wild bluesy shout of Vinson in call and response with Adderley on "Bright Lights, Big City" and "Hold It!" to the shimmering dual jazz saxophones on "Arriving Soon" that it begs the question as to why it didn't happen more often.

The soloing is top-flight, with some especially knotty work by Nat on "Person to Person" and "This Time." Cannonball is excellent throughout; the R&B and blues idioms are all meat and potatoes for him, and he feels confident settling inside the groove without the need to push the boundary. Ironically, it's Vinson who compensates in that way. And the anchor in all of this is Zawinul, leading the rhythm section, condensing both musics to their most essential harmonics and tonalities, and building them out with a swinging style and cadence that are nothing short of remarkable. These two sets may be comprised of songs and standards from the repertoire, but make no mistake, they are blowing sessions. The digital transfer by Joe Tarantino is flawless and so lifelike it's startling. Highly recommended. ~Thom Jurek

Back Door Blues

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Oscar Peterson Trio - On a Clear Day: Live in Zurich, 1971

Styles: Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 62:46
Size: 144,5 MB
Art: Front

( 7:33) 1. The Lamp Is Low
( 7:00) 2. Younger Than Springtime
( 6:15) 3. On A Clear Day
(10:28) 4. Young And Foolish/a Time For Love
( 8:10) 5. Soft Winds
( 8:57) 6. Mack The Knife
( 7:38) 7. Where Do I Go From Here?
( 6:42) 8. On The Trail

Pianist Oscar Peterson had some year in 1971. He recorded Oscar Peterson in London (in March), In Tune with the Singers Unlimited (in July), Reunion Blues with the Milt Jackson Quartet (in July), In Concert (in July) and Great Connection (in October). What all of these albums have in common is they were recorded in Europe. Now we can add a sixth On a Clear Day: Live in Zurich 1971 (Mack Avenue) recorded on November 24, 1971 at Zurich's Kongresshaus, a complex of meeting spaces on Lake Zurich that includes the historic Tonhalle Zürich concert hall.

Accompanying Peterson in Zurich and on his entire six-week European tour were bassist Niels-Henning Ørsted Pedersen and drummer Louis Hayes. Previously unreleased, the music on the new album was recorded originally for a single broadcast on Radio Zurich. After airing, the tape went up on a shelf where it remained until now.

The songs performed are The Lamp Is Low, Younger Than Springtime, On a Clear Day, Young and Foolish / A Time for Love, Soft Winds, Mack the Knife, Where Do I Go From Here? and On the Trail.

Peterson's playing here ranges from terrific to sensational. While the early tracks lean toward pensive and rollicking (The Lamp Is Low, Younger Than Springtime, Young and Foolish and Soft Winds), his keyboard attack virtually explodes on On a Clear Day and the last three tracks Mack the Knife, Where Do I Go From Here? and On the Trail. The drive and speed with which Peterson plays and his cascades of flawless improvisation is hair-raising. [Poster above for a concert on the same tour three days later in Geneva, Switzerland]

Mack the Knife is perhaps the show-stopper. You won't know what he's playing until 4:05, which must have been quite a surprise for an audience wondering what his lengthy introduction was building toward. A sharp ear can pick out where it's heading, but he did a wonderful job of disguising his intention. Another high point are Peterson's chords on Younger Than Springtime. An exhilarating album and a terrific find. We have Kelly Peterson, Oscar's wife and the album's producer, to thank. Oscar Peterson died in 2007 at age 82; Niels-Henning Ørsted Pedersen died in 2005 at age 58. By JAZZWAX BY MARC MYERS https://www.allaboutjazz.com/news/oscar-peterson-live-in-zurich-1971/

Personnel: Piano – Oscar Peterson; Bass – Niels-Henning Ørsted Pedersen; Drums – Louis Hayes

On a Clear Day: The Oscar Peterson Trio - Live in Zurich, 1971

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David Hazeltine - A World For Her

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 63:14
Size: 145,2 MB
Art: Front

(10:45) 1. My Foolish Heart
( 5:02) 2. This One's For Bud
( 9:52) 3. A World For Her
( 6:00) 4. Moment's Notice
( 8:58) 5. Soul Eyes
( 7:28) 6. Old Devil Moon
( 7:21) 7. What'll I Do
( 7:44) 8. Bitter Sweet

Pianist David Hazeltine is the leader of this straight-ahead quartet date, contributes two originals, and is in superior form, but tenor saxophonist Javon Jackson often steals the show. Jackson, who in other settings sometimes hints strongly at Joe Henderson, on this occasion looks more toward late-'50s John Coltrane, particularly on a beautifully interpreted version of "Soul Eyes" and Trane's "Moment's Notice."

Other highlights include an extended "My Foolish Heart," Hazeltine's rightfully boppish "This One's for Bud," and "What'll I Do." Hazeltine and Jackson are joined by bassist Peter Washington and either Louis Hayes or Joe Farnsworth on drums, with vibraphonist Steve Nelson making a guest appearance on "Old Devil Moon." The music is quite enjoyable and very well played, one of Javon Jackson's finest recordings and a superior outing for David Hazeltine. ~Scott Yanow https://www.allmusic.com/album/a-world-for-her-mw0000250980

Personnel: Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth; Louis Hayes; Tenor Saxophone – Javon Jackson; Vibraphone – Steve Nelson

A World For Her

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Curtis Fuller - Jazz...It's Magic

Styles: Trombone Jazz
Year: 2014
File: MP3@320K/s
Time: 40:15
Size: 92,7 MB
Art: Front

( 4:53) 1. Two Ton
(13:43) 2. Medley ; a) It's Magic b) My One And Only c) They Didn't Believe Me
( 5:44) 3. Soul Station
( 7:18) 4. Club Car
( 8:35) 5. Upper Berth

Trombonist Curtis Fuller's recordings for Savoy in the 1950s, like those of labelmates Hank Mobley, Milt Jackson, Wilbur Harden, Donald Byrd, and others, were prototypes in the development of hard bop. The next stage would come with the subsequent work of many of the same artists for Blue Note, where improved recording technique, greater attention to writing and arranging, and a more generous policy with respect to preparation and rehearsal time helped bring in the classic hard bop era of the late '50s and early '60s. On Fuller's Jazz...It's Magic!, the hard bop prototype is still under refinement, but it's easy to enjoy the music in its essential elements: elegant, bluesy melodies; earthy, yet sophisticated, solo work; and fresh treatments of standards. For this 1957 date, Fuller is joined by the appealingly urbane Tommy Flanagan (piano), the versatile Louis Hayes (drums), and George Tucker (bass), whose loping but solid style resembles Paul Chambers'. Joining the trombonist in the frontline is the relatively obscure alto player Sonny Red, who has a clean, expressive, melodic approach to the Charlie Parker legacy that provides many of this CD's best moments. Three Fuller originals, Frank Foster's "Upper Berth," and a medley of ballad standards make up the program. If there are any misgivings about the album, it would be the long medley (over 13 minutes), which drags on the overall pace. That said, Red's and Flanagan's solo spots on the medley are superb, but the listener's attention can be expected to wander by the time the trombonist finally steps up for his three choruses.~ Jim Todd https://www.allmusic.com/album/jazzits-magic%21-mw0000232650

Personnel: Curtis Fuller – trombone; Sonny Red – alto saxophone; Tommy Flanagan – piano; George Tucker – bass; Louis Hayes – drums

Jazz...It's Magic

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James Clay - A Double Dose of Soul

Styles: Saxophone And Flute Jazz
Year: 1960/2011
File: MP3@320K/s
Time: 40:21
Size: 93,2 MB
Art: Front

(6:37) 1. New Delhi
(6:36) 2. I Remember You
(5:41) 3. Come Rain Or Come Shine
(8:03) 4. Pockets
(5:59) 5. Pavanne
(4:11) 6. Linda Serene
(3:11) 7. Lost Tears

James Clay only led two record sessions before settling in obscurity in Texas, where he would not be rediscovered until the late '80s. Cannonball Adderley helped present him on Riverside in 1960, so it seemed fair that Clay utilized several of Adderley's sidemen on this session (cornetist Nat Adderley or vibraphonist Victor Feldman, bassist Sam Jones, and drummer Louis Hayes) along with a young Gene Harris on piano. Clay splits his time between his lyrical flute and tough tenor, proving to be an excellent bop-based improviser. [The CD reissue adds two alternate takes to the original LP program, highlighted by Feldman's "New Delhi," "Come Rain or Come Shine," and Nat's blues "Pockets."]~ Scott Yanow https://www.allmusic.com/album/a-double-dose-of-soul-mw0000678746

Personnel: Saxophone [Tenor] – James Clay; Flute – James Clay; Bass – Sam Jones; Cornet – Nat Adderley; Drums – Louis Hayes; Piano – Gene Harris; Vibraphone – Victor Feldman

A Double Dose of Soul

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The Cannonball Adderley Quintet - Quintet Plus

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 54:23
Size: 125,3 MB
Art: Front

(8:08)  1. Arriving Soon
(6:25)  2. Well You Needn't
(6:55)  3. New Delhi
(6:56)  4. Winetone
(7:05)  5. Star Eyes
(6:40)  6. Lisa - Take 8
(6:59)  7. Lisa - Alternate Take
(5:12)  8. O.P.

For this CD reissue of a Riverside date, altoist Cannonball Adderley's 1961 Quintet (which includes cornetist Nat Adderley, pianist Victor Feldman, bassist Sam Jones and drummer Louis Hayes) is joined by guest pianist Wynton Kelly on five of the eight selections, during which Feldman switches quite effectively to vibes. The music falls between funky soul-jazz and hard bop, and each of the performances (particularly "Star Eyes" and "Well You Needn't") is enjoyable. The CD adds a new alternate take of "Lisa" and the previously unissued "O.P." to the original program. ~ Scott Yanow https://www.allmusic.com/album/the-quintet-plus-mw0000584171

Personnel: Cannonball Adderley - alto saxophone; Nat Adderley - cornet; Wynton Kelly - piano; Victor Feldman - piano, vibes; Sam Jones - bass; Louis Hayes - drums

The Quintet Plus

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Freddie Hubbard - The Black Angel

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 45:42
Size: 105,2 MB
Art: Front

(16:58)  1. Spacetrack
( 8:20)  2. Eclipse
( 8:20)  3. The Black Angel
( 6:41)  4. Gittin' Down
( 5:21)  5. Coral Keys

Freddie Hubbard released The Black Angel in the same year as the landmark Miles Davis album Bitches Brew. Its obvious Hubbard wanted to appeal to the emerging crossover rock/jazz crowd of the era. The presence of bop, however, still permeated Hubbard's playing, unlike Miles who had long since dropped the form. The opening Hubbard composition "Spacetrack" contains fiery avant garde interplay between Hubbard, James Spaulding on alto and Kenny Barron's electric piano. Thanks to Spaulding and bassist Reggie Workman, much of the playing here maintains intensity. 

The other Hubbard penned originals, "Gittin Down" is an urgent hard swinging boogaloo and the ballad "Eclipse" features Spaulding on flute and Barron on piano. "Coral Keys" written by Walter Bishop, Jr. and Barron's "Black Angel have a Latin tinge highlighted by Spaulding's soaring flute and the congas of Carlos "Patato" Valdes. An enjoyable session leaving the impression Hubbard was preparing to take a different musical direction. ~ Al Campbell https://www.allmusic.com/album/the-black-angel-mw0000054744

Personnel: Trumpet – Freddie Hubbard; Alto Saxophone; Piano, Electric Piano – Kenny Barron; Flute – Jimmy Spaulding ; Bass – Reggie Workman; Congas, Maracas – Carlos "Potato" Valdes; Drums – Louis Hayes

The Black Angel

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Ike Quebec - Ballads

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 52:43
Size: 122,0 MB
Art: Front

(7:24)  1. Nancy (With The Laughing Face)
(4:54)  2. Born To Be Blue
(6:30)  3. The Man I Love - Digitally Remastered
(5:54)  4. Lover Man
(5:21)  5. Willow Weep For Me
(6:04)  6. If I Could Be With You (One Hour Tonight)
(6:39)  7. Everything Happens To Me - Long Version
(5:10)  8. Imagination
(4:43)  9. There Is No Greater Love

Tenor saxophonist Ike Quebec always had a big, warm sound, and he was particularly expert on ballads. This 1997 sampler CD surprisingly does not have any examples of his early work on Blue Note in the mid- to late 1940s, instead concentrating on selections from four of Quebec's seven late-period Blue Note albums, a few songs originally issued as 45s, and "Born to Be Blue," which is taken from an album by guitarist Grant Green. The eight ballads are all standards and put the focus very much on Quebec, making for a fine mood album even if acquiring the full sessions (all but "It Might As Well Be Spring" are currently available on CD) is preferable. ~ Scott Yanow https://www.allmusic.com/album/ballads-mw0000024976

Personnel: Ike Quebec (tenor saxophone); Sonny Clark (piano); Freddie Roach, Sir Charles Thompson, Earl Vandyke (organ); Grant Green, Willie Jones (guitar); Milt Hinton, Sam Jones (bass); Art Blakey, Louis Hayes, Al Harewood, J.C. Heard, Wilbert Hogan (drums).

Ballads

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Louis Hayes - Light and Lively

Styles: Jazz, Post Bop
Year: 1989
File: MP3@320K/s
Time: 65:49
Size: 151,3 MB
Art: Front

(12:29)  1. Light and Lively
( 8:26)  2. If You Could See Me Now
( 6:15)  3. Enchantment
(11:59)  4. The 10th Dimention
( 6:23)  5. For the Love of What
( 9:50)  6. Darian
(10:25)  7. Blues for Macao

Not too light but plenty lively as Louis Hayes cooks things up with a great group that includes Bobby Watson on alto, Charles Tolliver on trumpet, Kenny Barron on piano, and Clint Houston on bass! The core trio of Hayes, Barron, and Houston is a great one skipping along with a fluid ease, and always hitting the in-the-pocket sort of rhythms that would be needed to make a session like this come off right and the horns of Watson and Tolliver in the frontline merge and separate with a lyrical soulfulness that takes us back to the best years of the Horace Silver group, especially when Hayes was a part of that ensemble. 

Titles include "For The Love Of What", "Darian", "Enchantment", "Blues For Macao", and "Light & Lively".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/806505

Personnel:  Drums – Louis Hayes;  Alto Saxophone – Bobby Watson;   Bass – Clint Houston;  Piano – Kenny Barron;  Trumpet – Charles Tolliver

Light and Lively

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Terry Gibbs Quartet - Take It From Me

Styles: Vibraphone Jazz
Year: 1964
File: MP3@320K/s
Time: 31:50
Size: 73,2 MB
Art: Front

(4:24)  1. Take It From Me
(4:00)  2. El Fatso
(3:08)  3. Oge
(2:32)  4. Pauline's Place
(2:33)  5. 8 lbs., 10 ozs.
(6:11)  6. Gee, Dad, It's A Deagan
(4:21)  7. All The Things You Are
(4:37)  8. Honeysuckle Rose

This is a likable small-group date from vibraphonist Terry Gibbs, who welcomes guitarist Kenny Burrell, bassist Sam Jones and drummer Louis Hayes to his quartet. Gibbs contributed six originals, none of which are that catchy, but he also stretches out on "All the Things You Are" and "Honeysuckle Rose." 

Gibbs and Burrell work together quite well, and their improvisations and the upbeat mood of the set are superior to the newer melodies. ~ Scott Yanow https://www.allmusic.com/album/take-it-from-me-mw0000871259

Personnel:  Terry Gibbs – vibes; Kenny Burrell – guitar; Sam Jones – bass; Louis Hayes – drums

Take It From Me

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Rein de Graaff Quintet - New York Jazz

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 36:13
Size: 84,5 MB
Art: Front

( 3:56)  1. Fifty Six
(10:07)  2. A Monk's Dream
( 3:27)  3. Wail
( 5:49)  4. Solar
( 4:36)  5. 81st and 1st
( 8:17)  6. Au Privave

Pianist. Dutch self-taught pianist who's made himself one of Europe's best session players. De Graaff led a trio from 1959 to 1962, then joined The Jazzopters for a year. He then headed his own quartet until 1964, at the same time playing with Erwin Some and Gijs Hendriks. De Graaff formed a new group in 1964 that stayed together until the '80s. He also played with a number of visiting American musicians, among them Hank Mobley, Lee Morgan, Johnny Griffin, Art Taylor, Clifford Jordan, Cecil Payne, Dexter Gordon, Clark Terry, Sonny Stitt, Philly Joe Jones and Arnett Cobb. He made several appearances in New York, and was awarded the Dutch National Jazz Prize in 1980. 

~ Ron Wynn https://www.allmusic.com/artist/rein-de-graaff-mn0000980075/biography

Personnel:  Piano – Rein De Graaff; Baritone Saxophone – Ronnie Cuber; Bass – Sam Jones; Drums – Louis Hayes; Trumpet, Flugelhorn – Tom Harrell

New York Jazz

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Cannonball Adderley - Live!

Styles: Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 45:55
Size: 105,9 MB
Art: Front

(13:29)  1. Little Boy With The Sad Eyes
( 8:54)  2. Work Song
( 6:46)  3. Sweet Georgia Bright
(15:24)  4. The Song My Lady Sings
( 1:19)  5. Theme

Cannonball Adderley Live! is a live album by jazz saxophonist Cannonball Adderley recorded at Shelly's Manne-Hole and released on the Capitol label featuring performances by Adderley with Nat Adderley, Charles Lloyd, Joe Zawinul, Sam Jones and Louis Hayes. The Allmusic review by Scott Yanow awarded the album 3 (out of 5) stars and states: "When Riverside Records went into bankruptcy, Adderley signed with Capitol, a label whose interest in jazz ... tended to be short-lived. 

As a result, Cannonball's recordings would become more commercial as the 1960s developed but this early Capitol effort is quite good. Charles Lloyd had just joined Adderley's Sextet and his tenor and flute were major assets" https://en.wikipedia.org/wiki/Cannonball_Adderley_Live!

Personnel:  Cannonball Adderley - alto saxophone; Nat Adderley - cornet; Charles Lloyd - tenor saxophone, flute; Joe Zawinul - piano; Sam Jones - bass; Louis Hayes - drums

Live!

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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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Louis Hayes Quintet - Quintessential Lou

Styles: Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 58:47
Size: 136,6 MB
Art: Front

(3:58)  1. Progress Report
(6:21)  2. Clarence's Place
(4:45)  3. Mystified
(9:33)  4. Tenderly
(6:55)  5. Decision
(4:44)  6. Lions Den
(5:21)  7. Alter Ego
(6:12)  8. That's the Thing
(5:21)  9. Our Quiet Place
(5:34) 10. Interlude

Drummer Louis Hayes might not have received an over abundance of press over the years yet most jazz aficionados should be cognizant of his past accomplishments which commenced in the 50’s while supporting saxophonist Yuseff Lateef. A true stylist and dynamic leader within the hard-bop scheme of things, Hayes has also performed with Horace Silver, Dexter Gordon, Freddie Hubbard, Gary Bartz and other jazz luminaries as the list goes on and on. However, Hayes is often cited for his ferocious, sweeping and hard driving attack behind the kit while leading his various quartets or quintets which leads us to his latest release on the fine “Montreux Jazz Label” titled, Quintessential Lou. With this new release, Hayes surges onward in the post-bop mold along with rising stars, saxophonist Abraham Burton, trumpeter Riley Mullins, pianist David Hazeltine and the well-established bassist Santi Debriano. The band gets to the matters at hand in a flurry on the opener and pianist James Williams’ composition titled, “Progress Report” as the musicians trade punishing fours atop Hayes rangy yet thoroughly propelling attack. Joe Zawinul’s “Mystified” is a melodic ballad, featuring the drummer’s sharp implementation of rimshots, Latin rhythms and altogether peppery support as the soloists exchange lushly melodic lines yet adhere to the context of the main themes without losing sight of the existing compositional framework. Here, the band performs smooth lines augmented by an up-front yet quietly powerful mode of execution. Tenor saxophonist Abraham Burton displays a corpulent full-bodied tone to compliment his fluid and at times Trane-ish lines on the classic, “Tenderly” as the band evolves this gem into a mid-tempo swing led by Riley Mullins’ radiant phrasing and David Hazeltine’s colorful articulations. On Kenny Drew’s composition, “Lions Den”, the musicians perform within the traditional hard-bop vein while also pursuing an airy outlook as Burton and Riley once again exhibit strong attributes as a front-line horn section while Hayes’ masterful sense of swing and polyrhythmic attack is nothing short of awe-inspiring. - Young drummers out there take note! Listen to Hayes jab and spar while maintaining the constant flow yet rarely if ever diminishing any notions of momentum via his swiftly swinging work on the ride and hi-hat cymbals. In summary, the musicians are in top form under Hayes’ leadership as Quintessential Lou is a welcome edition to Hayes’ already impressive discography as a leader and session musician. Be kind to yourself and check out this latest release by a proven master who generally surrounds himself with his young peers! ~ Glenn Astarita https://www.allaboutjazz.com/quintessential-lou-louis-hayes-tcb-music-review-by-glenn-astarita.php
 

Personnel:  Louis Hayes - drums; Abraham Burton - tenor saxophone;  Riley Mullins - trumpet;  David Hazeltine - piano;  Santi Debriano - bass

Quintessential Lou

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Louis Hayes - Louis at Large

Styles: Jazz, Post Bop
Year: 1996
File: MP3@320K/s
Time: 61:35
Size: 141,4 MB
Art: Front

( 6:42)  1. Check In
( 5:19)  2. Rio
( 6:24)  3. Hen and Hub
(10:00)  4. My Ship
( 6:53)  5. Teef
( 7:33)  6. Dear Lou
( 5:49)  7. Dream Surreal
( 6:34)  8. My Old Flame
( 6:21)  9. Perambulation

For Louis Hayes' first domestic release in nearly 20 years the veteran drummer assembled a group consisting of tenor saxophonist Javon Jackson, trumpeter Riley Mullins, pianist David Hazeltine, and bassist Santi Debriano, took them into the studio, and recorded this collection of no-nonsense, high energy hard bop. Best known for his stints in the groups of Horace Silver (1956-59) and Cannonball Adderley (1959-65), Hayes is at his cymbal ridin', snare drum poppin' best, and the other musicians are up to the task, with Mullins' go-for-broke, high note filled solos giving Louis at Large much of its flavor. Favorites include the uptempo burners "Check In" written by Mullins and Hayes, and Mullins' "Hen and Hub," dedicated to Hayes' former bandmates Joe Henderson and Freddie Hubbard, the bop blues "Teef," which also appeared on Hayes' self-titled 1960 debut recording, and an uptempo arrangement of the standard "My Old Flame," with a medium tempo bridge throughout. This a welcome return to an American label for Hayes.~ Greg Turner https://www.allmusic.com/album/louis-at-large-mw0000082109

Personnel:  Louis Hayes - drums;  Riley Mullins - trumpet;  Javon Jackson - tenor saxophone;  David Hazeltine - piano;  Santi Debriano - bass.

Louis at Large

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Louis Hayes - Serenade For Horace

Styles: Jazz, Post Bop

Year: 2017

File: MP3@320K/s

Time: 59:00

Size: 135,5 MB

Art: Front

(4:53)  1. Ecaroh

(5:20)  2. Señor Blues

(5:51)  3. Song For My Father (feat. Gregory Porter)

(4:08)  4. Hastings Street

(5:14)  5. Strollin'

(5:55)  6. Juicy Lucy

(5:03)  7. Silver's Serenade

(6:44)  8. Lonely Woman

(5:01)  9. Summer In Central Park

(5:49) 10. St. Vitus Dance

(4:56) 11. Room 608

This gem of a tribute album is, in the words of the poet Wordsworth, a "recollection in tranquility" conceived and led by drummer Louis Hayes in memory of his beloved lifelong friend, pianist Horace Silver. In 1956, Silver invited Hayes to New York City from his native Detroit to join the Horace Silver Quintet, which produced a series of ground-breaking Blue Note albums. Now, at 80, Hayes' drumming is as superb and as youthful as ever, a reason in itself to have this album. He brings together a group of seasoned, dedicated musicians to honor Silver, not by imitating or outdoing him, but by playing his music with great fidelity to Silver's ideas and the hard bop period which he helped to innovate. Thankfully, Hayes had the wisdom neither to copy nor expound upon but definitely emulate Silver's contribution in many respects. Pianist Tom Lawton has aptly summarized Silver's unique playing as follows: "Horace had a mixture of a very guttural approach to bebop: a percussive right-hand attack and often very raw, drum-like left-hand accents, (best example: "Opus de Funk"). He also explored a funky, gospel-tinged, soul and groove influenced music ("Song For My Father") that had a unique feel because of his father's origin in the island of Cape Verde." The Cape Verde Islands off the coast of West Africa were slave trade transit points to South America and the Caribbean and where Creole culture -so important to jazz originated, and which shares the Portuguese influence with Brazil. Silver composed his well- known "Song for My Father" after a trip to Brazil that profoundly influenced his subsequent playing. Silver was a prolific composer, sometimes adding his own lyrics. Most of his originals on this album are from the extended and extensive Blue Note recordings between 1952 and 1981. "Ecaroh" (Horace spelled backwards!) and "Room 608" are from the pre-Hayes Jazz Messenger period in which hard bop was literally invented. The album provides a retrospective that is firmly rooted in Silver and hard bop, but is more laid back and less feisty than the original Silver recordings.

The first tune, "Ecaroh" presages the whole album. Hayes' drumming is superb and measured, in contrast to the banal prestidigitation we hear too often. His swing is lighter and more subtle than in the Silver era, perhaps influenced a bit by Elvin Jones. The horn players Abraham Burton on tenor saxophone and Josh Evans on trumpet, vibraphonist Steve Nelson, and bassist Dezron Douglas are completely in service of the music rather than inserting their own idiosyncracies. Next, the iconic "Señor Blues" is a tad slower than on the Silver recording Live at Newport '58 (Blue Note, 2008). Hayes and the group emphasize the R&B influence over the Latin rhythm implied in the title. The saxophone and trumpet work is sharp and clean, echoing Silver Newport cohorts Junior Cookand Louis Smith. Guest vocalist Gregory Porter does a fine if understated delivery of "Song for My Father" with inflections that bear a distinct resemblance to Kurt Elling. The Brazilian samba rhythm that influenced Silver in writing this song comes through clearly. Dee Dee Bridgewater's version (Love and Peace: A Tribute to Horace Silver, Verve, 1995) is faster and more intense. Porter is closer to Silver's intention, but Silver's inspired piano improvisations on this song are well worth going back to for their own sake. At the suggestion of the producer Maxine Gordon, Hayes wrote one original for the collection. "Hastings Street" was stimulated by his memories of Detroit and is a "classic" hard bop tune that is a prefect vehicle for solos, in this case by Burton, Evans, and Nelson. Some feather-like vibes comping by Nelson adds a special touch, and there is some generous co-improvising at the end, something Silver liked to do in his arrangements. "Strollin'" is a virtual replica of the Horace Silver Quintet version on Horace-Scope (Blue Note, 1960) with Junior Cook on tenor and Blue Mitchell on trumpet. "Juicy Lucy" features an outstanding saxophone solo by Burton. The group does a straightforward version of "Silver's Serenade," while Silver's "Lonely Woman" (not the Ornette Coleman tune) is notable for Bryant's extended piano tribute to Silver, which one has been waiting for all along! Silver had a sunny disposition on most days, and "Summer in Central Park" is, as the title suggests, a pleasant sunny day walk in the park. The title of the next tune, "St. Vitus Dance," portends something different but turns out not to be so. St Vitus Dance is a disease characterized by rapid, uncoordinated jerking movements. The version on this album swings so well that it is a cure for that disease rather than a symptom of it! The album ends with "Room 608," a fast-paced strictly bebop tune which shows the important Bud Powell influence on Silver. Silver could have become just another great bebop player, but he was wise enough to pursue his own voice, which, if we can judge from the lyrics of "Song for My Father," is a striving that came from the advice of his dad. And Louis Hayes is to be thanked for adhering to his stated goal: a loving remembrance and tribute to Horace Silver rather than a flashy post- modern pot-boiler. ~ Victor L.Schermer https://www.allaboutjazz.com/serenade-for-horace-by-victor-l-schermer.php

Personnel: Louis Hayes: drums and leader; Abraham Burton: tenor saxophone; Josh Evans: trumpet; Steve Nelson: vibraphone; David Bryant: piano; Dezron Douglas: bass. (Gregory Porter, vocalist, on Song for My Father.”)

Serenade For Horace

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Louis Hayes - Nightfall

Styles: Jazz, Post Bop 

Year: 1991

File: MP3@320K/s

Time: 63:23

Size: 145,5 MB

Art: Front

( 4:32)  1. Route 88 East

( 8:30)  2. Sun Showers

( 7:46)  3. Nightfall

( 9:12)  4. Marie Antoinette

(10:45)  5. There's Something About You I Don't Know

( 5:49)  6. André

(10:26)  7. I Waited For You

( 6:19)  8. The Spoiler

A superior hard bop drummer best known for supporting soloists rather than taking the spotlight himself, Louis Hayes led a band in Detroit as a teenager and was with Yusef Lateef during 1955-1956. He had three notable associations: Horace Silver's Quintet (1956-1959), the Cannonball Adderley Quintet (1959-1965), and the Oscar Peterson Trio (1965-1967). Hayes often teamed up with bassist Sam Jones, both with Adderley and Peterson and in freelance settings. He led a variety of groups during the 1970s, including quintets co-led by Junior Cook and Woody Shaw, and appeared on many records through the years with everyone from John Coltrane and Cecil Taylor to McCoy Tyner, Freddie Hubbard, and Dexter Gordon. He started leading his own sessions beginning in the '70s, including 1974's Breath of Life, 1977's Real Thing, and 1979's Ichi-Ban. Other well-received albums followed, including 1983's Colour, 1989's Una Max, 1994's Blue Lou, and 1996's Louis at Large. Hayes continued to stay busy in the 2000s, releasing albums like 2002's Dreamin' of Cannonball and 2009's Time Keeper. On his 2017 Blue Note album, Serenade for Horace, Hayes paid tribute to his friend and former boss the late pianist Horace Silver. ~ Scott Yanow https://www.allmusic.com/artist/louis-hayes-mn0000237496/biography

Personnel: Louis Hayes (drums); Gerald Hayes (alto saxophone); Eddie Allen (trumpet); Larry Willis (piano).

Nightfall

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