Conte Candoli & Max Roach - Jazz Structures

Styles: Trumpet, Cool Jazz, Bop
Year: 1960
File: MP3@320K/s
Time: 72:43
Size: 169,0 MB
Art: Front

(4:45) 1. Facts About Max
(4:56) 2. Milano Blues
(3:48) 3. Swingin' The Blues
(4:36) 4. Bread Line Blues
(4:09) 5. Bye Bye Blues
(5:21) 6. Blues In The Night
(3:50) 7. Royal Garden Blues
(5:08) 8. The Count's Blues
(4:08) 9. Genesis, Part 2
(2:12) 10. Architectonics
(5:27) 11. Directional Suite: Impulse
(1:53) 12. Directional Suite: Automatons
(4:40) 13. Directional Suite: Impulsion, Parts 1 & 2
(3:49) 14. Directional Suite: Complexus
(5:11) 15. The Worker: Rain Blues
(2:10) 16. The Worker: In The Morning
(4:20) 17. The Worker: Quittin' Time
(2:11) 18. Edifice

The inclusion of Max Roach's name on the cover of Jazz Structures is somewhat disingenuous. Upon opening the CD insert, we're informed that Max Roach appears on only four out of eighteen tracks. This information was conspicuously absent from the back cover, where a potential buyer would look to see if a disc's worth spending hard-earned cash on.

Jazz Structures is a reissue of two of Howard Rumsey's "Light House All Stars discs. The first, 1957's Drummin' the Blues, featured Roach on four tracks. Stan Levey is the drummer on the other fourteen.

When present, Roach does what he always does: he knocks it out of the park. The Lighthouse All Stars were the kings of West Coast-style bop and Roach had worked with them as early as 1954. In 1956 alone, Roach played on some of the most important records ever made, like Monk's Brilliant Corners and Sonny Rollins' Saxophone Colossus and several sides with Clifford Brown. By 1957, he was worlds beyond Rumsey and Co. and ready to re-shape the music yet again this time with Booker Little.
The second album tacked on here, the original Jazz Structures (1960), has little in common with the upbeat swing of Drummin' the Blues aside from boasting much of the same lineup. This was the soundtrack to a documentary by filmmaker Les Novros about the construction of LA's Union Oil building. And it feels like a building being constructed: in places it's laborious, rigid, tedious. In others, it's decorous and light. Jazz Structures came just three years after Miles Davis had revolutionized the film soundtrack with his work for L'Ascenseur Pour l'Echafaud. Structures doesn't compare, but Bob Cooper, who scored the work, did a good job, considering the subject matter.

There's some interesting work here by Bud Shank (alto and flutes), Conte Candoli (trumpet), and Red Callender (bass). A playful, circuitous riff pops up on "Architectronics and resurfaces again in the "Directional Suite, where it's reconfigured as "Automatons. Refreshingly untampered-with production helps; it sounds a bit like one of those old quarter-inch-think vinyl jobs. The slightly lo-fi analog production adds a stark, concrete edge. Jazz Structures is a good soundtrack, probably better than the film that inspired it but it's not a Max Roach album.
https://www.allaboutjazz.com/jazz-structures-conte-candoli-lonehill-jazz-review-by-rico-cleffi

Personnel: Conte Candoli: trumpet; Howard Rumsey (leader) with Max Roach: drums (four tracks); Bob Cooper: conductor, tenor saxophone; Bud Shank: alto saxophone, flute; Buddy Collette: baritone saxophone, bass clarinet; Frank Rosilino: trombone; Victor Feldman: piano, vibraphone, conga; Monty Budwig: bass; Stan Levey: drums; Joe Castro: piano; Larry Bunker: vibraphone; Red Callender: bass.

Jazz Structures

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Howard Mcghee - Introducing The Kenny Drew Trio

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 55:38
Size: 129,3 MB
Art: Front

(2:36) 1. Meciendo
(2:50) 2. Lo-flame
(2:52) 3. Fluid Drive
(2:53) 4. I'll Remember April
(3:10) 5. Fuguetta
(2:51) 6. Donnellon
(2:54) 7. Lo-flame (Alt. Take)
(5:21) 8. Yesterdays
(2:29) 9. Stella By Starlight
(3:24) 10. Gloria
(2:45) 11. Be My Love
(3:33) 12. Lover Come Back To Me
(4:43) 13. Everything Happens To Me
(2:50) 14. It Might As Well Be Spring
(2:27) 15. Drew's Blues
(4:23) 16. Yesterdays (Alt. Take)
(3:29) 17. Everything Happens To Me (Alt. Take)

This 1998 CD has all of the music from two formerly scarce 10" LPs. Trumpeter Howard McGhee heads an all-star group that includes trombonist J.J. Johnson, tenor saxophonist Brew Moore, pianist Kenny Drew, bassist Curly Russell, and drummer Max Roach on "I'll Remember April," an original by the leader and four songs (plus an alternate take) by Drew, who was making his recording debut.

Because it was the tail-end of the 78 era, all of the performances are between 2:34 and 3:07 in length but the concise solos are generally quite strong. Although McGhee gets the top billing on this CD, the second half of this disc is actually by the Kenny Drew Trio (with Russell and drummer Art Blakey) from three years later, Drew's debut as a leader. Other than his "Gloria" and the basic "Drew's Blues," all of the music (which is augmented by two alternate takes) is standards including "Be My Love," "Yesterdays," and a surprisingly heated rendition of "It Might As Well Be Spring." Easily recommended to bebop collectors. By Scott Yanow https://www.allmusic.com/album/introducing-the-kenny-drew-trio-mw0000601264

Personnel: Howard McGhee - Trumpet; J.J. Johnson - Trombone; Brew Moore - Saxophone; Kenny Drew - Piano; Curly Russell - Bass; Max Roach - Drums

Howard Mcghee Introducing The Kenny Drew Trio

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Coleman Hawkins - Bean And The Boys

Bitrate: 320K/s

Time: 73:05

Size: 167.3 MB

Styles: Saxophone jazz

Year: 1993/2009

Art: Front

[2:54] 1. In The Hush Of The Night

[2:50] 2. Out To Lunch

[2:48] 3. Every Man For Himself

[2:43] 4. Look Out Jack!

[2:39] 5. On The Bean

[2:51] 6. Recollections

[2:47] 7. Flyin' Hawk

[3:02] 8. Drifting On A Reed

[3:02] 9. I Mean You

[2:38] 10. Bean And The Boys

[2:41] 11. Bean And The Boys

[3:03] 12. Cocktails For Two

[3:00] 13. You Go To My Head

[6:06] 14. Stasch

[5:58] 15. Trust In Me

[6:04] 16. Roll 'em Pete

[5:58] 17. Skrouk

[6:56] 18. Since I Fell For You

[4:55] 19. My Babe

BEAN AND THE BOYS is the perfect title for this compilation, for certainly the list of players heard on this disc reads like a virtual "who's who" in jazz. Hawkins is teamed up with swing era players Jonah Jones (trumpet), and Walter "Foots" Thomas (tenor saxophone) on the first four tracks. Tracks nine through 13 highlight The Bean with the then young lions of bebop, J.J. Johnson (trombone), Fats Navarro (trumpet), Milt Jackson (vibes) and others. The final batch of tunes comes from a post-bop period (where Hawk finally settled musically). Songs from this era (late '50s) tend to incorporate stylistic elements from both swing and bebop. Hawkins himself never really became a bebop soloist per se, though he did sometimes "turn" a bop line quite successfully. All this, if nothing else, shows us the interconnection between the various genres of jazz. Mostly, all the styles heard on BEAN AND THE BOYS contain elements of the blues. As well, all styles herein contain highly syncopated rhythmical ideas, and similar song structures. Highlights include the bopish "Bean and the Boys," the bouncy "Out the Lunch," and the boogie woogie inflected "Roll 'em Pete."

Coleman Hawkins (tenor saxophone); Roy Gaines (guitar); Jerome Richardson (flute, alto saxophone); Eddie Barefield (clarinet, alto saxophone); Hilton Jefferson, Hubert Fol, Porter Kilbert (alto saxophone); Walter "Foots" Thomas, Walter Thomas (tenor saxophone); Pepper Adams (baritone saxophone); Fats Navarro, Idrees Sulieman, Jonah Jones (trumpet); Nat Peck, J.J. Johnson (trombone); Clyde Hart, Hank Jones , Jean-Paul Mengeon, Ray Bryant, Thelonious Monk (piano); Milt Jackson (vibraphone); Cozy Cole, Denzil Best, Kenny Clarke, Max Roach, Walter Bolden (drums).

Recording information: Hackensack, NJ (10/19/1944-12/21/1949); New York, NY (10/19/1944-12/21/1949); Paris, France (10/19/1944-12/21/1949).

Bean & the Boys  

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Charlie Parker - The Savoy 10-inch LP Collection Disc 1, 2, 3, 4

Album: The Savoy 10-inch LP Collection Disc 1
Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 22:37
Size: 52,6 MB
Art: Front

(3:17) 1. Now's The Time
(2:35) 2. Donna Lee
(2:47) 3. Chasin' The Bird
(3:10) 4. Red Cross
(2:57) 5. Ko-Ko
(2:37) 6. Warmin' Up A Riff
(2:45) 7. Half Nelson
(2:24) 8. Sipping At Bells

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Album: The Savoy 10-inch LP Collection Disc 2
Time: 22:42
Size: 52,8 MB

(3:11) 1. Billie's Bounce
(3:00) 2. Cheryl
(2:38) 3. Milestones
(2:41) 4. Another Hair-Do
(2:58) 5. Thriving From A Riff
(2:32) 6. Buzzy
(2:53) 7. Little Willie Leaps
(2:45) 8. Klaunstance

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Album: The Savoy 10-inch LP Collection Disc 3
Time: 17:13
Size: 40,0 MB

(2:53) 1. Bluebird
(2:38) 2. Bird Gets The Worm
(3:04) 3. Parker's Mood
(3:06) 4. Steeplechase
(2:34) 5. Perhaps
(2:55) 6. Tiny's Tempo

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Album: The Savoy 10-inch LP Collection Disc 4
Time: 16:16
Size: 37,9 MB

(2:29) 1. Constellation
(2:27) 2. Merry Go Round
(3:12) 3. Confirmation
(2:30) 4. Barbados
(2:53) 5. Ah-Leu-Cha
(2:42) 6. Marmaduke

Charlie Parke is one of the most important musicians in jazz history and a household name even for people who never listen to jazz. His music is like a textbook for aspiring jazz musicians, and it still sounds modern even after more than a half century since its creation. 2020 marks the centennial of Parker's birth, and to help commemorate the anniversary, Craft Recordings has released a vinyl box set containing the first four "The New Sounds in Modern Music" series, featuring recordings from 1944-1948. Without question, this is essential listening for anyone who wants to get a taste of some of Parker's most influential sessions. As the liner notes say, these are "the breakthrough recordings that essentially defined bebop."

Of course, these recordings have been reissued many times over the years, so what makes this release so special? Well, there are a few points to consider... First, the set contains exact replicas of the Savoy 10-inch album releases. Everything is precisely reproduced down to the last detail. As the liner notes mention, the producers "intentionally left any typographical errors intact for the sake of historical, rather than factual, accuracy." Just taking these discs out of their sleeves and putting them on a turntable is an experience you can't reproduce in a digital format. Next, the sound quality is excellent. The tracks have been remastered, and each has impressive fidelity considering that they were originally recorded during the 1940s. Along with the overall sound, the songs are genuine classics. The set contains Parker standards such as "Billie's Bounce," Ko-Ko," "Now's the Time," and "Donna Lee," and he is accompanied by musicians such as Miles Davis, Dizzy Gillespie, Bud Powell, Max Roach and Tiny Grimes.

Finally, the set contains a booklet with excellent liner notes by Grammy-winning writer, Neil Tesser. He not only provides background information into the recordings, but also discusses Parker's continued influence on contemporary artists. Of course, some might wonder why these albums are being released on 10-inch discs rather than the more conventional 12-inch versions. Tesser explains that at the time these recordings originally came out, "the 10-inch records vastly outsold their larger cousins." Packaging the reissue albums in the original format seems to give a more authentic feel of the overall package. For jazz vinyl collectors, this set is about as cool as it gets.~ Kyle Simpler https://www.allaboutjazz.com/the-savoy-10-inch-lp-collection-charlie-parker-craft-recordings

Personnel: Charlie Parker: saxophone, alto; Miles Davis: trumpet; Dizzy Gillespie: trumpet; Bud Powell: piano; Max Roach: drums.

The Savoy 10-inch LP Collection Disc 1, Disc 2, Disc 3, Disc 4

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Max Roach - The Max Roach Trio, Featuring The Legendary Hasaan Ibn Ali

Styles: Hard Bop
Year: 1964
File: MP3@320K/s
Time: 40:45
Size: 94,3 MB
Art: Front

(5:40) 1. Three-Four vs. Six-Eight Four-Four Ways
(5:13) 2. Off My Back Jack
(3:52) 3. Hope so Elmo
(6:39) 4. Almost Like Me
(6:09) 5. Din-Ka Street
(8:08) 6. Pay Not Play Not
(5:00) 7. To Inscribe

Hardly any other musician has released so little as Hasaan Ibn Ali, born William Henry Langford Jr., in 1931, who died in 1980. Just seven titles in all are his complete output, all of which he composed himself, all of them on the present Atlantic LP, and all recorded in December 1964. The saxophonist Odean Pope, who often practised with him, talks of a second recording session in 1965 for Atlantic, but the recordings were never released because Hasaan was sent to jail shortly afterwards; rumour has it that the tapes were destroyed in a fire and it might well be that recordings with John Coltrane still exist somewhere or other.

Until then, one should enjoy the Max Roach Trio with Art Davis on the bass to the full. We have here a recording that will astound and fascinate your ears with its originality. A first impression conjures up reminiscences of Cecil Taylor and Herbie Nichols, while Hasaan himself talks of the pianist Elmo Hope as the man who brought him closer to the ‘mystery of music’. When asked how the recording session with maestro Max Roach went, Hasaan said: »They scared me to death.«

According to Odean Pope, Hasaan was not an easy person to get on with, and he was convinced of his talent to the point of arrogance. But despite this or perhaps because of this one listens spellbound to the 40 minutes on this LP, a legacy and never-fulfilled promise of an extremely talented man. We are indebted to Max Roach, who persuaded the bosses of Atlantic Records to make these recordings. For many, many years they had vanished from the record market, but fortunately they are now available as an audiophile re-release to be listened to and admired. https://lightintheattic.net/releases/5903-the-max-roach-trio-featuring-the-legendary-hasaan

Personnel: Max Roach - drums; Hasaan Ibn Ali - piano; Art Davis - bass

The Max Roach Trio, Featuring The Legendary Hasaan Ibn Ali

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Thad Jones - The Fabulous Thad Jones

Styles: Trumpet Jazz 
Year: 1958
File: MP3@320K/s
Time: 63:36
Size: 146,3 MB
Art: Front

(8:47)  1. Get Out Of Town
(7:33)  2. One More
(4:56)  3. Bitty Ditty
(5:16)  4. More Of The Same
(5:15)  5. Elusive
(2:50)  6. Sombre Intrusion
(6:08)  7. I Can't Get Started
(3:51)  8. I'll Remember April
(3:33)  9. You Don't Know What Love Is
(3:45) 10. Chazzanova
(7:33) 11. Get Out Of Town (Alternate Take)
(4:03) 12. One More (Alternate Take)

Trumpeter Thad Jones made his debut as a leader for Charles Mingus' Debut label during 1954-55, music that has been reissued as a single CD in the OJC series and as part of a huge 12-CD Mingus Debut box set. The 12 performances (which include two alternate takes) really put the focus on Jones' accessible yet unpredictable style. Half of the music showcases Jones in a quartet with pianist John Dennis, bassist Mingus and drummer Max Roach. while the other six numbers are more in a Count Basie groove with Frank Wess on tenor and flute, pianist Hank Jones, Mingus and drummer Kenny Clarke. 

The originals tend to be tricky, and even such standards as "I'll Remember April," "You Don't Know What Love Is" and "Get Out of Town" have their surprising moments. ~ Scott Yanow http://www.allmusic.com/album/the-fabulous-thad-jones-mw0000262510

Personnel includes: Thad Jones (trumpet); Frank Wess (tenor saxophone, flute); John Dennis, Hank Jones (piano); Charles Mingus (bass); Max Roach, Kenny Clarke (drums).

The Fabulous Thad Jones

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Max Roach - Jazz In 3/4 Time

Styles: Jazz, Post Bop
Year: 1957
File: MP3@320K/s
Time: 43:41
Size: 100,6 MB
Art: Front

( 6:31)  1. Blues Waltz
(14:21)  2. Valse Hot
( 4:31)  3. I'll Take Romance
( 5:36)  4. Little Folks
( 5:35)  5. Lover
( 7:05)  6. The Most Beautiful Girl in the World

At the time of its appearance in 1957, this album, currently part of the limited EmArcy reissue series, was considered somewhat revolutionary due to its all-waltz program. That's become a moot point after all of the triple-meter jazz material that would follow from "All Blues" to "Waltz for Debby" to "Someday My Prince Will Come." What makes this session essential listening is the masterful solo work, and not simply by Sonny Rollins. With Clifford Brown gone, trumpeter Kenny Dorham makes each of his turns, as usual, an adventure in melodic and rhythmic surprises, deliberately getting himself into trouble and always finding a way out. And whereas Rollins almost overcompensates for the absence of Brown, playing these tunes with broad and ballsy, aria-like bravado, Dorham takes the tunes inward, not afraid of the empty spaces where the poetry often resides, and in the process looking forward to a more subtle, implicit rhythmic approach to jazz waltzes, such as Freddy Hubbard's "Up Jumped Spring."

The enigmatic pianist Billy Wallace, who made this single auspicious recorded appearance then disappeared into various urban lounge scenes, is one of the few truly ambidextrous bop pianists. On the opening "Blues Waltz" his solo sounds like Monk playing counterpoint with himself; on his remaining solo spots his interdependent melodies and rapid, two-handed octaves are reminiscent of Phineas Newborn, Jr. Whether or not his saucy, copy-cat rejoinder to Dorham's complex solo on "Lover" was appreciated by its originator, Wallace can't help but impress the listener with his ear and quick instincts. He's a far stronger player than his predecessor, Richie Powell, who perished in the same car crash that took Brown's life. Besides the pop standards, Rollins' "Valse Hot" is a lovely composition, an extended 3/4 melodic equivalent of Brown's "Joy Spring." During each of his solos he clearly exudes a Viennese spirit, bringing to his deliberative, assured melodic constructions the singing bravura of a great tenor, legit or otherwise. It's a performance that clearly ranks with his work on the revered, almost contemporaneous Sonny Rollins, Vol. 2 (Blue Note, 1957).

Roach catches the lilting dancing spirit with heavily accented downbeats on his own "Little Folks, prompting both Rollins and Wallace to go for the gold on their solo turns. And for a change the relatively unfamiliar triple-meter holds down the tempos just sufficiently to allow Roach's bassist, George Morrow, to play some melodic lines during his solos. There seems little doubt that this is the best post-Clifford Brown, Roach-led session on record demonstrating that the fall of the drummer's ensembles from the visibility they once shared with Blakey's and Silver's groups cannot be entirely blamed on the loss of Clifford Brown (though nothing can detract from the luster of this musician's favorite). Consequently, as the only recording by this particular cast (there would be one sequel but without Billy Wallace), Jazz in 3/4 Time is a session that brings with its pleasures no small amount of regret about what might have been. ~ Samuel Chell https://www.allaboutjazz.com/jazz-in-3-4-time-max-roach-emarcy-review-by-samuel-chell.php

Personnel: Max Roach: drums; Kenny Dorham: trumpet; Sonny Rollins: tenor saxophone; Billy Wallace: piano; Ray Bryant: piano (on "The Most Beautiful Girl"); George Morrow: bass.

Jazz In 3/4 Time

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Slide Hampton - Drum Suite

Styles: Trombone Jazz
Year: 1962
File: MP3@320K/s
Time: 51:36
Size: 143,3 MB
Art: Front

(5:21)  1. Fump
(5:09)  2. Lover
(8:26)  3. Like Someone In Love
(4:28)  4. Gallery Groove
(5:23)  5. Our Waltz
(3:35)  6. It's All Right With Me
(3:14)  7. Stella By Starlight
(6:55)  8. Drum Suite (Parts I-V)
(5:46)  9. Well You Needn't
(3:14) 10. Sleigh Ride

This album, originally released by Epic, features trombonist-arranger Slide Hampton's augmented octet but it was overlooked when it was released in 1962 despite the all-star personnel. Hampton's arrangements are forward-looking hard bop and among the key soloists are tenor saxophonist Yusef Lateef (who is heard throughout in top form), drummer Max Roach and Hampton himself. The five-part "Drum Suite" is the most ambitious work but all of the arrangements have their unexpected moments, and Hampton's playing on an up-tempo "It's All Right with Me" is outstanding. This limited-edition Mosaic release, just a single CD, augments the original set with a version of "Well You Needn't" that was only out previously on an obscure sampler, plus a previously unreleased "Sleigh Ride" from the same dates. Overall the music is rewarding and if not quite essential, there are enough exciting moments (whether from the ensembles or the main soloists) to make this a recommended acquisition. ~ Scott Yanow https://www.allmusic.com/album/drum-suite-mw0000495824

Personnel: Slide Hampton - trombone, arranger; John Bello, Hobart Dotson, Freddie Hubbard, Willie Thomas, Richard Williams - trumpet; Benny Jacobs-El - trombone; George Coleman - tenor saxophone; Yusef Lateef - flute, tenor saxophone; Jay Cameron - baritone saxophone; Tommy Flanagan - piano; Eddie Khan - bass; Vinnie Ruggiero, Max Roach - drums

Drum Suite Zippy

Drum Suite MC

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Coleman Hawkins - Hollywood Stampede

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 48:42
Size: 114,2 MB
Art: Front

(2:57)  1. April In Paris
(2:56)  2. Rifftide
(3:16)  3. Stardust
(3:03)  4. Stuffy
(3:11)  5. Hollywood Stampede
(3:15)  6. I'm Thru With Love
(3:21)  7. What Is There To Say?
(3:08)  8. Wrap Your Troubles In Dreams
(2:54)  9. Too Much Of A Good Thing
(3:07) 10. Bean Soup
(2:51) 11. Someone To Watch Over Me
(3:07) 12. It's The Talk Of The Town
(3:06) 13. Isn't It Romantic?
(2:36) 14. Bean-A-Re-Bop
(2:50) 15. The Way You Look Tonight
(2:56) 16. Phantomesque

Hawkins led one of his finest bands in 1945, a sextet with the fiery trumpeter Howard McGhee that fell somewhere between small-group swing and bebop. This CD contains all of that group's 12 recordings, including memorable versions of "Rifftide" and "Stuffy"; trombonist Vic Dickenson guests on four tracks. 

This CD concludes with one of Hawkins' rarest sessions, an Aladdin date from 1947 that finds the veteran tenor leading a septet that includes 20-year-old trumpeter Miles Davis. ~ Scott Yanow https://www.allmusic.com/album/hollywood-stampede-mw0000203302

Personnel:  Tenor Saxophone – Coleman Hawkins; Alto Saxophone – Howard Johnson (6) (tracks: 13 to 16); Bass – John Simmons (tracks: 9 to 12), Oscar Pettiford (tracks: 1 to 8); Bass [Probably] – Curley Russell (tracks: 13 to 16); Drums – Denzil Best (tracks: 1 to 12); Drums [Probably] – Max Roach (tracks: 13 to 16); Guitar – Allan Reuss (tracks: 1 to 12); Piano – Hank Jones (tracks: 13 to 16), Sir Charles Thompson (tracks: 1 to 12); Trombone – Kai Winding (tracks: 13 to 16), Vic Dickenson (tracks: 5 to 8); Trumpet – Howard McGhee (tracks: 1 to 12), Miles Davis (tracks: 13 to 16)

Hollywood Stampede

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Charles Mingus Quintet - Chazz

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 42:26
Size: 97,9 MB
Art: Front

(6:56)  1. Jump Monk
(6:04)  2. Serenade In Blue
(8:44)  3. Percussion Discussion
(6:34)  4. Work Song
(7:06)  5. Septemberley
(7:00)  6. All the Things You Are In C Sharp

The Jazz Workshop of 1955 is in superb form, caught in performance at the Caf Bohemia in New York. Max Roach only appears for a "Percussion Discussion" with Mingus, but the forgotten Willie Jones is no slouch either. A typically adventurous set of tunes includes two montages. ("Septemberly" combines "September in the Rain" and "Tenderly", while "All the Things You Can C-Sharp" is a blend of "All the Things You Are," Rachmaninoff's "Prelude in C-Sharp" and "Clair de Lune.") It's a very spirited date, ranking with his best work in the period. 

A further disc, Charles Mingus Quintet Plus Max Roach (Fantasy 86009), derives from the same date; these were combined as Prestige P-24010. And the boxed set of the Complete Debut Recordings (Debut 12-CDC-4402-2) includes an additional hour of previously unissued material. ~ Stuart Kremsky https://www.allmusic.com/album/chazz-mw0000901355

Personnel:  Bass – Charlie Mingus; Drums – Max Roach, Willie Jones; Piano – Mal Waldron; Tenor Saxophone – George Barrow; Trombone – Eddie Bert

Chazz

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Booker Little - Out Front

Styles: Trumpet Jazz
Year: 1989
File: MP3@320K/s
Time: 44:03
Size: 101,8 MB
Art: Front

(6:46)  1. We Speak
(6:17)  2. Strength And Sanity
(8:10)  3. Quiet Please
(5:44)  4. Moods In Free Time
(4:51)  5. Man Of Words
(6:41)  6. Hazy Blues
(5:31)  7. A New Day

Booker Little was the first trumpet soloist to emerge in jazz after the death of Clifford Brown to have his own sound. His tragically brief life (he died at age 23 later in 1961) cut short what would have certainly been a major career. Little, on this sextet date with multi-reedist Eric Dolphy, trombonist Julian Priester, and drummer Max Roach, shows that his playing was really beyond bebop. His seven now-obscure originals (several of which deserve to be revived) are challenging for the soloists and there are many strong moments during these consistently challenging and satisfying performances. ~ Scott Yanow https://www.allmusic.com/album/out-front-mw0000197893

Personnel: Booker Little - trumpet; Julian Priester - trombone; Eric Dolphy - alto saxophone, bass clarinet, flute; Don Friedman - piano; Art Davis (tracks 1, 3 & 7), Ron Carter (tracks 2 & 4-6) - bass; Max Roach - drums, timpani, vibraphone

Out Front

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Al Haig - Trio And Quintet!

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 50:00
Size: 115,2 MB
Art: Front

(5:40)  1. Maxology
(5:53)  2. Prince Albert
(6:10)  3. Yesterdays
(3:37)  4. Maximum
(4:01)  5. Just One Of Those Things
(3:09)  6. Yardbird Suite
(2:43)  7. Taboo
(4:55)  8. Mighty Like A Rose
(3:38)  9. S'Wonderful
(1:51) 10. Spotlight
(5:26) 11. 'Round Midnight
(2:49) 12. The Moon Was Yellow

One of the finest pianists of the bop era (and one who learned from Bud Powell's innovations quite early), Al Haig was quite busy during two periods of his career but unfortunately was pretty obscure in the years between. After serving in the Coast Guard (playing in bands during 1942-1944) and freelancing around Boston, Haig worked steadily with Dizzy Gillespie (1945-1946), Charlie Parker (1948-1950), and Stan Getz (1949-1951); and was on many recordings, mostly as a sideman (including some classic Diz and Bird sessions) but also as a leader for Spotlite, Dawn, and Prestige. However (other than little-known dates in 1954 for Esoteric, Swing, and Period), Haig did not lead any more albums until 1974. He played fairly often during the 1951-1973 period, but was generally overlooked. That changed during his last decade, when he was finally recognized as a bop giant and recorded for Spotlite, Choice, SeaBreeze, Interplay, and several Japanese and European labels. ~ Scott Yanow https://www.allmusic.com/artist/al-haig-mn0000604469/biography

Personnel: Piano – Al Haig; Bass – Bill Crow, Tommy Potter ; Drums – Lee Abrams, Max Roach; Tenor Saxophone – James Moody; Trumpet – Kenny Dorham

Trio And Quintet!                  

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Sonny Clark - Blues Mambo

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 41:56
Size: 100,5 MB
Art: Front

(3:47)  1. Minor Meeting
(6:16)  2. Nica
(6:18)  3. Sonny's Crip
(5:08)  4. Blues Mambo
(4:24)  5. Blues Blue
(6:16)  6. Junka
(4:31)  7. My Conception
(5:15)  8. Sonja

Like Fats Navarro and Charlie Parker before him, Sonny Clark's life was short but it burned with musical intensity. Influenced deeply by Bud Powell, Clark nonetheless developed an intricate and hard-swinging harmonic sensibility that was full of nuance and detail. Regarded as the quintessential hard bop pianist, Clark never got his due before he passed away in 1963 at the age of 31, despite the fact that it can be argued that he never played a bad recording date either as a sideman or as a leader. Known mainly for seven records on the Blue Note label with a host of players including such luminaries as John Coltrane, Art Farmer, Donald Byrd, Jackie McLean, Hank Mobley, Art Taylor, Paul Chambers, Wilbur Ware, Philly Joe Jones, and others, Clark actually made his recording debut with Teddy Charles and Wardell Gray, but left soon after to join Buddy DeFranco. His work with the great clarinetist has been documented in full in a Mosaic set that is now sadly out of print. Clark also backed Dinah Washington, Serge Chaloff, and Sonny Criss before assuming his role as a leader in 1957. Clark's classic is regarded as Cool Struttin' but each date he led on Blue Note qualifies as a classic, including his final date, Sonny's Crib with John Coltrane. And though commercial success always eluded him, he was in demand as a sideman and played dozens of Alfred Lion-produced dates, including Tina Brooks' Minor Move. Luckily, Clark's contribution is well documented by Alfred Lion; he has achieved far more critical, musical, and popular acclaim than he ever did in life. ~ Thom Jurek  https://www.allmusic.com/artist/sonny-clark-mn0000036934/biography

Personnel: Sonny Clark (Piano); Max Roach (Drums); George Duvivier (Double Bass)

Blues Mambo

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Thelonious Monk - Brilliant Corners

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 43:24
Size: 100,3 MB
Art: Front

( 7:50)  1. Brilliant Corners
(13:19)  2. Ba-Lue Bolivar Ba-Lues-Are
( 8:56)  3. Pannonica
( 5:31)  4. I Surrender, Dea
( 7:46)  5. Bemsha Swing

Although Brilliant Corners is Thelonious Monk's third disc for Riverside, it's the first on the label to weigh in with such heavy original material. Enthusiasts who become jaded to the idiosyncratic nature of Monk's playing or his practically arithmetical chord progressions should occasionally revisit Brilliant Corners. There is an inescapable freshness and vitality saturated into every measure of every song. The passage of time makes it all the more difficult to imagine any other musicians bearing the capacity to support Monk with such ironic precision. The assembled quartet for the lion's share of the sessions included Max Roach (percussion), Sonny Rollins (tenor sax), Oscar Pettiford (bass), and Ernie Henry (alto sax). Although a compromise, the selection of Miles Davis' bassist, Paul Chambers, and Clark Terry (trumpet) on "Bemsha Swing" reveals what might be considered an accident of ecstasy, as they provide a timeless balance between support and being able to further the cause musically. Likewise, Roach's timpani interjections supply an off-balanced sonic surrealism while progressing the rhythm in and out of the holes provided by Monk's jackrabbit leads. It's easy to write Monk's ferocity and Forrest Gump-esque ingenuity off as gimmick or quirkiness. What cannot be dismissed is Monk's ability to translate emotions into the language of music, as in the freedom and abandon he allows through Sonny Rollins' and Max Roach's mesmerizing solos in "Brilliant Corners." 

The childlike innocence evoked by Monk's incorporation of the celeste during the achingly beautiful ode "Pannonica" raises the emotional bar several degrees. Perhaps more pointed, however, is the impassioned "I Surrender, Dear" the only solo performance on the album. Brilliant Corners may well be considered the alpha and omega of post-World War II American jazz. No serious jazz collection should be without it. ~ Lindsay Planer https://www.allmusic.com/album/brilliant-corners-mw0000188572

Personnel:  Thelonious Monk – piano; piano and celeste on "Pannonica", solo piano on I Surrender Dear;  Ernie Henry – alto saxophone on "Brilliant Corners", "Ba-lue Bolivar Ba-lues-are" and in ensemble on "Pannonica";  Sonny Rollins – tenor saxophone (except "I Surrender Dear");  Oscar Pettiford – double bass on "Brilliant Corners", "Ba-lue Bolivar Ba-lues-are" and "Pannonica";  Max Roach – drums (except "I Surrender Dear"); timpani on "Bemsha Swing";  Clark Terry – trumpet on "Bemsha Swing";  Paul Chambers – double bass on "Bemsha Swing"

Brilliant Corners

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Clifford Brown, Max Roach - Study In Brown

Bitrate: MP3@320K/s
Time: 39:41
Size: 90.9 MB
Styles: Bop, Trumpet jazz
Year: 1955/2017
Art: Front

[5:40] 1. Cherokee
[5:07] 2. Jacqui
[2:53] 3. Swingin'
[4:57] 4. Lands End
[5:36] 5. George's Dilemma
[4:52] 6. Sandu
[2:53] 7. Gerkin For Perkin
[3:24] 8. If I Love Again
[4:15] 9. Take The A Train

Bass – George Morrow; Drums – Max Roach; Piano – Richie Powell; Tenor Saxophone – Harold Land; Trumpet – Clifford Brown. Recorded between February 23 & 25, 1955.

Study in Brown features the 1955 version of the Clifford Brown/Max Roach Quintet, a group also including tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow. One of the premiere early hard bop units, this band had unlimited potential. Highlights of this set are "Cherokee" (during which trumpeter Brown is brilliant), "Swingin'," and "Sandu." All of this group's recordings are well worth acquiring. ~Scott Yanow

Study In Brown mc
Study In Brown zippy

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Johnny Griffin - Introducing

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

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

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

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

Introducing mc
Introducing zippy

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Max Roach - Deeds, Not Words

Styles: Jazz, Post Bop
Year: 1958
File: MP3@320K/s
Time: 43:50
Size: 102,3 MB
Art: Front

(7:49)  1. You Stepped Out Of A Dream
(7:09)  2. Filide
(4:15)  3. It's You Or No One
(4:59)  4. Jodie's Cha-Cha
(4:37)  5. Deeds, Not Words
(5:15)  6. Larry-Larue
(3:51)  7. Conversation
(5:51)  8. There Will Never Be Another You

This Max Roach Riverside date is notable for featuring the great young trumpeter Booker Little and for utilizing Ray Draper's tuba as a melody instrument; tenor saxophonist George Coleman and bassist Art Davis complete the excellent quintet. 

Highlights include "It's You or No One," "You Stepped Out of a Dream," and Roach's unaccompanied drum piece "Conversation." This is fine music from a group that was trying to stretch themselves beyond hard bop.~ Scott Yanow https://www.allmusic.com/album/deeds-not-words-mw0000651771      

Personnel: Max Roach (drums); George Coleman (tenor saxophone); Booker Little (trumpet); Ray Draper (tuba); Art Davis, Oscar Pettiford (bass).

Deeds, Not Words

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Dexter Gordon - Dexter Rides Again

Styles: Saxophone Jazz 
Year: 1947
File: MP3@320K/s
Time: 36:59
Size: 85,3 MB
Art: Front

(2:46)  1. Dexter's Riff
(5:55)  2. Settin' the Pace - Part 1 & 2
(3:43)  3. So Easy
(3:05)  4. Long Tall Dexter
(3:18)  5. Dexter Rides Again
(3:17)  6. I Can't Escape from You
(3:00)  7. Dexter Digs In
(2:45)  8. Dexter's Minor Mad
(3:00)  9. Blow Mr. Dexter
(2:58) 10. Dexter's Deck
(3:08) 11. Dexter's Cuttin' Out

Taken from three separate sessions from 1945-'47, Dexter Rides Again showcases prime bebop sides Gordon cut for Savoy. His unique adaptation of Charlie Parker's alto conception to the tenor saxophone is displayed throughout, revealing a mix of fluid, hard-toned lines and a vibrato-heavy and vaporous ballad sound. And while Gordon's ballad mastery would come to the fore on his come-back albums for Blue Note in the '60s, the tenor saxophonist primarily sticks to up-tempo material here, a standard for most bebop sets. Abetted by a collective cast including the fine, yet rarely heard trumpeter Leonard Hawkins, baritone saxophonist Leo Parker, pianists Tadd Dameron and Bud Powell, and drummers Max Roach and Art Blakey, Gordon is in top form on a typical collection of self-penned, utility tunes, dispensing of involved head statements in favor of solo space. Standouts include "Dexter's Deck," the lone ballad "I Can't Escape From You," and the jam session number "Settin' The Pace" (Gordon recorded many extended cuts like this with fellow bebop tenor star Wardell Gray, and here teams up with Leo Parker for something like a baritone and tenor cutting contest). For those interested in where elements of both Sonny Rollins and John Coltrane's distinct style came from, check out these fine Gordon sides; besides the history lesson on wax, there's a consistent run of top-notch bebop sides to enjoy. For completists, these tracks, plus alternate takes and an excellent session featuring Fats Navarro, are included on Denon's Savoy reissue package, Settin' the Pace.~ Stephen Cook https://www.allmusic.com/album/dexter-rides-again-mw0000077810

Personnel: Dexter Gordon (tenor saxophone); Leo Parker (baritone saxophone); Leonard Hawkins (trumpet); Bud Powell, Tadd Dameron, Sadik Hakim (piano); Gene Ramey, Curly Russell (bass); Art Blakey, Max Roach, Ed Nicholson (drums).

Dexter Rides Again

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Oscar Pettiford Sextet - S/T

Bitrate: MP3@320K/s
Time: 39:58
Size: 91.5 MB
Styles: Bop
Year: 1954/2016
Art: Front

[9:43] 1. Burt's Pad
[5:58] 2. Marcel The Furrier
[3:07] 3. Ondine
[5:08] 4. Stardust
[2:32] 5. E-Lag
[4:26] 6. Rhumblues
[6:25] 7. Burt's Pad (Alternate Take)
[2:36] 8. E-Lag (Alternate Take)

Bass – Oscar Pettiford; Cello [In Re-recording] – Oscar Pettiford (tracks: 6); Drum – Max Roach; Guitar – Tal Farlow; Piano – Henri Renaud; Tenor Saxophone – Al Cohn; Trombone – Kai Winding. Recorded in New York City by Vogue Records, March 13th, 1954. Digitally remastered from original master tapes in 24-bit (Le Source Mastering, Paris, France).

The six main selections on this CD were last released as part of a Prestige LP titled The Oscar Pettiford Memorial Album, also including four tunes from a Serge Chaloff set. The CD reissue adds two alternate takes to the excellent session which features Pettiford on occasional bass solos and (on "Rhumblues") overdubbed on cello. The superior set also features tenor saxophonist Al Cohn, trombonist Kai Winding, guitarist Tal Farlow, French pianist Henri Renaud and drummer Max Roach -- quite an all-star group. Renaud contributed two of the songs which also include numbers by Hoagy Carmichael ("Stardust"), Gerry Mulligan and both Leonard and Jane Feather. The music is straight-ahead, with "Burt's Pad" (heard in two versions) going on for over 9½ minutes. A fine CD that is easily recommended to bop collectors. ~Scott Yanow

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Oscar Pettiford Sextet zippy

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Jimmy Cleveland - Introducing Jimmy Cleveland & His All Stars

Bitrate: MP3@320K/s
Time: 55:30
Size: 127.1 MB
Styles: Bop, Swing
Year: 1955/2007
Art: Front

[5:46] 1. Hear Ye! Hear Ye!
[4:59] 2. You Don't Know What Love Is
[4:25] 3. Vixen
[4:00] 4. My One And Only Love
[7:39] 5. Little Beaver
[3:29] 6. Love Is Here To Stay
[6:33] 7. Count 'em
[5:38] 8. Bone Brother
[4:11] 9. I Hadn't Anyone Till You
[5:15] 10. See Minor
[3:29] 11. Love Is Here To Stay (Alternate Version)

Baritone Saxophone – Cecil Payne; Bass – Oscar Pettiford, Paul Chambers (3); Drums – Max Roach, Osie Johnson; Guitar – Barry Galbraith; Piano – Hank Jones, John Williams; Tenor Saxophone – Lucky Thompson; Trombone – Jimmy Cleveland; Trumpet – Ernie Royal. First session August 4, 1955; Second session August 12, 1955; Third session November 22, 1955.

The first of five albums headed by trombonist Jimmy Cleveland during 1955-1959 (he has not led any since), this out of print LP (which was reissued by Trip in the 1970s) features Cleveland in medium-size groups with trumpeter Ernie Royal; either Lucky Thompson or Jerome Richardson on tenor; baritonist Cecil Payne; Hank Jones, John Williams, or Wade Legge on piano; Barry Galbraith, Paul Chambers, or Oscar Pettiford on bass; and either Max Roach, Osie Johnson, or Joe Harris on drums. The all-star cast interprets a variety of Quincy Jones arrangements, alternating standards with lesser-known originals, and although many of his sidemen get fine spots, Cleveland generally wins solo honors. ~Scott Yanow

Introducing Jimmy Cleveland & His All Stars mc
Introducing Jimmy Cleveland & His All Stars zippy

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