Betty Roché - Singin' & Swingin'

Styles: Vocal
Year: 1960
File: MP3@320K/s
Time: 30:35
Size: 71,5 MB
Art: Front

(3:52)  1. Come Rain or Come Shine
(3:40)  2. A Foggy Day
(3:57)  3. Day by Day
(3:21)  4. When I Fall in Love
(3:04)  5. Blue Moon
(2:59)  6. Where or When
(2:12)  7. September Song
(4:14)  8. Until the Real Thing Comes Along
(3:13)  9. Billie's Bounce

Betty Roché should have been much more famous. She had two barely documented periods with Duke Ellington's orchestra and recorded three excellent albums as a leader from 1956-1961 (all of which are available on Cd), but then faded away into complete obscurity. This reissue (which is mistakenly given the incorrect date of January 24, 1961, which was actually Roché's following release) matches the singer with tenor saxophonist Jimmy Forrest, organist Jack McDuff (near the beginning of his career), guitarist Bill Jennings, bassist Wendell Marshall, and drummer Roy Haynes. Roché performs nine famous standards, coming up with fresh variations in her phrasing to such numbers as "Come Rain or Come Shine," "When I Fall in Love," "Blue Moon," and "Billie's Bounce." Recommended, as are all of the other recordings in her slim discography.

~Scott Yanow http://www.allmusic.com/album/singin-swingin-mw0000615285

Personnel: Betty Roché (vocals); Bill Jennings (guitar); Jimmy Forrest (tenor saxophone); Jack McDuff (organ); Roy Haynes (drums).

Singin' & Swingin' 

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Dizzy Reece & Ted Curson - Blowin' Away

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 39:40
Size: 95,0 MB
Art: Front

(6:23) 1. Stella By Starlight
(6:27) 2. All The Things You Are
(5:37) 3. Bass Conclave
(5:02) 4. Moose the Mooche
(7:04) 5. Marjo
(9:04) 6. Walkin'

Trumpeters Dizzy Reece and Ted Curson team up with a top-notch trio (pianist Claude Williamson, bassist Sam Jones and drummer Roy Haynes) on three of the six numbers on this bebop-oriented LP, originally recorded for Interplay and then soon reissued by Discovery.

In addition to those pieces ("Walkin'" and a basic original apiece by each trumpeter), Reece is showcased on "Stella By Starlight," Curson gets the spotlight on "All the Things You Are," and the rhythm section romps on "Moose the Mooche." It is a pity that Reece and Curson do not get to tangle on all of the numbers, but they do shoot off some fireworks (most notably on "Walkin'"); the playing by all of the veterans is up to par. By Scott Yanow https://www.allmusic.com/album/blowin-away-mw0000910495

Personnel: Dizzy Reece - trumpet (tracks 1, 3, 5 & 6); Ted Curson - trumpet, flugelhorn (tracks 2, 3, 5 & 6); Claude Williamson - piano; Sam Jones - bass; Roy Haynes - drums

Blowin' Away

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Chick Corea - The Montreux Years

Styles: Piano Jazz
File: MP3@320K/s
Time: 84:26
Size: 193,9 MB
Art: Front

( 7:51) 1. Fingerprints
(13:41) 2. Bud Powell
(11:46) 3. Quartet No. 2 (Pt. 1)
( 4:31) 4. Interlude
( 4:41) 5. Who’s Inside the Piano
( 7:14) 6. Dignity
(10:07) 7. America (Continents Pt. 4)
(14:10) 8. New Waltz
(10:19) 9. Trinkle Tinkle

If there is anything more ambitious than curating an extensive, comprehensive collection covering the history of an artist, it is collating selected works which vividly outline a particular timeline or theme. Chick Corea's The Montreux Years is a fine example of the latter; this seventh edition in the archive series devoted to the iconic festival not only reflects the late composer and pianist's technical skills, but also his eclectic stylistic tastes. And that is not to mention his fondness for collaborations in all manner of settings.

Eight cuts from six performances, with a running time of about seventy-four minutes, somewhat belies the twelve year chronology of The Montreaux Years. The late esteemed musician first appeared at the iconic festival in 1972, then almost two dozen times thereafter, an extended sequence of events which lent itself to exactly the kind of rotating presentations of which this set is a microcosm.

Corea's inimitable combination of formality and playfulness is potent throughout. And it is not just readily on the Akoustic Band's "Quartet #2 (Pt. 1)," but also (literally) at the opposite end of the musical spectrum on "Interlude;" unfortunately, this overlong audience call-and-response, in the company of the Elektric Band, illustrates the man's penchant for crowd-pleasing as an end in itself. As throughout this CD, on "America (Continents Pt.4)" the sound of the recording has all the realism of the room in which the musicians are playing, no doubt due to the MOA process used in the restoration and mastering of the audio by Tony Cousins.

That latter cut is the closest this anthology gets to a solo piano piece here but, fortunately, a snippet of the man alone at the ivories at the outset of "Dignity" mitigates the absence of such a track. On this dedication to the author's mother, the invigorating interplay with drummer Jeff Ballard and bassist Avishai Cohen balances the tranquility of the leader's interval, while saxophonist Bob Berg's high-flying interlude during the final track, just over fourteen minutes of "New Waltz," also makes for a fittingly rousing close.

The liner notes for The Montreaux Years could have been better conceived and executed to more fully align with the music to which they are devoted. Rather than filling many of the fourteen pages inside the hardbound covers with sentimental reminiscences, more pertinent details about the respective timelines of the groups that appear in the set (and perhaps even some discographical info) would accurately place the ensembles within the chronology of Corea's career; such scholarly information would have been more in line with the borderline deluxe design of the package with its 3D lettering on the outer front cover alongside Joe Weghon's colorful art (which also appears on the compact disc itself).

Fortunately, such academic criticism becomes moot when listening to the likes of the easy-going shuffle of The Freedom Band's take on "Bud Powell," especially as it so dramatically contrasts the New Trio's rollicking opening of "Fingerprints." The Montreux Years is a suitably celebratory historical homage to one of the most iconic jazz musicians of our time. By Doug Collette https://www.allaboutjazz.com/the-montreux-years-chick-corea-bmg/

Personnel: Chick Corea: piano; Frank Gambale: guitar; Eric Marienthal: saxophone, soprano; Bob Berg: saxophone; Kenny Garrett: saxophone, alto; Tim Garland: saxophone; Hans Glawischnig: bass; Christian McBride: bass; John Patitucci: bass, acoustic; Avishai Cohen: bass; Marcus Gilmore: drums; Dave Weckl: drums; Roy Haynes: drums; Jeff Ballard: drums; Tom Brechtlein: drums; Gary Novak: drums.

The Montreux Years

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Lee Konitz - You and Lee

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 33:37
Size: 77,8 MB
Art: Front

(4:50)  1. Ev'rything I've Got (Belongs to You)
(4:22)  2. You Don't Know What Love Is
(4:14)  3. You're Driving Me Crazy
(4:03)  4. I Didn't Know About You
(4:10)  5. You're Clear Out of This World
(3:42)  6. The More I See You
(4:10)  7. You Are Too Beautiful
(4:02)  8. I'm Getting Sentimental Over You

One of the lesser-known Lee Konitz albums, this LP (which has not been reissued yet on CD) features the altoist joined by six brass and a rhythm section for eight Jimmy Giuffre arrangements. The shouting brass contrasts well with Konitz's cool-toned solos and together they perform eight underplayed standards. Guitarist Jim Hall and pianist Bill Evans (who are on four songs apiece) are major assets behind Konitz on this pleasing set. ~ Scott Yanow

Personnel:   Lee Konitz – alto saxophone; Marky Markowitz – trumpet; Ernie Royal – trumpet;  Phil Sunkel – trumpet;  Eddie Bert – trombone; Billy Byers – trombone; Bob Brookmeyer – valve trombone;  Bill Evans – piano;  Jim Hall – guitar;  Sonny Dallas – bass;  Roy Haynes – drums

You and Lee

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Miles Davis - Blue Period

Styles: Trumpet Jazz
Year: 1953
File: MP3@128K/s
Time: 19:04
Size: 17,9 MB
Art: Front

(9:56) 1. Bluing
(2:51) 2. Blue Room
(6:16) 3. Out Of The Blue

Blue Period is the third studio album by jazz musician Miles Davis. It was released in 1953 as a 10" LP, his second released by Prestige Records, recorded over the course of two 1951 recording sessions at New York's Apex Studio.

Bluing" and "Out of the Blue", two Davis compositions, were recorded on October 5, 1951, at the same session as the material for his first album The New Sounds (PRLP 124). "Blue Room", composed by Rodgers and Hart, was recorded earlier that year, at the same January 17 recording session as the three tracks used on the various artists LP Modern Jazz Trumpets (PRLP 113). This earlier session was Davis' first for Prestige.

The tracks on Blue Period were split when Prestige reconfigured its recordings for 12-inch LP. "Bluing" and "Out of the Blue" are featured on Dig (PRLP 7012), and two versions of "Blue Room" (including an alternate take) are on the CD of Miles Davis and Horns (originally PRLP 7025). https://en.wikipedia.org/wiki/Blue_Period_(album)

Personnel: Miles Davis – trumpet; Jackie McLean – alto saxophone; Sonny Rollins – tenor saxophone; Walter Bishop, Jr. – piano; Tommy Potter – double bass; Art Blakey – drums

On "Blue Room": Miles Davis – trumpet; Sonny Rollins – tenor saxophone; John Lewis – piano; Percy Heath – double bass; Roy Haynes – drums

Blue Period

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Roy Haynes, Rene Thomas, Frank Foster, Henri Renaud - The 1954 Paris Sessions

Styles: Jazz, Bop
Year: 1954
File: MP3@320K/s
Time: 78:22
Size: 180,7 MB
Art: Front

(3:52) 1. Red Rose
(4:35) 2. A Mountain Sunset
(2:42) 3. Laffin' and Cryin'
(5:08) 4. Minor Encamp
(3:02) 5. Subscription
(3:34) 6. Dillon
(5:09) 7. Burt's Pad
(2:52) 8. Chicago
(3:00) 9. Autobuzz
(2:03) 10. Indiana
(3:30) 11. Get Ou Of Town
(4:28) 12. 'Tis Autumn
(4:27) 13. Thomasia
(6:08) 14. My Heart Stood Still
(4:53) 15. Fat Shoes
(5:25) 16. I'll Take Romance
(4:42) 17. Escale A Victoria
(4:03) 18. The Things We Did Last Summer
(4:40) 19. Just 40 Bars

A veteran drummer long overshadowed by others, but finally gaining recognition for his talents and versatility, Roy Haynes has been a major player since the 1940s. He worked early on with the Sabby Lewis big band, Frankie Newton, Luis Russell (1945-1947), and Lester Young (1947-1949). After some engagements with Kai Winding, Haynes was a member of the Charlie Parker Quintet (1949-1952); he also recorded during this era with Bud Powell, Wardell Gray, and Stan Getz. Haynes toured the world with Sarah Vaughan (1953-1958); played with Thelonious Monk in 1958; led his own group; and gigged with George Shearing, Lennie Tristano, Eric Dolphy, and Getz (1961). He was Elvin Jones' occasional substitute with John Coltrane's classic quartet during 1961-1965, toured with Getz (1965-1967), and was with Gary Burton (1967-1968). In addition to touring with Chick Corea (1981 and 1984) and Pat Metheny (1989-1990), Haynes has led his own Hip Ensemble on and off during the past several decades. When one considers that he has also gigged with Miles Davis, Art Pepper, Horace Tapscott, and Dizzy Gillespie, it is fair to say that Haynes has played with about everyone.

He led dates for EmArcy and Swing (both in 1954), New Jazz (1958 and 1960), Impulse (a 1962 quartet album with Roland Kirk), Pacific Jazz, Mainstream, Galaxy, Dreyfus, Evidence, and Storyville. In 1994, Haynes was awarded the Danish Jazzpar prize, and two years later, he received the prestigious French Chevalier des l'Ordres Artes et des Lettres. In the late '90s, Haynes formed a trio with pianist Danilo Perez and bassist John Pattitucci, and they released their debut album, The Roy Haynes Trio Featuring Danilo Perez & John Pattitucci, in early 2000 on Verve. Haynes' son Graham is an excellent cornetist. Haynes paid tribute to Charlie Parker in 2001 with Birds of a Feather, his fourth release for the Dreyfus Jazz label, which was subsequently nominated for a Grammy in 2002; Fountain of Youth followed two years later. Also released in 2004, Quiet Fire compiled two of his prior releases for Galaxy (1977's Thank You Thank You and 1978's Vistalite) into one back-to-back record. Whereas appeared in mid-2006, and it earned Haynes a Grammy nomination for Best Jazz Instrumental Solo.~Scott Yanowhttps://www.allmusic.com/artist/roy-haynes-mn0000290464/biography

Personnel: Baritone Saxophone – Jay Cameron; Bass – Jean-Marie Ingrand, Joe Benjamin; Drums – Jean-Louis Viale, Roy Haynes; Guitar – Jimmy Gourley , René Thomas; Piano – Henri Renaud; Tenor Saxophone – Barney Wilen, Frank Foster; Trumpet – Buzz Gardner

The 1954 Paris Sessions

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The Michel Petrucciani Trio - One Night in Karlsruhe (Live)

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 77:35
Size: 179,4 MB
Art: Front

(6:38)  1. 13th
(8:22)  2. There Will Never Be Another You (From "Iceland")
(8:48)  3. In a Sentimental Mood
(6:48)  4. One for Us
(9:26)  5. Mr. K.J.
(6:20)  6. Embraceable You (From "Girl Crazy")
(8:35)  7. She Did It Again
(7:01)  8. La champagne
(6:23)  9. Giant Steps
(9:09) 10. My Funny Valentine (From "Babes in Arms")

The SWR Jazzhaus label is sitting on a huge stash of unreleased live jazz recordings made for radio and television broadcast in Germany, going back to the early 1950s. Over 40 titles have appeared to date. One Night in Karlsruhe is especially good news. Only a few previously unknown Michel Petrucciani recordings have come to light since his death at 36 in 1999. Great jazz players are respected but few have been loved like Petrucciani. To see him on his piano bench, his 50-pound body severely stunted and crippled by osteogenesis imperfecta, grinning with joy, his hands unleashing torrential piano romanticism, was to believe in the invincibility of the creative human spirit. In this 1988 concert he plays with the best rhythm section of his life, Gary Peacock and Roy Haynes. They had made Michel Plays Petrucciani for Blue Note 10 months earlier. Petrucciani has been compared to Peacock’s regular employer, Keith Jarrett. His chops were close, even if he lacked Jarrett’s harmonic inventiveness. He also reversed Jarrett’s priorities: Petrucciani put passion first, intellect second. “There Will Never Be Another You” is an eight-minute ascent in piano variations that find ecstasy and catharsis. No one made the piano a medium of ecstasy like Petrucciani. Even “Giant Steps,” John Coltrane’s notoriously difficult set of chord progressions, is cause for jubilant celebration (and confirms Petrucciani’s virtuosity). 

When he played a ballad, his natural fire was barely contained within his gift for lyricism. On this night the ballads are swept up and overwhelmed by energy. “My Funny Valentine” may be the fastest on record. “Embraceable You” is begun slowly by Peacock but Petrucciani smokes it. Only “In a Sentimental Mood” stays rapt. Petrucciani holds it back, hinting at it, touching its edges. It is a dawning revelation when Ellington’s melody gradually coalesces. ~ Thomas Conrad https://jazztimes.com/reviews/albums/michel-petrucciani-trio-one-night-in-karlsruhe-swr-jazzhaus/

Personnel:  Piano – Michel Petrucciani; Bass – Gary Peacock; Drums – Roy Haynes

One Night in Karlsruhe

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Stan Getz, Bob Brookmeyer - Recorded Fall '61

Styles: Saxophone And Trombone Jazz
Year: 1961
File: MP3@320K/s
Time: 42:48
Size: 98,8 MB
Art: Front

(10:37)  1. Minuet Circa '61
( 4:46)  2. Who Could Care?
( 5:58)  3. Nice Work If You Can Get It
( 6:46)  4. Thump, Thump, Thump
( 6:59)  5. A Nightingale Sang In Berkeley Square
( 7:39)  6. Love Jumped Out

Stan Getz returned to the United States in 1961 after two years of living in Denmark and playing throughout Europe. That fall, while preparing for Focus, which was to become his favorite personal album, the tenorist went into the studio to recreate some of the quintet magic he and valve trombonist Bob Brookmeyer had produced in the mid-1950s. In fact, the group had recorded earlier in the year with Scott LaFaro on bass, but unhappy with his own playing, Getz refused to release the results. Due to LaFaro’s untimely death that summer, Getz enlisted John Neves to partner with pianist Steve Kuhn and drummer Roy Haynes for this subsequent session, Recorded Fall 1961.

It’s easy to see why Getz must have been pleased with the effort this time. His lines are relatively cliche-free and his fabulous tone, masterful technique and effortless swing are on display throughout. Brookmeyer, one of the most individualistic of improvisers, once again shows himself to be an ideal mate for Getz, combining a composer’s inventiveness with a Kansas City-bred earthiness and sense of swing. The trombonist also composed three tunes-“Minuet Circa ’61,” the ballad “Who Could Care?” and “Thump, Thump, Thump”-to go with his arrangements of a pair of standards and Buck Clayton’s “Love Jumped Out.” Getz liked the rhythm section so much that he continued to use them for his live engagements. Although Recorded Fall 1961 was released soon after its completion, this remastered reissue is part of Verve’s Master Edition series.

Nearly 30 years later, and a year before his death in 1991, Getz was still playing near the top of his form. With his cancer in remission, he was touring Europe with a quartet that included pianist Kenny Barron, bassist Alex Blake and drummer Terri Lyne Carrington. Synthesizer players Eddie Del Barrio and Frank Zottoli augmented the quartet on selections from Getz’s then recently released Apasionado, which featured Del Barrio’s electronically enhanced arrangements. Although some critics accused Del Barrio’s charts of being excessively pop-oriented, they did provide Getz with a congenial setting for his free-flowing lyricism. And at the Munich concert that comprises the first part of The Final Concert Recording, Getz imbues the five selections with his trademark passion and beauty despite a slight tendency to rely too heavily on some of his favorite melodic patterns. The other nine tracks on the two discs that constitute The Final Concert Recording exemplify quintessential small-group Getz. Digging in on the pop standards “What Is This Thing Called Love?” and “On a Slow Boat to China,” as well as the jazz compositions “Seven Steps to Heaven,” “Blood Count” (a Getz favorite), Barron’s “Voyage,” Thad Jones’ “Yours and Mine,” Johnny Mandel’s “El Cajon” and Benny Carter’s “People Time,” the quartet simply sparkles. Blake and Carrington provide a sometimes powerful, sometimes quietly urgent underpinning for Getz and Barron, and both soloists play with the confidence and polish expected of such consummate professionals. Although Barron had worked frequently with Getz, this occasion seems to have been particularly inspirational for him as he’s consistently all over the piano in an especially impressive display of invention. It seems fitting that Getz’s last recording, made a few months later, would feature just the two of them.https://jazztimes.com/archives/stan-getzbob-brookmeyer-recorded-fall-1961/

Personnel: Bob Brookmeyer - valve trombone; Stan Getz - tenor saxophone; Steve Kuhn - piano; John Neves - double bass; Roy Haynes - drums

Recorded Fall '61

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Roy Haynes & Kenny Clarke - Transatlantic Meetings

Styles: Jazz, Post Bop
Year: 1954
File: MP3@320K/s
Time: 60:55
Size: 208,5 MB
Art: Front

(3:50)  1. Red Rose
(4:34)  2. A Mountain Sunset
(2:40)  3. Laffin' and Crying
(5:08)  4. Minor Encamp
(3:02)  5. Subscription
(3:34)  6. Dillon
(4:04)  7. Trianon
(5:20)  8. Kenny's Special
(3:17)  9. Illusion
(7:27) 10. Love Me or Leave Me
(4:20) 11. Cinerama
(6:41) 12. Vogue
(6:51) 13. Buyer's Blues

Roy Owen Haynes (born March 13, 1925) is an American jazz drummer. He is among the most recorded drummers in jazz. In a career lasting over 70 years he has played swing, bebop, jazz fusion, avant-garde jazz and is considered the father of modern jazz drumming. "Snap Crackle" was a nickname given to him in the 1950s. He has led bands such as the Hip Ensemble. His albums Fountain of Youth and Whereas were nominated for a Grammy Award. He was inducted into the Modern Drummer Hall of Fame in 1999. His son Graham Haynes is a cornetist; his son Craig Holiday Haynes and grandson Marcus Gilmore are both drummers. https://en.wikipedia.org/wiki/Roy_Haynes

Kenny Clarke (born Kenneth Clarke Spearman, later aka, Liaqat Ali Salaam, on January 9, 1914 in Pittsburgh, Pennsylvania-died January 26, 1985 in Paris, France) was a jazz drummer and an early innovator of the bebop style of drumming. As the house drummer at Minton's Playhouse in the early 1940's, he participated in the after hours jams that led to the birth of Be-Bop, which in turn lead to modern jazz. He is credited with creating the modern role of the ride cymbal as the primary timekeeper. Before, drummers kept time on the high-hat and snare drum (”digging coal”, Clarke called it) with heavy support from the bass drum. With Clarke time was played on the cymbal and the bass and snare were used more for punctuation. This led to a much more relaxed style of drumming. From this point more and more rhythms and poly-rhythms are made possible. For this, “every drummer” Ed Thigpen said, “owes him a debt of gratitude.” Clarke was nicknamed “Klook” or “Klook-mop” for the style he innovated. Clarke was a founder member of the Modern Jazz Quartet (as the Milt Jackson Quartet) in 1951 and also participated in many recording sessions as house drummer for Savoy Records. Connie Kay took his place in the MJQ in 1955 and from 1956 Clarke was resident in France where he regularly worked with visiting American musicians in Paris, in particular forming a working trio, known as “The Bosses”, with Bud Powell and Pierre Michelot. Kenny Clarke died in Paris in 1985. https://musicians.allaboutjazz.com/kennyclarke

Featuring: Kenny Clarke (drums), Roy Haynes (drums), Henri Renaud (piano), Martial Solal (piano), Barney Wilen (saxophone), Joe Benjamin (bass), Billy Byers (trombon), Jay Cameron (saxophone), Jimmy Deuchar (trumpet), Allen Eager (saxophone), Jimmy Gourley (guitar), Benoît Quersin (bass)

Transatlantic Meetings

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Roy Haynes Trio - Just Us (Remastered)

Styles: Jazz, Post Bop
Year: 1960/2013
File: MP3@320K/s
Time: 41:07
Size: 94,8 MB
Art: Front

(7:31)  1. Down Home
(7:01)  2. Sweet and Lovely
(3:47)  3. As Long as There's Music
(2:00)  4. Well Now
(7:03)  5. Cymbalism
(6:35)  6. Con Alma
(7:07)  7. Speak Low

Considering his stature, drummer Roy Haynes has led relatively few sessions throughout his long career. From 1957-1977, he headed just seven albums (none from 1969-77), including this fine trio set. Haynes sounds as if he enjoys accompanying the Red Garland-influenced piano playing of Richard Wyands and the obscure bassist Eddie DeHaas on six of the songs, and he takes "Well Now" as his feature. Haynes' concise drum solos always hold one's interest, and even though this tasteful date is far from definitive, the music is enjoyable. [Originally released in 1960, Just Us was reissued on CD in 2000.] ~ Scott Yanow https://www.allmusic.com/album/just-us-mw0000648025

Personnel: Roy Haynes - drums; Richard Wyands - piano; Eddie De Haas - bass

Just Us

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Andrew Hill - Smoke Stack (Remastered)

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 60:52
Size: 140,4 MB
Art: Front

(5:00)  1. Smoke Stack
(5:07)  2. The Day After
(5:46)  3. Wailing Wall
(4:29)  4. Ode To Von
(6:24)  5. Not So
(5:48)  6. Verne
(7:06)  7. 30 Pier Avenue
(4:20)  8. Smoke Stack
(4:49)  9. The Day After
(5:28) 10. Ode To Von
(6:28) 11. Not So

Emerging at the beginning of the '60s, Andrew Hill was always difficult to pigeonhole. The pianist was too aligned with mainstream harmony to be considered avant garde, too complex a writer to be considered free, too abstruse a player to be considered mainstream. The people at Blue Note knew they had a gem when they signed him. What they didn't know was that it would be decades before his value was truly appreciated. But better late than never. Smoke Stack, the second of six Blue Note sessions recorded between November 1963 and February 1965, was the pianist's fourth release by the label. While Hill's other sessions from the time were equally challenging from a compositional perspective, Smoke Stack was the most inherently difficult to fathom. It eschewed the more traditional instrumentation of Black Fire (1963), Judgement! (1964) and Point of Departure (1965) in favor of a piano/two-bass/drums lineup that was likely too unorthodox, even for a label that wasn't particularly averse to the unconventional. Hill's partners on this recording are bassists Richard Davis and Eddie Khan, along with drummer Roy Haynes, who also played on Black Fire. Other sessions from 1963-65 would feature different drummers, but Davis remained a constant throughout the period. Always a thinking man's bassist, Davis is at his most dominant on Smoke Stack, where Khan and Haynes assume the role of rhythmic anchor. Unlike Ornette Coleman and John Coltrane, who had already used twin-bass lineups but typically buried them underneath one or more solo voice, Hill places Davis front and center alongside his own idiosyncratic playing. Even on the balladic "Verne," where Khan sits out, Haynes steadfastly maintains rhythmic consistency while Davis interacts more persistently with Hill. On "Wailing Wall," Haynes' prevalent cymbal work sets a precedent for drummers like Jon Christensen and Jack DeJohnette; Davis' out-front arco gives credence to the song's title. Even on the semi-swinging "Ode to Von," where the harmonies feel mainstream, Hill's playing always skews things just the slightest bit off-kilter. But the tandem playing with Davis ensures an even greater elasticity which sometimes feels as though it might actually fall apart completely if it weren't for the real rhythmic glue that Haynes provides to bind this quartet. Looking back on Hill's emergence, it's remarkable how much he varied the contexts in which he worked. Smoke Stack may have been more of a challenge to listeners at the time, but today it stands out as one of Hill's most satisfying efforts, if only because of his remarkable interplay with Davis. ~ John Kelman https://www.allaboutjazz.com/smoke-stack-andrew-hill-blue-note-records-review-by-john-kelman.php

Personnel: Andrew Hill: piano; Richard Davis: bass; Eddie Khan: bass; Roy Haynes: drums.

Smoke Stack

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Stan Getz Quartet - Getz At The Gate

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 139:14
Size: 321,0 MB
Art: Front

( 0:25)  1. Announcement By Chip Monck
( 7:49)  2. It's All Right With Me
( 9:20)  3. Wildwood
( 6:27)  4. When The Sun Comes Out
(12:01)  5. Impressions
( 8:35)  6. Airegin
( 9:45)  7. Like Someone In Love
( 8:29)  8. Woody 'N' You
(10:27)  9. Blues
( 5:01) 10. Where Do You Go
( 8:19) 11. Yesterday's Gardenias
( 7:25) 12. Stella By Starlight
( 8:52) 13. It's You Or No One
( 6:57) 14. Spring Can Really HangYou Up The Most
(14:18) 15. 52nd Street Theme
(14:57) 16. Jumpin' With Symphony Sid

Connoisseurs of Stan Getz continue to get lucky with newly discovered live recordings. The last was Moments In Time (Resonance, 2016), a single CD documenting parts of a week-long residency with a quartet including pianist JoAnne Brackeen in San Francisco in 1976. Getz At The Gate, recorded fifteen years earlier, is another substantial addition to Getz's catalogue. Over two CDs, or three LPs if you prefer, it includes all 139 minutes which Getz's band performed at New York's Village Gate on November 26, 1961. Recorded just a month after the completion of Getz's with-strings masterpiece Focus (Verve, 1961), the package captures him at the top of his game. After two and a half years living in Denmark, Getz returned to the US in early 1961 to encounter a jazz world in the throes of change. Ornette Coleman was carrying the torch for free jazz, Miles Davis had brought modal jazz into the mainstream and John Coltrane had put clear water between himself and Sonny Rollins to become the pre-eminent tenor saxophonist on the New York scene. Getz, who had lost none of his competitive edge while in Europe, realised he could not simply pick up where he had left off if he wanted to keep his place at the head table. He was not about to become either a modal or a free player, but he was prepared to recalibrate a little. He put together a new-guard quartet comprising pianist Steve Kuhn, who had briefly been a member of Coltrane's quartet in 1960, bassist Scott LaFaro, who had just left Coleman's band, and drummer Roy Haynes, with whom Getz had first worked in the late 1940s and who was fresh from recording with Eric Dolphy. Getz took the group into the Village Vanguard in March 1961 for his New York comeback. A review in The New York Times reported that Getz was "a much more venturesome musician" than when he last played in the city. The quartet played an acclaimed set at the Newport Jazz Festival in July. Things were looking good. Tragically, four days later, La Faro was killed in an auto accident.

La Faro was replaced by John Neves and the new lineup augmented by valve trombonist Bob Brookmeyer went into the studio in September to make Recorded Fall 1961 (Verve), a relatively little-known treasure in Getz's discography. Two months later, Getz took the quartet (without Brookmeyer) into the Village Gate for the gig preserved on Getz At The Gate. Despite their quality, Recorded Fall 1961, Focus and Getz At The Gate were all overtaken by events. In early 1962, the tapes of Getz's bossa nova debut, Jazz Samba (Verve, 1962), hit Verve's office. They had hit written all over them. Getz's other projects were put on hold. Recorded Fall 1961 and Focus dropped off the promo schedule and Getz At The Gate lay forgotten in the vaults. Only now, in June 2019, is the album getting its first release. The Getz At The Gate set lists are mostly drawn from the Great American Songbook with which Getz had made his name, plus four jazz standards (Gigi Gryce's "Wildwood," Dizzy Gillespie's "Woody "n You," Thelonious Monk's "52nd Street Theme" and Sonny Rollins' "Airegin"). Getz's readings range from the lush and intimate through the fierce and stomping and, as ever, he pulls improvised melodies out of the air which are as beautiful as the tunes they are grounded in. A gorgeous reading of Harold Arlen's "When The Sun Comes Out" is among the highlights. The odd-man-out among the track titles is "Impressions," the tune John Coltrane had remodelled out of Miles Davis' "So What" (from Davis' 1959 CBS album Kind Of Blue). It would be fascinating to hear Getz play Coltrane's piece but, disappointingly, he sits out the number, which is a trio feature for Kuhn, who had performed it while a member of Coltrane's band. On the rarities front, however, Getz At The Gate does include the only known Getz recordings of "52nd Street Theme," Cole Porter's "It's Alright With Me" and Dick Robertson's "Yesterday's Gardenias." Getz At The Gate has borderline longueurs, in the shape of a couple too many bass solos. But such was the small-group gigging paradigm of the time. Getz is in exalted form throughout and you can't get too much of that. ~ Chris May https://www.allaboutjazz.com/getz-at-the-gate-stan-getz-verve-review-by-chris-may.php

Personnel: Stan Getz: tenor saxophone; Steve Kuhn: piano; John Neves: bass; Roy Haynes: drums.

Getz At The Gate

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Bill Evans & Lee Konitz - Play The Arrangements Of Jimmy Giuffre

Styles: Piano And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 74:29
Size: 172,2 MB
Art: Front

(3:08)  1. Palo Alto
(5:02)  2. When Your Lover Has Gone
(9:50)  3. Cork'n' Bib
(4:29)  4. Somp'm Outa' Nothin'
(3:36)  5. Someone To Watch Over Me
(3:55)  6. Uncharted
(3:59)  7. Moonlight In Vermont
(5:08)  8. The Song Is You
(1:58)  9. Darn That Dream
(4:48) 10. Ev'rything I've Got (Belongs To You)
(4:19) 11. You Don't Know What Love Is
(4:00) 12. I Didn't Know About You
(3:57) 13. I'm Getting Sentimental Over You
(4:11) 14. You're Driving Me Crazy
(4:08) 15. You're Clear Out Of This World
(3:39) 16. The More I See You
(4:12) 17. You Are Too Beautiful

Merged from two brilliant 1959 studio sessions, this disc is, just as the title and artist credits suggest, a showcase for three immense talents. Those expecting to hear the snap-crackle of Roy Haynes' snare or Bob Brookmeyer's punctuated counterpoints after reading the all-star lineup may be surprised to hear them relegated to the background, but any disappointment will end there. The brilliant playing of Konitz and Evans, paired with Jimmy Giuffre's sensitive arrangements, is enough to satisfy any true jazz lover. Assembled for the album Lee Konitz Meets Jimmy Giuffre, the first band, a quintet of saxophones backed by the rhythmic underpinnings of Evans, bassist Buddy Clark and drummer Ronnie Free, immediately shows its musicality on the angular, quasi-atonal "Palo Alto. After a rundown of the pointillistic Giuffre arrangement, Konitz jumps in and alternately toys with and floats over the buoyantly swinging rhythm section and airy horn backgrounds. Konitz and Evans solo at length on "Somp'm Outa' Nothin', which can only be described as a blues that has a hard time getting off the "one" chord. The arrangement is quintessential Guiffre, with its dense tone clusters and recurring rhythmic pedal; Evans takes incredible liberties with the harmonic structure and shows an early affinity for Monk. Following a chamber-jazz reworking of "Darn That Dream, in which Giuffre masterfully exploits the subtle harmonic movements using a quintet of saxophones, the album is rounded out with a number of tracks from the '59 album You And Lee. Recorded five months after the initial Konitz/Giuffre studio session, this date finds a trio of trumpets and trombones replacing the saxophone section and adding a distinct edge to the music. Konitz is clearly the leader here; his probing, inventive solos are featured throughout the lineup of reworked standards, and the comping work is split by Evans' piano and the earthy guitar of Jim Hall. The tunes, especially "You Don't Know What Love Is, show Konitz at his best. He dazzles the listener with his sensitivity and invention and revels in the shimmering, transparent beauty evoked by Giuffre's arrangements. ~ Matthew Miller https://www.allaboutjazz.com/play-the-arrangements-of-jimmy-giuffre-bill-evans-lone-hill-jazz-review-by-matthew-miller.php?width=1920

Personnel: Band 1: Lee Konitz, Hal McKusick: alto saxophone; Ted Brown, Warne Marsh: tenor saxophone; Jimmy Giuffre: baritone saxophone/arrangements; Bill Evans: piano; Buddy Clark: bass; Ronnie Free: drums.

Band 2: Marky Markowitz, Ernie Royal, Phil Sunkel: trumpet; Eddie Bert, Billy Byers; trombone; Bob Brookmeyer: valve trombone; Lee Konitz: alto saxophone; Bill Evans; piano; Sonny Dallas: bass; Roy Haynes: drums; Jimmy Giuffre: arranger, conductor.

Play The Arrangements Of Jimmy Giuffre

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Oliver Nelson - Black, Brown and Beautiful

Styles: Piano, Saxophone , Big Band
Year: 1970
File: MP3@320K/s
Time: 37:23
Size: 86,0 MB
Art: Front

(5:31)  1. Aftermath
(7:08)  2. Requiem
(2:34)  3. Lamb of God
(4:15)  4. Martin Was a Man, a Real Man
(4:11)  5. Self-Help Is Needed
(2:38)  6. I Hope in Time a Change Will Come
(3:29)  7. 3, 2, 1, 0
(3:30)  8. Black, Brown and Beautiful
(4:04)  9. Requiem, Afterthoughts

One of Oliver Nelson's hippest albums a bold statement of righteous energy, and a fantastic summation of all the genius he'd created during the 60s as an arranger for other people's records! The record is almost at a Duke Ellington level a complex yet soulful suite of tracks for the post-60s years complete with some sound effects of rioting and urban strife at the beginning, and a mix of modern, modal, and compositional styles that bursts out with pride and power that we wouldn't have heard in Nelson's music a decade before! The soloists are great and the album features wonderful read work from John Klemmer, Frank Strozier, and Nelson himself on great original titles that include "Self Help Is Needed", "I Hope In Time A Change Will Come", "Requiem Afterthoughts", "Lamb Of God", and "Martin Was A Man A Real Man".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/856690/Oliver-Nelson:Black-Brown-Beautiful

Personnel: Oliver Nelson - piano, alto saxophone, soprano saxophone, arranger, conductor;  Orchestra including the following soloists: Bobby Bryant - trumpet; Frank Strozier - alto saxophone;  John Gross, John Klemmer - tenor saxophone; Pearl Kaufman, Roger Kellaway - piano; Chuck Domanico - bass; John Guerin, Roy Haynes - drums

Black, Brown and Beautiful

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Sam Most - The Amazing Mr. Sam Most

Styles: Flute, Clarinet Jazz
Year: 2006
File: MP3@320K/s
Time: 30:24
Size: 70,3 MB
Art: Front

(5:46)  1. It Might as Well Be Spring
(6:09)  2. You Stepped Out of a Dream
(3:10)  3. Softly, as in a Morning Sunrise
(4:20)  4. Lover Man
(4:31)  5. Alone Together
(6:25)  6. When Your Lover Has Gone

One of the first great jazz flutists, a cool-toned tenor, and a fine (if infrequent) clarinetist, Sam Most was the younger brother of clarinetist Abe Most. He picked up early experience playing with the orchestras of Tommy Dorsey (1948), Boyd Raeburn, and Don Redman. By the time he led his first session (1953), Most was a brilliant flutist (among the first to sing through his flute) and he briefly had the jazz field to himself. Most recorded fine sessions for Prestige, Debut (reissued on Xanadu), Vanguard, and Bethlehem during 1953-1958, doubling on clarinet. He also worked in different settings with Chris Connor, Paul Quinichette, and Teddy Wilson. After playing with Buddy Rich's Orchestra (1959-1961), he moved to Los Angeles and became a studio musician. Sam Most worked with Red Norvo and Louie Bellson, gained some new prominence with his Xanadu recordings of 1976-1979, and became a local fixture in Los Angeles, sometimes playing in clubs with his brother. Most died of cancer in June 2013; he was 82 years old. ~ Scott Yanow https://www.allmusic.com/artist/sam-most-mn0000240834/biography

Personnel:  Sam Most - flute,  clarinet; Hall Overton - piano; Jimmy Raney - guitar; Addison Farmer - bass; Roy Haynes - drums

The Amazing Mr.Sam Most

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Eric Dolphy - The Essential Eric Dolphy

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 63:01
Size: 145,1 MB
Art: Front

(7:57)  1. G.W.
(5:11)  2. Les - Rudy Van Gelder Remaster
(6:40)  3. The Meetin'
(5:00)  4. Feathers
(2:43)  5. Eclipse
(8:42)  6. Ode To Charlie Parker
(8:01)  7. Mrs. Parker Of K.C. (Bird's Mother)
(9:53)  8. Ralph's New Blues
(8:50)  9. Status Seeking

This is strictly for the budget-conscious. It does have some valuable material, but no anthology can accurately assess Dolphy's importance. 

~ Ron Wynn https://www.allmusic.com/album/the-essential-eric-dolphy-mw0000198039

Personnel:  Alto Saxophone – Eric Dolphy; Bass – George Tucker; Drums – Roy Haynes; Piano – Jaki Byard; Trumpet – Freddie Hubbard

The Essential Eric Dolphy

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Roy Haynes - We Three

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 39:18
Size: 90,6 MB
Art: Front

( 4:21)  1. Reflection
( 6:23)  2. Sugar Ray
( 8:51)  3. Solitaire
(11:18)  4. After Hours
( 4:21)  5. Sneakin' Around
( 4:01)  6. Our Delight

We Three, recorded in a single session on November 14, 1958, was the first American studio date as a bandleader for the diminutive and legendary jazz drummer Roy Haynes, although with pianist Phineas Newborn on board (along with bassist Paul Chambers), it really is a set dominated by Newborn, whose busy, two-handed technique here works in tandem balance with Haynes' cool refinement. Newborn was all about amazing and dazzling piano runs that on some dates created simply too much flash and clutter to allow pieces to flow and breathe properly, but Haynes has always been about grace and flow throughout his career (if a drummer's style can said to be elegant, Haynes fits the bill), and here he rubs off on Newborn, who exercises just enough restraint to keep him in the proper orbit, resulting in a fine album. Highlights include the easy, pure swing of the opener, a version of Ray Bryant's "Reflection," a wonderful and bluesy rendition of Avery Parrish's "After Hours" (which finds Newborn in perfect balance between explosive ornamentation and smooth functionality), and a jaunty, fun spin through Newborn's own "Sugar Ray," a tribute to boxer Sugar Ray Robinson. This trio had a brief recording career together, but as this solid set shows, they made the best of it. ~ Steve Leggett https://www.allmusic.com/album/we-three-mw0000372505

Personnel: Roy Haynes - drums; Phineas Newborn Jr. - piano; Paul Chambers - bass

We Three

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Roy Haynes - Keeping Up

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 114:45
Size: 266,4 MB
Art: Front

( 3:46)  1. As Long as There's Music
( 5:59)  2. Gone Again
( 1:58)  3. Well Now
( 7:00)  4. Sweet and Lovely
( 4:24)  5. Reflection
( 6:41)  6. Moon Ray
( 5:31)  7. Hagnes
( 7:29)  8. Down Home
( 8:53)  9. Solitaire
( 4:24) 10. Sneaking Around
( 3:31) 11. Some Other Spring
( 7:06) 12. Speak Low
( 6:34) 13. Con Alma
(11:21) 14. After Hours
( 5:50) 15. If I Should Lose You
( 6:25) 16. Sugar Ray
( 4:02) 17. Our Delight
( 7:02) 18. Cymbalism
( 6:40) 19. Fly Me to the Moon

A veteran drummer long overshadowed by others, but finally gaining recognition for his talents and versatility, Roy Haynes has been a major player since the 1940s. He worked early on with the Sabby Lewis big band, Frankie Newton, Luis Russell (1945-1947), and Lester Young (1947-1949). After some engagements with Kai Winding, Haynes was a member of the Charlie Parker Quintet (1949-1952); he also recorded during this era with Bud Powell, Wardell Gray, and Stan Getz. Haynes toured the world with Sarah Vaughan (1953-1958); played with Thelonious Monk in 1958; led his own group; and gigged with George Shearing, Lennie Tristano, Eric Dolphy, and Getz (1961). He was Elvin Jones' occasional substitute with John Coltrane's classic quartet during 1961-1965, toured with Getz (1965-1967), and was with Gary Burton (1967-1968). In addition to touring with Chick Corea (1981 and 1984) and Pat Metheny (1989-1990), Haynes has led his own Hip Ensemble on and off during the past several decades. When one considers that he has also gigged with Miles Davis, Art Pepper, Horace Tapscott, and Dizzy Gillespie, it is fair to say that Haynes has played with about everyone. He led dates for EmArcy and Swing (both in 1954), New Jazz (1958 and 1960), Impulse (a 1962 quartet album with Roland Kirk), Pacific Jazz, Mainstream, Galaxy, Dreyfus, Evidence, and Storyville. In 1994, Haynes was awarded the Danish Jazzpar prize, and two years later, he received the prestigious French Chevalier des l'Ordres Artes et des Lettres. In the late '90s, Haynes formed a trio with pianist Danilo Perez and bassist John Pattitucci, and they released their debut album, The Roy Haynes Trio Featuring Danilo Perez & John Pattitucci, in early 2000 on Verve. Haynes' son Graham is an excellent cornetist. Haynes paid tribute to Charlie Parker in 2001 with Birds of a Feather, his fourth release for the Dreyfus Jazz label, which was subsequently nominated for a Grammy in 2002; Fountain of Youth followed two years later. Also released in 2004, Quiet Fire compiled two of his prior releases for Galaxy (1977's Thank You Thank You and 1978's Vistalite) into one back-to-back record. Whereas appeared in mid-2006, and it earned Haynes a Grammy nomination for Best Jazz Instrumental Solo. ~ Scott Yanow https://www.allmusic.com/artist/roy-haynes-mn0000290464/biography

Keeping Up

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Tommy Flanagan Trio - Tommy Flanagan Trio

Styles: Piano Jazz
Year: 1985
File: MP3@320K/s
Time: 33:37
Size: 77,7 MB
Art: Front

(3:41)  1. In The Blue Of The Evening
(4:27)  2. You Got To My Head
(5:19)  3. Velvet Moon
(3:35)  4. Come Sunday - Solo Piano
(4:22)  5. Born To Be Blue
(5:30)  6. Jes' Fine - Instrumental
(6:39)  7. In A Sentimental Mood

Since this set (reissued on CD) was originally recorded for the Prestige subsidiary Moodsville, most of the selections are taken at slow tempoes. With bassist Tommy Potter and drummer Roy Haynes giving the pianist fine support, the trio cooks a bit on Flanagan's "Jes' Fine" but otherwise plays such songs as "You Go to My Head," "Come Sunday" (which is taken as a solo piano feature) and "Born to Be Blue" quietly and with taste. ~ Scott Yanow https://www.allmusic.com/album/tommy-flanagan-trio-1960-mw0000340355

Personnel:  Tommy Flanagan - piano; Tommy Potter - bass; Roy Haynes - drums

Tommy Flanagan Trio

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Nat Adderley - Introducing Nat Adderley

Styles: Cornet Jazz
Year: 1955
File: MP3@320K/s
Time: 43:40
Size: 101,4 MB
Art: Front

(2:47)  1. Watermelon
(4:06)  2. Little Joanie Walks
(3:32)  3. Two Brothers
(4:29)  4. I Should Care
(6:03)  5. Crazy Baby
(6:43)  6. New Arrivals
(3:53)  7. Sun Dance
(3:22)  8. Fort Lauderdale
(3:16)  9. Friday Nite
(5:25) 10. Blues For Bohemia

The Adderley brothers were key players in the birth of hard bop, a style which grew out of the advancements of Bud Powell and other pioneers who formed a sound that many artists took to the bank for years. At this point in time Cannonball had formed his first quintet with Nat as a sideman; facing indifferent recognition, Cannonball went on to join Miles Davis and met with far greater acclaim. The two would later reunite in the second Cannonball Adderley quintet with much greater success; after his stint with Davis, the public was much more receptive to what Cannonball had to say. This album is a bit unusual in that Nat is the leader and Cannonball is the sideman, although since the altoist is such a pervasive influence and all the tunes we co-written by the two, the distinction of who is in charge makes little difference. The Adderley brothers were always at their best working in the hard bop vein. Although they specialized in different instruments, their styles were remarkably similar; playful and lively, with a generous helping of the blues. 

They wear their Parker-Gillespie influences on their sleeves, trading off fluttering arpeggios and staccato runs at a rapid fire pace, and obviously prefer sticking to the higher register given their choice of instruments (Nat is one of the few jazz players to specialize in the cornet). Most of the songs here are skillfully designed to exploit the talents of both, although they are interchangeable with hundreds of other hard bop themes from the era. However, they truly seem to be enjoying themselves here, indulging their love of playing jazz. You would also be hard pressed to find a rhythm section better than the one assembled here; all three were highly regarded sidemen who amongst them have probably appeared on over a third of all sessions recorded during this period. Horace Silver would go on to record greasy soul anthems for the hard bop generation like "Song For My Father"; his sharp attack provides a bed of nails for the horns to blow over. ~ David Rickert https://www.allaboutjazz.com/introducing-nat-adderley-nat-adderley-verve-music-group-review-by-david-rickert__27073.php

Personnel: Nat Adderley, cornet; Cannonball Adderley, alto sax; Horace Silver, piano; Paul Chambers, bass; Roy Haynes, drums.

Introducing Nat Adderley

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