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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Kenny Dorham - Kenny Dorham Sings And Plays: This Is The Moment!

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 37:33
Size: 86,0 MB
Art: Front

(3:04)  1. Autumn Leaves
(2:55)  2. I Remember Clifford
(4:15)  3. Since I Fell For You
(4:11)  4. I Understand
(4:45)  5. From This Moment On
(2:37)  6. This Is The Moment
(5:26)  7. Angel Eyes
(4:29)  8. Where Are You?
(2:40)  9. Golden Earrings
(3:05) 10. Make Me A Present Of You

The release of this recording must have surprised most jazz listeners at the time, for trumpeter Kenny Dorham sings on all ten selections. He had never hinted at any desire to sing previously (although he had sung a blues regularly with Dizzy Gillespie & His Orchestra in the 1940s) and, as it turned out, this was his one and only vocal album; the sales were probably quite a bit less than Chet Baker's records of the period. Dorham had an OK voice, musical if not memorable, but the arrangements for these selections (which utilize his trumpet and Curtis Fuller's trombone, both of which are muted all the time) are inventive and pleasing. The supportive rhythm section is also an asset; pianist Cedar Walton made his recording debut on this album (released on CD via the Original Jazz Classics imprint), which is a historical curiosity. ~ Scott Yanow   

http://www.allmusic.com/album/kenny-dorham-sings-and-plays-this-is-the-moment!-mw0000118945

Personnel: Kenny Dorham - trumpet, vocals; Curtis Fuller – trombone; Cedar Walton – piano; Sam Jones – bass; G.T. Hogan – drums; Charlie Persip - drums

Kenny Dorham Sings And Plays: This Is The Moment!

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Cecil Payne & Duke Jordan - Brooklyn Brothers

Styles: Saxophone And Flute Jazz

Year: 1973

File: MP3@320K/s

Time: 37:55

Size: 90,6 MB

Art: Front

(3:16)  1. Egg Head

(5:31)  2. I Should Care

(5:26)  3. Jordu

(4:29)  4. Jazz Vendor

(6:05)  5. Cu-Ba

(3:45)  6. I Want To Talk About You

(5:12)  7. Cerupa

(4:08)  8. No Problem

'Brooklyn Brothers is truly a meeting of kindred spirits in perfect harmony. Cecil Payne and Duke Jordan are self-effacing people, but their music is strong and it takes on an extra richness when they are together. This is perhaps the most wholly satisfying session they have put down in an association which spans four decades.' Mark Gardner, from the original LP liner notes. This 1973 recording was Payne and Jordan s seventh together, and was the first in the previous 11 years. Deluxe CD includes 16-page book with original liner notes essay by Mark Gardner and new essay by jazz journalist Ted Panken, plus extra photos and session notes. Original session Produced & Directed by Don Schlitten. Album design & cover photo by Don Schlitten.~ Editorial Reviews https://www.amazon.com/Brooklyn-Brothers-Cecil-Payne-Jordan/dp/B01D3LC2O4

Personnel:  Cecil Payne - Baritone Saxophone & Flute;  Duke Jordan - Piano;  Sam Jones - Bass;  Al Foster - Drums

Brooklyn Brothers

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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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Benny Bailey - Grand Slam

Bitrate: MP3@320K/s
Time: 57:34
Size: 131.8 MB
Styles: Bop, Trumpet jazz
Year: 1978/1998
Art: Front

[ 6:53] 1. Reflectory, Pt. 1
[ 7:34] 2. Who's Bossa Now
[ 8:26] 3. Let Me Go, Pt. 1
[10:53] 4. Judgement Of Certain Kind
[ 9:55] 5. Thelonious Assault
[ 6:33] 6. Let Me Go, Pt. 2
[ 7:17] 7. Reflectory, Pt. 2

Trumpeter Benny Bailey was teamed with veteran tenor-saxophonist Charlie Rouse on this hard-blowing quintet date. The fresh material (two songs by Fritz Pauer who arranged the date, a pair from Bailey and one by Pepper Adams) inspires the soloists to play near their peak. With a fine rhythm section (pianist Richard Wyands, bassist Sam Jones and drummer Billy Hart) pushing the horns, this set is even better than expected. ~Scott Yanow

Grand Slam

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Bill Evans - Coffee and Cigarettes

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 78:17
Size: 180,0 MB
Art: Front

(5:00) 1. Some Other Time
(3:40) 2. Lucky to Be Me
(7:36) 3. Night and Day
(4:54) 4. What Is There to Say
(7:36) 5. Detour Ahead
(6:42) 6. Peace Piece
(4:41) 7. I Wish I Knew
(3:28) 8. Haunted Heart
(5:55) 9. Sweet and Lovely
(4:58) 10. My Foolish Heart
(7:12) 11. My Romance
(3:34) 12. Tenderly
(7:00) 13. Waltz for Debby
(5:54) 14. Young and Foolish

" I remember finding that somehow I had reached a new level of expression in my playing. It had come almost automatically, and I was very anxious about it, afraid I might lose it", Evans said.

One of the new pieces was Leonard Bernstein's "Some Other Time". Evans started to play an introduction using an ostinato figure. However the pianist spontaneously started to improvise over that harmonic frame, creating the recording that would be named "Peace Piece“.

According to Evans: "What happened was that I started to play the introduction, and it started to get so much of its own feeling and identity that I just figured, well, I'll keep going."

"Bill had this quiet fire that I loved on piano. The way he approached it, the sound he got was like crystal notes or sparkling water cascading down from some clear waterfall. I had to change the way the band sounded again for Bill's style by playing different tunes, softer ones at first.“~ Miles Davis

Personnel: Bill Evans - piano; Sam Jones - bass; Philly Joe Jones - drums; Paul Motian- drums

Coffee and Cigarettes

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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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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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Etta Jones - Doin' What She Does Best

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 62:54
Size: 145,8 MB
Art: Front

(3:53) 1. Laughing At Life
(3:56) 2. Orange Colored Sky
(4:56) 3. Crazy He Calls Me
(3:33) 4. It Could Happen To You
(4:25) 5. I Saw Stars
(5:47) 6. I'm In The Mood For Love
(3:12) 7. I'm Gonna Lock My Heart And Throw Away The Key
(4:34) 8. I'll Be Seeing You
(5:14) 9. My Romance
(4:14) 10. I Laughed At Love
(3:31) 11. East Of The Sun
(5:50) 12. The Man That Got Away
(4:00) 13. What A Little Moonlight Can Do
(5:43) 14. Gone Again

Singer Etta Jones made a comeback while with Muse in the 1970s and '80s, recording more than a dozen albums and teaming up with tenor saxophonist Houston Person (who also produced her sessions). This superior sampler has 14 of her very best recordings from that era.

Person's tenor both complements and contrasts with Jones' voice, and the frameworks/arrangements along with the singer's distinctive phrasing uplift these standards. Her renditions of songs like "Crazy He Calls Me," "I Saw Stars," "I'm Gonna Lock My Heart (And Throw Away the Key)," "My Romance," "East of the Sun (And West of the Moon)," and "The Man That Got Away" are quite definitive. In fact, these are among the very best (and most enjoyable) recordings of Jones' long career.
~Scott Yanowhttps://www.allmusic.com/album/doin-what-she-does-best-mw0000040165

Personnel: Vocals – Etta Jones; Bass – Buster Williams, George Duvivier, Milt Hinton, Sam Jones; Congas, Percussion – Lawrence Killian; Drums – Cecil Brooks III, Frankie Jones, Grady Tate, Idris Muhammad, Jimmy Cobb, Walter Davis Jr.; Guitar – Jimmy Ponder, Melvin Sparks; Keyboards – Sonny Phillips; Percussion – Ralph Dorsey; Piano – Cedar Walton, Stan Hope; Tenor Saxophone – Cedar Walton; Tenor Saxophone – Houston Person; Vibraphone – George Devens

Doin' What She Does Best

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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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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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Art Farmer - The Summer Knows

Styles: Jazz, Bop
Year: 1976
File: MP3@320K/s
Time: 34:31
Size: 80,3 MB
Art: Front

(7:42)  1. The Summer Knows
(5:24)  2. Manhã De Carnaval
(4:55)  3. Alfie
(6:13)  4. When I Fall In Love
(4:45)  5. Ditty
(5:30)  6. I Should Care

This relaxed session features fluegelhornist Art Farmer in a quartet with pianist Cedar Walton, bassist Sam Jones and drummer Billy Higgins. The material (which includes such tunes as "Alfie," "When I Fall in Love" and "I Should Care") is given lyrical treatment by these masterful players on this ballad-dominated date. ~ Scott Yanow https://www.allmusic.com/album/the-summer-knows-mw0000649502

Personnel:  Art Farmer - flugelhorn; Cedar Walton - piano; Sam Jones - bass; Billy Higgins - drums

The Summer Knows

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Lou Donaldson - Sunny Side Up

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 44:55
Size: 103,0 MB
Art: Front

(5:41)  1. Blues for J.P.
(5:16)  2. The Man I Love
(5:53)  3. Politely
(3:58)  4. It's You or No One
(5:22)  5. The Truth
(6:10)  6. Goose Grease
(6:34)  7. Softly as in a Morning Sunrise
(5:58)  8. Way Down Upon the Swanee River

Sunny Side Up is closer to hard bop than the straight-ahead bop that characterized Lou Donaldson's '50s Blue Note records. There's a bit more soul to the songs here, which pianist Horace Parlan helps emphasize with his lightly swinging grooves. The pair help lead the group which also features trumpeter Bill Hardman, drummer Al Harewood and bassist Sam Jones (Laymon Jackson plays bass on two of the eight songs) through a mellow set of standards and bluesy originals from Donaldson and Parlan. Even the uptempo numbers sound relaxed, never fiery. Despite the general smoothness of the session, Donaldson stumbles a little the quotation of "Flight of the Bumblebee" on "Blues for J.P." is awkward, as is the snippet of "Pop Goes the Weasel" on "Politely," and "Way Down Upon the Swanee River" sounds lazy but there's enough solid material to make Sunny Side Up a worthwhile listen for fans of Donaldson and early-'60s hard bop. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/sunny-side-up-mw0000176137

Personnel:  Lou Donaldson - alto saxophone; Horace Parlan - piano; Bill Hardman - trumpet;  Laymon Jackson - bass Sam Jones - bass;  Al Harewood - drums

Sunny Side Up

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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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Barry Harris - Barry Harris Trio With Al Cohn

Styles: Piano And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 78:35
Size: 182,4 MB
Art: Front

(5:03)  1. America The Beautiful
(8:33)  2. Night And Day
(8:33)  3. My Shining Hour
(5:11)  4. Bright
(6:17)  5. Skylark
(5:53)  6. Woody'n You
(6:09)  7. Comin' Home
(6:09)  8. You're My Everything
(9:47)  9. Lover
(5:03) 10. Play It Now
(6:17) 11. Georgia On My Mind
(5:40) 12. It's Sand, Man!

Originally issued in the Xanadu label, these studio quartet sessions showcase the collaborations between two of the most exciting figures of their instruments: tenor sax giant Al Cohn & piano master Barry Harris, who are joined here by two incarnations of the pianist's regular trio. https://www.freshsoundrecords.com/al-cohn-albums/5221-barry-harris-trio-with-al-cohn-2-lp-on-1-cd.html

Personnel: Al Cohn (ts), Barry Harris (p), Sam Jones, Larry Ridley (b), Leroy Williams, Alan Dawson (d)

Barry Harris Trio With Al Cohn

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Dizzy Reece - Comin' On

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 66:53
Size: 153,8 MB
Art: Front

( 6:42)  1. Ye Olde Blues
( 5:44)  2. The Case Of The Frightened Lover
( 9:05)  3. Tenderly
( 8:30)  4. Achmet
(10:11)  5. The Story Of Love
( 6:42)  6. Sands
( 6:47)  7. Comin' On
( 6:50)  8. Goose Dance
( 6:17)  9. The Things We Did Last Summer

For a short time in the late '50s trumpeter Dizzy Reece was an up-and-coming jazz artist. However, success eluded him and he quietly faded into obscurity, only occasionally releasing material after the early '60s. As a matter of fact, the sessions that became Comin' On! languished in the Blue Note vaults for almost four decades. Rediscovered in 1999, these dates feature six well-rounded hard bop compositions by Reece along with three standards. The tracks from April 3, 1960, not only document the Blue Note debut of tenor saxophonist Stanley Turrentine but also employ the talents of the Jazz Messengers' rhythm section of the time, pianist Bobby Timmons, bassist Jymie Merritt, and drummer Art Blakey. By July 17, 1960, the only musician remaining from the previous date was Turrentine, sharing tenor duties with Musa Kaleem, who is also heard on flute. (The later session's rhythm section had changed to pianist Duke Jordan, bassist Sam Jones, and drummer Al Harewood.) Neglected, although spirited, sessions from an underrated trumpeter and composer. ~ Al Campbell https://www.allmusic.com/album/comin-on%21-mw0000257295

Personnel:  Dizzy Reece - trumpet, conga;  Stanley Turrentine - tenor saxophone; Musa Kaleem - tenor saxophone, flute;  Bobby Timmons, Duke Jordan - piano; Jymie Merritt, Sam Jones - bass;  Art Blakey, Al Harewood - drums.

Comin' On

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Etta Jones feat. The Cedar Walton Trio - A Soulful Sunday: Live at the Left Bank (Remastered)

Styles: Vocal
Year: 1972/2019
File: MP3@320K/s
Time: 55:40
Size: 128,1 MB
Art: Front

(10:08)  1. Love Story, Love Story
( 0:34)  2. Vernon Welsh Intro
( 4:35)  3. Sunday
( 6:32)  4. This Guy's in Love with You
( 4:18)  5. If You Could See Me Now
( 4:43)  6. For All We Know
( 5:06)  7. Exactly Like You
( 3:16)  8. You Better Go Now
( 5:27)  9. Blow Top Blues
( 4:27) 10. Love Nest
( 6:28) 11. Don't Go to Strangers

Newly-discovered recording of vocalist Etta Jones with the Cedar Walton Trio live in Baltimore, MD in 1972. Recorded in 1972, ''A Soulful Sunday: Live at the Left Bank'' is the first official release of previously-unissued music by vocalist Etta Jones feat. the Cedar Walton Trio with Sam Jones and Billy Higgins. The extensive booklet includes rare photos; essay by author James Gavin; interviews with Jones' longtime musical partner Houston Person, the Left Bank Jazz Society's John Fowler, Grammy-winning vocalist Catherine Russell and more! ~ Editorial Reviews https://www.amazon.com/Soulful-Sunday-Live-Left-Bank/dp/B07JVF7M37

Personnel: Etta Jones - vocals; Cedar Walton - piano; Sam Jones - bass; Billy Higgins - drums

A Soulful Sunday: Live at the Left Bank (Remastered)

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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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