Miles Davis - Bag's Groove

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 46:23
Size: 106,4 MB
Art: Front

(11:17)  1. Bags' Groove (Take 1)
( 9:27)  2. Bags' Groove (Take 2)
( 4:55)  3. Airegin
( 5:13)  4. Oleo
( 5:45)  5. But Not For Me (take 2)
( 4:56)  6. Doxy
( 4:45)  7. But Not For Me (take 1)

There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session featuring Thelonious Monk which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. 

The up-tempo and Latin-infused syncopation featured during the opening of "Airegin" flows into lines and minor-chord phrasings that would reappear several years later throughout Davis' Sketches of Spain epic. The fun and slightly maniacally toned "Oleo" features one of Heath's most impressive displays on Bags' Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags' Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc. [Some reissues include both historic takes of "Bags' Groove" as well as one additional rendering of the pop standard "But Not for Me."] ~ Lindsay Planer http://www.allmusic.com/album/bags-groove-mw0000649467

Personnel: Miles Davis (trumpet); Sonny Rollins (tenor saxophone); Milt Jackson (vibraphone); Thelonious Monk, Horace Silver (piano); Percy Heath (bass); Kenny Clarke (drums).

Bag's Groove

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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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Sonny Rollins - Rollins in Holland - The 1967 Studio & Live Recordings

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 129:51
Size: 298,1 MB
Art: Front

( 4:49) 1. Blue Room
( 5:13) 2. Four
( 6:03) 3. Love Walked In
( 6:57) 4. Tune Up
( 8:13) 5. Sonnymoon for Two
( 9:30) 6. Love Walked In
(22:25) 7. Three Little Words
( 9:33) 8. They Can't Take That Away from Me/Sonnymoon for Two
(14:59) 9. On Green Dolphin St.
(19:45) 10. Love Walked In
(22:19) 11. Four

From the very first decibel of this unrealistically good, previously unreleased recording, Sonny Rollins bears no bones to inform listeners he is suffering no fools. It is a big, Buescher, bellwether sound, the one that gave Rollins the sound and spirit he needed to tell of a man taking it all on without apology. It is also meant to say that, without argument, unrealistically good here is totally understood as a decisively human characteristic and not necessarily one Rollins aspired to. So Resonance dug this one up from some archive somewhere up north where it is way colder and the society is a lot nicer, (to pique your interest, there is a fun, fact-filled one-hundred-page booklet with contemporaneous action photos included) and it makes for a great package Rollins In Holland. It is what Resonance always does and why they are, and should be, lauded.

Then there is the music they find, and there is no alternative fiction going to convince us this is not Rollins, along with drummer Han Bennink and late bassist Ruud Jacobs riding one of those unexplainable peaks of clarity which stir great artists from time to glorious time. One of those updraft moments, as when a young hawk begins its ascent sunward, which awards us the ringingly eloquent "Blue Room." As "Four," "Love Walked In," and "Tuned Up" in real-time attest, both then and now, these guys who, just as a brief historical aside and coincidence, had never met or played before, early on slip into a mindset which serves them unfailingly throughout.

Be it the sheer, free artistry or the moxie of the admen, you won't be able to turn your ears away from Rollins In Holland, because then it goes live and all hell breaks loose and that's not idle, hoary punditry either. All hell breaks does break loose and we are transported back to a time when the music did, and was entrusted by the audience to, distract from the worries of the day. And so "Sonnymoon For Two" finds Rollins' soul urging Bennick on during the drummer's hell-raising solos and conclusively, with no-holds-barred, sets the whole riotous tone for the entire disc-and-a-half to follow. This one is as close to five stars as we're going to get. Have a treat. It's been a hell of a year. ~ Mike Jurkovic https://www.allaboutjazz.com/rollins-in-holland-sonny-rollins-resonance-records

Personnel: Sonny Rollins: saxophone; Ruud Jacobs: bass; Han Bennink: drums.

Rollins in Holland - The 1967 Studio & Live Recordings

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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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Sonny Rollins - On Impulse

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 34:31
Size: 79,2 MB
Art: Front

( 7:07)  1. On Green Dolphin Street
(11:14)  2. Every Thing Happens To Me
( 5:29)  3. Hold'Em Joe
( 3:44)  4. Blue Room
( 6:56)  5. Three Little Words

In 1965 and 1966 tenor giant Sonny Rollins issued three albums for the Impulse label. They would be his last until 1972 when he re-emerged on the scene from a self-imposed retirement. This date is significant for the manner in which Rollins attacks five standards with a quartet that included pianist Ray Bryant, bassist Walter Booker and drummer Mickey Roker. Rollins, who's been recording for RCA and its Bluebird subsidiary, had spent the previous three years (after emerging from his first retirement) concentrating on standards and focusing deeply on intimate, intricate aspects of melody and harmony. He inverts the approach here, and digs deeply into pulse and rhythm and leaving melody to take care of itself. This is not a "new thing" date but instead focuses on playing according to the dictates of the rhythm section and on interchanging with Booker and Roker, leaving much of the melodic aspect of these tunes to Bryant. Rollins could never quite leave the melody out of anything he played because of his intense gift as a lyrical improviser; he nonetheless stripped his approach back and played tunes like "On Green Dolphin Street" by improvising according to theme rather than strict melody, where his interplay with the rhythm section becomes based on the dynamic and shifting times played by Roker. While things are more intimate and straight on "Everything Happens to Me," he nonetheless plays the edges, filling the space like a drummer. Melody happens throughout, the tune is recognizable, but it is stretched in his solo to a theme set by the shimmering cymbals and brushed snare work of Roker. The oddest cuts in the set are the last two; spaced out readings of "Blue Room," and "Three Little Words"; they sound as if he were preparing the listener for a true change in his approach. Melody gets inverted, with spaces and syncopation taking the place of notes. The swing is inherent in everything here, but it's clear that the saxophonist was hearing something else in his head, the way he squeezes notes tightly into some phrases where they might be placed elsewhere, and substitutes small, lithe lines inside Bryant's solos which dictate the harmonic intervals more conventionally with his singing approach. And speaking of rhythm, the album's hinge piece is the burning calypso "Hold "Em Joe." Here again, as Bryant's changes play it straight, Rollins shoves his horn inside them and draws out the beat on his horn over and over again. As strange and beautiful as this record sounds, it would have been wonderful if he had chosen to explore this track on his later records, but that restless spirit was already moving onto something else, as evidenced by his next offering, which were his original compositions for the film Alfie with arrangements by Oliver Nelson. If anything, Sonny Rollins on Impulse! feels as if it were a recording Rollins had to get out of his system. But thank goodness for us because it's a winner through and through. ~ Thom Jurek https://www.allmusic.com/album/on-impulse-mw0000188710

Personnel: Sonny Rollins – tenor saxophone; Ray Bryant – piano; Walter Booker – bass; Mickey Roker – drums

On Impulse

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Art Farmer - Early Art

Styles: Trumpet Jazz
Year: 1961
File: MP3@320K/s
Time: 41:48
Size: 96,4 MB
Art: Front

(5:02)  1. Soft Shoe
(3:57)  2. Confab In Tempo
(5:01)  3. I'll Take Romance
(4:06)  4. Wisteria
(4:09)  5. Autumn Nocturne
(3:50)  6. I've Never Been In Love Before
(3:56)  7. I'll Walk Alone
(4:08)  8. Gone With The Wind
(3:59)  9. Alone Together
(3:36) 10. Pre Amp

Two of trumpeter Art Farmer's earlier sessions as a leader are reissued on this CD in the OJC series. Farmer teams up with an all-star quintet (which includes tenor-saxophonist Sonny Rollins, pianist Horace Silver, bassist Percy Heath and drummer Kenny Clarke) for four songs and dominates a quartet (with pianist Wynton Kelly, bassist Addison Farmer and drummer Herbie Lovelle) on six other tunes. Farmer's sound is lyrical even on the uptempo pieces and he is heard throughout in his early prime. Highlights include "Soft Shoe," "I'll Take Romance," "Autumn Nocturne" and an uptempo "Gone with the Wind." One should note that the programming differs from what is listed, with "Soft Shoe" (which should have been the opener) actually appearing fifth and the songs listed as appearing second through fifth moving up to first through fourth. Despite that flaw, the music is quite enjoyable and a must for 1950s bop collectors. ~ Scott Yanow https://www.allmusic.com/album/early-art-mw0000183670

Personnel:  Art Farmer – trumpet; Sonny Rollins - tenor saxophone (tracks 1-2, 5); Horace Silver (tracks 1-3, 5), Wynton Kelly (tracks 4, 6-10) - piano; Percy Heath (tracks 1-3, 5), Addison Farmer (tracks 4, 6-10) – bass; Kenny Clarke (tracks 1-3, 5), Herbie Lovelle (tracks 4, 6-10) – drums

Early Art

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Sonny Rollins - The Standard Sonny Rollins

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 56:15
Size: 166,6 MB
Art: Front

( 2:59)  1. Autumn Nocturne
( 3:17)  2. Night and day
( 3:26)  3. Love Letters
( 5:58)  4. My one and Only Love
( 2:13)  5. Three Little Words
( 4:06)  6. Trav'lin' Light
( 1:36)  7. I'll be Seeing you
( 4:11)  8. My Ship
( 4:18)  9. It Could Happen to you
( 2:47) 10. Long ago (and far Away)
( 5:17) 11. Winter Wonderland
( 3:16) 12. When you Wish Upon a Star
(12:44) 13. Trav'lin'  Light

I tend to think of Sonny Rollins in terms of his tenures with the various labels he has recorded for over the past almost 50 years. In the '50s it was Prestige, Blue Note, Riverside, and Contemporary. The saxophonist would then drop off the scene in the early '60s, followed by a brief stay with RCA Victor that was followed up with three albums for Impulse and then his lengthy and often disappointing stay with Milestone. Clearly, the RCA period was one of the finest of his career, yet is has also proven to be the one most difficult to collect thanks to RCA's hodge-podge approach to reissues (remember those Bluebird compilations with the ugly drawings on the covers from the '80s?). Of course, if you're a Rollins nut then you'll have all the RCA recordings as collected on a recent boxed set. On the other hand, the task of collecting the individual albums has gotten easier with a new Classic Edition version of The Standard Sonny Rollins. While The Bridge has got to be the quintessential accomplishment of the period, this collection of standards is worthy of praise too. The cast assembled is sure to sound familiar- Herbie Hancock, Bob Cranshaw, Mickey Roker, and Jim Hall. 

Each standard is given a brief performance that basically gives us a solid dose of Rollins waxing rhapsodic, sometimes backed by just bass and drums, with guitar and piano added sparingly. Exceptions are two takes (one long and one short) of "Trav'lin' Light" with Hancock, Hall, bassists Teddy Smith and David Izenson, and drummer Stu Martin. Izenson's bowed work makes each one of the performances unique and beautiful. Three additional performances from the same sessions that made up the original vinyl release are added, putting all this music under one roof for the first time on CD. It all adds up to a mighty package that contains small, but ample doses of undiluted Rollins. Enjoy! 

~ C.Andrew Hovan https://www.allaboutjazz.com/the-standard-sonny-rollins-sonny-rollins-rca-victor-review-by-c-andrew-hovan.php

Personnel:  Sonny Rollins, tenor saxophone; Herbie Hancock, piano; Bob Cranshaw, Teddi Smith, David Izenson, bass; Jim Hall, guitar; Stu Martin, Mickey Roker, drums

The Standard Sonny Rollins

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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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Sonny Rollins - What's New

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 49:53
Size: 114,6 MB
Art: Front

(12:06)  1. If ever I would leave you
( 6:09)  2. Don't Stop The Carnival
(10:54)  3. Jungoso
( 4:43)  4. Bluesongo
( 9:13)  5. Tha Night Has a Thousand Eyes
( 6:46)  6. Brownskin Girl

Tenor saxophonist Sonny Rollins returned from a self-imposed two-year sabbatical in 1962 with a fury, recording prolifically and exploring various directions from outside to inside. The five cuts on this LP were originally recorded in New York, with Rollins mixing standards and originals and providing his take on what was then an exploding trend, the bossa nova. Rollins' characteristically huge tone, relentless harmonic and rhythmic inventiveness, and fierce solos were consistently impressive. Not only did he state the melody clearly and superbly, but his ideas and pacing were remarkable; no solo rambled and his phrases were lean, thick and furious. While this wasn't in the class of Rollins' late-'50s epics, it was a well-done date.~ Ron Wynn https://www.allmusic.com/album/whats-new-mw0000099423

Personnel:  Sonny Rollins – tenor saxophone;  Jim Hall – guitar;  Bob Cranshaw – bass;  Ben Riley – drums;  Denis Charles, Frank Charles, Willie Rodriguez – percussion;  Candido – percussion.

What's New

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Various - A Life In Time: The Roy Haynes Story (2 parts)

The litany of names that drummer Roy Haynes has worked with in his half-century long career reads like a history of modern jazz, and includes such undeniable luminaries as Lester Young, Bud Powell, Charlie Parker, Miles Davis, Thelonious Monk, Eric Dolphy, Stan Getz, Jackie McLean, Chick Corea, Alice Coltrane, and John Coltrane, all of whom are represented on this three-disc (there is a fourth DVD disc that adds interviews and videos of live shows) survey of Haynes' musical life and times. Spanning 1949 through 2006, at 37 tracks this set only begins to scratch the surface of what Haynes has contributed to jazz, of course, but it is both an ideal starting point and a capsule survey of those contributions. A must for fans and those in the know, but even the most casual listener will be impressed.

Album: A Life In Time: The Roy Haynes Story Part 1
Bitrate: MP3@320K/s
Time: 86:28
Size: 197.9 MB
Styles: Bop
Year: 2007

[2:26] 1. Lester Young - Ding Dong
[3:00] 2. Bud Powell - Bouncin' With Bud
[3:02] 3. Charlie Parker - My Little Suede Shoes
[2:21] 4. Miles Davis - Morpheus
[2:50] 5. Miles Davis - Down
[2:30] 6. Sonny Rollins - I Know
[4:54] 7. Charlie Parker - I'll Walk Alone
[2:38] 8. Sarah Vaughan - Shulie A Bop
[3:32] 9. Nat Adderley - Two Brothers
[2:38] 10. Sarah Vaughan - How High The Moon
[4:20] 11. Roy Haynes - Reflection
[9:27] 12. Thelonious Monk Quartet - Rhythm A Ning
[3:49] 13. Etta Jones - Don't Go To Strangers
[5:41] 14. Eric Dolphy Quintet - On Green Dolphin Street
[2:28] 15. Stan Getz - I'm Late, I'm Late
[8:44] 16. Oliver Nelson - Stolen Moments
[4:40] 17. Roy Haynes Quartet - Long Wharf
[4:07] 18. Roy Haynes Quartet - Snap Crackle
[9:03] 19. Jackie Mclean - Esoteric
[4:09] 20. John Coltrane Quartet - After The Rain

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Album: A Life In Time: The Roy Haynes Story Part 2
Bitrate: MP3@320K/s
Time: 127:03
Size: 290.8 MB
Styles: Bop
Year: 2007
Art: Front

[ 6:53] 1. Andrew Hill - Black Fire
[ 7:53] 2. Jack Dejohnette - Poppa Daddy And Me
[ 6:27] 3. Chick Corea - Matrix
[11:41] 4. Alice Coltrane - Transfiguration
[ 3:02] 5. Michel Petrucciani - Little Peace In C For U
[ 6:22] 6. Gary Burton - Question And Answer
[17:20] 7. John Coltrane - My Favorite Things
[ 4:35] 8. Roy Haynes - James
[ 4:24] 9. Roy Haynes - Equipoise
[ 7:15] 10. Roy Haynes - After Sunrise
[ 7:01] 11. Roy Haynes - My Heart Belongs To Daddy
[ 5:55] 12. Roy Haynes - Vistalite
[ 6:43] 13. Roy Haynes - Water Children
[ 7:36] 14. Roy Haynes - Brown Skin Girl
[ 8:19] 15. Roy Haynes - Greensleeves
[ 6:53] 16. Roy Haynes & The Fountain Of Youth Band - Hippidy Hop
[ 8:37] 17. Roy Haynes & The Fountain Of Youth Band - Segment

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Gary Burton, Sonny Rollins, Clark Terry - 3 In Jazz (Remastered)

Bitrate: MP3@320K/s
Time: 35:11
Size: 80.6 MB
Styles: Bop
Year: 1963/1994
Art: Front

[2:57] 1. Hello, Young Lovers
[2:54] 2. Gentle Wind And Falling Tear
[3:44] 3. You Are My Lucky Star
[3:13] 4. I Could Write A Book
[3:01] 5. Sounds Of The Night
[2:26] 6. Cielito Lindo
[3:09] 7. Stella By Starlight
[2:58] 8. Blue Comedy
[5:41] 9. There Will Never Be Another You
[2:32] 10. Blues Tonight
[2:31] 11. When My Dream Boat Comes Home

This CD, a straight reissue of an RCA LP, has three unrelated but consistently interesting sessions that were recorded in 1963. Three selections with tenor-saxophonist Sonny Rollins (the only performances currently available elsewhere) are rather free (and fascinating) versions of standards and also feature cornetist Don Cherry, bassist Henry Grimes and drummer Billy Higgins. Vibraphonist Gary Burton's quartet (with trumpeter Jack Sheldon, bassist Monty Budwig and drummer Vernell Fournier) is fine if not overly memorable on their four numbers but flugelhornist Clark Terry (with pianist Hank Jones, bassist Milt Hinton, drummer Osie Johnson and Willie Rodriguez on Latin percussion) is in superior form, playing with great exuberance on "When My Dream Boat Comes Home" and "Cielito Lindo." Well worth picking up. ~Scott Yanow

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Miles Davis - Birdland 1951

Bitrate: MP3@320K/s
Time: 67:23
Size: 154.3 MB
Styles: Bop, Trumpet jazz
Year: 2004
Art: Front

[ 6:11] 1. Move
[ 7:31] 2. Half Nelson
[ 7:11] 3. Down
[ 5:51] 4. Out Of The Blue
[ 7:40] 5. Half Nelson
[ 6:42] 6. Tempus Fugit
[12:08] 7. Move
[ 8:36] 8. The Squirrel
[ 5:29] 9. Lady Bird

Bass – Charles Mingus, Tommy Potter; Drums – Art Blakey; Piano – Billy Taylor, Kenny Drew; Tenor Saxophone – Big Nick Nicholas, Eddie "Lockjaw" Davis, Sonny Rollins; Trombone – J.J. Johnson; Trumpet – Miles Davis.

These nine tracks, taken from radio broadcasts from the legendary Birdland in 1951, represent a particularly fruitful period in Miles Davis' development as a bandleader. There are three different broadcasts included here; two comprising six cuts in total were from June and September and have been issued in various forms on bootlegs over the decades. Four cuts, however, taken from a broadcast on February 17, have never been available in any form and it is these as well the marginally better fidelity of the entire set that makes this worth owning for Miles freaks -- and only Miles freaks. The sextet on the February and June dates included J.J. Johnson, Sonny Rollins, Art Blakey, Tommy Potter, and Kenny Drew. In September, Charles Mingus, Eddie "Lockjaw" Davis, Billy Taylor, and Big Nick Nicholas joined Davis and Blakey. The fidelity here is listed on the sleeve as "primitive." That's a nice way to say it sucks bad. These are better than Charlie Parker's Dean Benedetti recordings, but not by much. Soundwise, the best that can be said is that one can hear all of the instruments. The performances, however, particularly as delineated in the three different versions of the cut "Move," are stellar. They are inspired, furious, and cutting. Rollins outdoes himself in the June performance of the cut, and the latter band transforms it entirely. For the record, it is the only duplicate selection. Also, the live version of "Tempus Fugit," with its knotty head and punched-up rhythm, is revelatory in the manner of arrangement for those days and points a solid direction for the immediate future -- check the tempos and structure of the solo breaks on the September session for evidence. While this set is exclusively for those Miles fans who have to have absolutely everything, it is nonetheless worth it for those who have the bootlegs because of the heightened fidelity and the new session. ~Thom Jurek

Birdland 1951

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Sonny Rollins - Nucleus

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 41:19
Size: 94,8 MB
Art: Front

(6:08)  1. Lucille
(5:58)  2. Gwaligo
(4:08)  3. Are You Ready
(4:46)  4. Azalea
(5:17)  5. Newkleus
(7:20)  6. Cosmet
(7:40)  7. My Reverie

It has long been a disappointment to many longtime followers that Rollins's recordings of the 1970s and '80s were generally not at the same level as his earlier sessions. Nucleus is a case in point. This funky date (which also includes trombonist Raul DeSouza, Bennie Maupin on reeds and keyboardist George Duke) has its moments (including an updated version of "My Reverie") but falls far short of hinting at any new innovations. ~ Scott Yanow https://www.allmusic.com/album/nucleus-mw0000312582   

Personnel: Sonny Rollins (tenor saxophone); Bennie Maupin (tenor saxophone); Raul De Souza (trombone); George Duke (piano, synthesizer); David Amaro, Black Bird (guitar); Bob Cranshaw, Chuck Rainey (bass); Roy McCurdy, Eddie Moore (drums); Mtume (percussion).

Nucleus

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Various - The Miles Davis Sidemen

Bitrate: MP3@320K/s
Time: 91:22
Size: 209.2 MB
Styles:
Year: 2013
Art: Front

[ 5:24] 1. Herbie Hancock - Cantaloupe Island
[ 7:48] 2. Sonny Rollins - Doxy
[ 5:46] 3. Herbie Hancock - Aung San Suu Kyi
[ 4:16] 4. John Coltrane - In A Sentimental Mood
[ 4:38] 5. Bill Evans - Everything Happens To Me
[ 6:41] 6. Paul Chambers - Dear Old Stockholm
[ 6:55] 7. Keith Jarrett - Bop-Be
[ 6:35] 8. John Scofield - A Go Go
[14:15] 9. Chick Corea - Spain
[ 6:48] 10. Jack Dejohnette - Indigo Dreamscapes
[ 4:59] 11. Tony Williams - Vashkar
[ 5:10] 12. The Cannonball Adderley Quintet - Mercy, Mercy, Mercy
[ 3:39] 13. Stan Getz - Anything Goes
[ 4:07] 14. Kai Winding - Speak Low
[ 4:13] 15. Gil Evans - Moon And Sand

Miles Davis is widely regarded as one of the most important musicians of the 20th century, being at the cutting edge of bebop, hardbop and fusion, just to name a few of the jazz movements he helped shape. Along the way, he influenced generations of musicians, including many sidemen who would enjoy influential and successful careers of their own.

The Miles Davis Sidemen mc
The Miles Davis Sidemen zippy

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Sonny Rollins - Old Flames

Bitrate: MP3@320K/s
Time: 55:55
Size: 128.0 MB
Styles: Saxophone jazz
Year: 1993/2008
Art: Front

[6:53] 1. Darn That Dream
[8:08] 2. Where Or When
[7:14] 3. My Old Flame
[6:56] 4. Times Slimes
[9:38] 5. I See Your Face Before Me
[9:45] 6. Delia
[7:18] 7. Prelude To A Kiss

Sonny Rollins mostly sticks to standard ballads on this excellent CD which finds him joined by trombonist Clifton Anderson, pianist Tommy Flanagan, bassist Bob Cranshaw, drummer Jack DeJohnette and, on two selections, a five-piece brass choir arranged by Jimmy Heath. Comfortable and occasionally passionate music by one of the classic tenor-saxophonists. ~Scott Yanow

Old Flames mc
Old Flames zippy

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Sonny Rollins - The Bridge

Bitrate: MP3@320K/s
Time: 40:29
Size: 92.7 MB
Styles: Bop,
Year: 1962/2000
Art: Front

[7:26] 1. Without A Song
[5:08] 2. Where Are You
[7:43] 3. John S.
[5:57] 4. The Bridge
[7:25] 5. God Bless The Child
[6:48] 6. You Do Something To Me

Sonny Rollins - Saxophone; Bass – Bob Cranshaw; Drums – Ben Riley, H. T. Saunders; Guitar – Jim Hall. Recorded in RCA Victor's Studio B, New York City.

Tenor saxophonist Sonny Rollins' first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms. In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including "Without a Song" and "God Bless the Child") plus two fiery originals, highlighted by the title cut. The interplay between Rollins and Hall is consistently impressive, making this set a near-classic and a very successful comeback. ~Scott Yanow

The Bridge

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Clifford Brown - The Emarcy Master Takes (4-Disc Boxset)

Clifford Brown, the jazz trumpeter affectionately known as Brownie, partnered with drummer Max Roach in a memorable quintet in the mid-1950s. Over a few short years he quickly rose from astonishing prodigy to pioneering master -- a stunning trajectory cut short when Brownie died tragically at age 25 in 1956. His amazing story and the amazing music the quintet made takes front and center on Clifford Brown: The EmArcy Master Takes, a new limited edition four-CD set.

The EmArcy Master Takes includes the 49 master takes the Brown-Roach Quintet recorded for the EmArcy label, an 18-month collaboration that resulted in some of the most enduring jazz of all time. The tracks, which eventually made up the classic albums Clifford Brown and Max Roach, Clifford Brown With Strings, Brown and Roach Incorporated, Study In Brown, Best Coast Jazz, and At Basin Street, as well as tracks featured on several posthumous releases, from Caravan to More Study In Brown and others, are presented in chronological order of recording. All tracks are newly remastered from original sources, many of them for the first time since their original CD reissue in the late 1980s.

Playing with Brown and Roach are regular members of their quintet -- Harold Land (tenor saxophone), Richie Powell (piano), George Morrow (bass), and Sonny Rollins, who replaced Land -- plus a slew of other star players, as well as a Los Angeles string section beautifully arranged and conducted by Neal Hefti. EmArcy's Bob Shad produced the sessions.

Album: The Emarcy Master Takes (Disc 1)
Bitrate: MP3@320K/s
Time: 78:15
Size: 179.1 MB
Styles: Trumpet jazz
Year: 2009

[8:03] 1. Delilah
[4:01] 2. Darn That Dream
[7:16] 3. Parisian Thoroughfare
[7:42] 4. Jordu
[6:39] 5. Sweet Clifford
[7:18] 6. I Don't Stand A Ghost Of A Chance With You
[6:23] 7. Stompin' At The Savoy
[7:36] 8. I Get A Kick Out Of You
[4:09] 9. I'll String Along With You
[6:49] 10. Joy Spring
[4:31] 11. Mildama
[3:39] 12. These Foolish Things
[4:01] 13. Daahoud

The Emarcy Master Takes (Disc 1)

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Album: The Emarcy Master Takes (Disc 2)
Bitrate: MP3@320K/s
Time: 73:40
Size: 168.6 MB
Styles: Trumpet jazz
Year: 2009

[19:43] 1. Coronado
[17:12] 2. You Go To My Head
[15:09] 3. Caravan
[21:34] 4. Autumn In New York

The Emarcy Master Takes (Disc 2)

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Album: The Emarcy Master Takes (Disc 3)
Bitrate: MP3@320K/s
Time: 70:53
Size: 162.3 MB
Styles: Trumpet jazz
Year: 2009

[3:24] 1. Portrait Of Jenny
[3:25] 2. What's New
[2:58] 3. Yesterdays
[3:27] 4. Where Or When
[3:43] 5. Can't Help Lovin' Dat Man
[3:14] 6. Smoke Gets In Your Eyes
[3:26] 7. Laura
[3:32] 8. Memories Of You
[3:01] 9. Embraceable You
[3:14] 10. Blue Moon
[3:25] 11. Willow Weep For Me
[3:23] 12. Stardust
[2:54] 13. Gerkin For Perkin
[4:16] 14. Take The A Train
[4:54] 15. Lands End
[2:50] 16. Swingin'
[5:33] 17. George's Dilemma
[3:22] 18. Clifford Brown - If I Love Again
[6:44] 19. The Blues Walk

The Emarcy Master Takes (Disc 3)

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Album: The Emarcy Master Takes (Disc 4)
Bitrate: MP3@320K/s
Time: 66:25
Size: 152.1 MB
Styles: Trumpet jazz
Year: 2009
Art: Front

[3:07] 1. What Am I Here For
[5:41] 2. Cherokee
[5:09] 3. Jacqui
[4:53] 4. Sandu
[4:11] 5. Gertrude's Bounce
[3:33] 6. Step Lightly (Junior's Arrival)
[3:28] 7. Powell's Prances
[9:17] 8. I'll Remember April
[5:06] 9. Time
[6:06] 10. The Scene Is Clean
[3:56] 11. Flossie Lou
[7:36] 12. What Is This Thing Called Love
[4:15] 13. Love Is A Many Splendored Thing

The Emarcy Master Takes (Disc 4)

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Ernie Henry - Last Chorus

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 45:20
Size: 104,2 MB
Art: Front

(3:15)  1. Autumn Leaves
(6:28)  2. Beauty And The Blues
(7:49)  3. All The Things You Are
(2:41)  4. Melba's Tune
(4:54)  5. S'Posin'
(6:58)  6. Ba-Lue Bolivar Ba-Lues-Are
(4:40)  7. Like Someone In Love
(8:31)  8. Cleo's Chant

Ernie Henry was a promising alto saxophonist who passed away prematurely on December 29, 1957, when he was only 31. He had recorded his album Seven Standards and a Blues on September 30, and four songs for an uncompleted octet date on September 23. This CD reissue has the latter tunes (which feature trumpeter Lee Morgan; trombonist Melba Liston, who contributed "Melba's Tune"; tenor saxophonist Benny Golson; and pianist Wynton Kelly), an alternate take from the Seven Standards set ("Like Someone in Love"), a leftover track from the preceding year ("Cleo's Chant"), the solos of Thelonious Monk and Henry (from the lengthy "Ba-Lue Bolivar Ba-Lues-Are"), and an alternate version of "S'posin'" taken from the altoist's final recording (a quartet outing with trumpeter Kenny Dorham). Overall, the music is fine and, surprisingly, does not have an unfinished air about it. It does make one wish that Ernie Henry had taken better care of his health, as he was just beginning to develop a sound of his own. ~ Scott Yanow https://www.allmusic.com/album/last-chorus-mw0000036951

Personnel:  Ernie Henry - alto saxophone;  Kenny Dorham,  Lee Morgan – trumpet;  Melba Liston – trombone;  Benny Golson, Sonny Rollins - tenor saxophone;  Cecil Payne - baritone saxophone;  Kenny Drew, Wynton Kelly, Thelonious Monk – piano;  Paul Chambers, Eddie Mathias, Oscar Pettiford, Wilbur Ware – bass;  G. T. Hogan, Philly Joe Jones, Max Roach , Art Taylor - drums

Last Chorus

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Sonny Rollins - Way Out West

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 71:00
Size: 163,9 MB
Art: Front

( 5:43)  1. I'm An Old Cowhand
( 7:54)  2. Solitude
( 7:54)  3. Come, Gone
(10:14)  4. Wagon Wheels
( 5:18)  5. There Is No Greater Love
( 6:33)  6. Way Out West
(10:12)  7. I'm An Old Cowhand (alternate take)
(10:32)  8. Come, Gone (alternate take)
( 6:39)  9. Way Out West (alternate take)

The timeless Way out West established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as "I'm an Old Cowhand (From the Rio Grande)," his own "Way out West," "There Is No Greater Love," and "Come, Gone" (a fast stomp based on "After You've Gone"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic. [The Contemporary re-release appends three bonus tracks, all of them alternate takes.] ~ Scott Yanow https://www.allmusic.com/album/way-out-west-mw0000649710

Personnel: Sonny Rollins (tenor saxophone); Ray Brown (bass); Shelly Manne (drums).

Way Out West

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Fats Navarro - Fats Blows 1946-1949

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 70:54
Size: 166,1 MB
Art: Front

(2:53)  1. Dance Of The Infidels
(2:49)  2. 52nd St. Theme
(5:34)  3. Double Talk
(2:35)  4. Move
(2:41)  5. Hollerin' And Screamin'
(2:54)  6. The Tadd Walk
(3:09)  7. Jumpin' For Jane
(2:50)  8. Lady Bird
(2:53)  9. Goin' To Minton's
(2:45) 10. Nostalgia
(2:25) 11. Eb Pob
(2:59) 12. Our Delight
(3:16) 13. Bouncing With Bud
(3:04) 14. Wail
(3:05) 15. Symphonette
(3:07) 16. Boperation
(2:49) 17. Fats Blows
(4:02) 18. Stop
(2:52) 19. Sid's Delight
(2:53) 20. Jahbero
(2:57) 21. The Skink
(2:59) 22. The Squirrel
(3:13) 23. Groovin' High

A 23-track overview of Fats' brief moments of brilliance in the jazz skyline. The groups are varied, as was Navarro's wont, featuring such luminaries as Eddie "Lockjaw" Davis, Tadd Dameron, Leo Parker, Art Blakey, Howard McGhee, Bud Powell, Sonny Rollins, Kenny Clarke, Milt Jackson, and Fats' idol, Charlie Parker. Navarro was a brilliant musician, done in by drugs and tuberculosis. This disc gives you an idea of how tragic his loss was to the jazz world. ~ Cub Koda http://www.allmusic.com/album/fats-blows-1946-1949-mw0000051021

Personnel includes: Fats Navarro (trumpet); Leo Parker (alto & baritone saxophones); Charlie Parker, Ernie Henry, Budd Johson, Sahib Shihab, Ernie Henry (alto saxophone); Eddie Davis, Charlie Rouse, Don Lamphere, Allen Eager, Coleman Hawkins, Dexter Gordon, Sonny Rollins, Wardell Gray (tenor saxophone); Cecil Payne, Marion De Veta (baritone saxophone); Howard McGhee (trumpet); Kai Winding (trombone); Milt Jackson (vibraphone); Al Haig, Tadd Dameron, Lennie Tristano, Linton Garner, Bud Powell (piano); Huey Long, Billy Bauer, Chuck Wayne (guitar); Gene Ramey, Curley Russell, Nelson Boyd, Tommy Potter, Jimmy Johnson, Jack Lesberg (bass); Denzil Best, Kenny Clarke, Art Blakey, Shadow Wilson, Buddy Rich, Max Roach, Roy Haynes (drums); Chano Pozo, Diego Ibarra (bongos); Vidal Bolado (conga).

Fats Blows 1946-1949

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