Charles Mingus - Incarnations

Styles: Post Bop, Jazz
Year: 2023
Time: 42:49
File: MP3 @ 320K/s
Size: 98,3 MB
Art: Front

( 8:27) 1. Bugs (Take 3)
(11:50) 2. R&R (Take 1)
( 4:50) 3. All The Things You Are (All)
( 6:58) 4. Reincarnation of a Love Bird (2nd Version Take 1)
(10:41) 5. Body And Soul (Take 6)

A collection of recordings culled from Charles Mingus' 1960 sessions on the Candid label, 2024's Incarnations is a swinging yet still heady album that finds the bassist bridging the mainstream jazz of the '40s and '50s with the avant-garde post-bop and third-stream explorations he would pursue just a few years later.
https://www.allmusic.com/album/incarnations-mw0004165948

Personnel: Bass – Charles Mingus; Alto Saxophone – Charles McPherson, Eric Dolphy; Bass Clarinet – Eric Dolphy; Drums – Dannie Richmond, Jo Jones; Piano – Nino Bunick, Paul Bley, Tommy Flanagan; Tenor Saxophone – Booker Ervin ; Trombone – Britt Woodman, Jimmy Knepper; Trumpet – Lonnie Hillyer, Roy Eldridge, Ted Curson

Incarnations

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Ella Fitzgerald - Ella In Japan:'S Wonderful Disc1 And Disc 2

Album: Ella In Japan: 'S Wonderful  Disc 1

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 64:37
Size: 148,9 MB
Art: Front + Back

( 3:47)  1. Cheek To Cheek
( 3:59)  2. Deep Purple
( 2:20)  3. Too Close For Comfort
( 3:21)  4. I Love Being Here With You
( 3:00)  5. Fly Me To The Moon
( 2:34)  6. 'S Wonderful
( 2:59)  7. I've Got You Under My Skin
( 2:39)  8. Hallelujah I Love Him So
( 3:09)  9. Misty
( 2:48) 10. Whatever Lola Wants
( 3:43) 11. Bill Bailey
( 4:38) 12. The Blues (Ella's Blues)
( 3:20) 13. 'Round Midnight
( 4:39) 14. I Can't Get Started
( 6:43) 15. Undecided
(10:53) 16. Jam Session

Ella Fitzgerald had recorded live albums in venues ranging from Newport to Berlin to Hollywood when she and a quartet led by Roy Eldridge traveled to Japan in early 1964 for a series of concerts. Norman Granz, the former Verve head and current Fitzgerald manager who accompanied the musicians on their trip, recorded the concerts for release, but the tapes sat unissued in the Verve vaults a victim of the surplus of Ella material already recorded but not released for nearly 50 years, until the 2011 two-disc reissue Ella in Japan: 'S Wonderful. In the early '60s, Japan was thick with jazz fans, and crowds swarmed the Hibiya Kokaido Public Hall in Tokyo for the January 19 show that is included on the first disc. (The second disc includes a far more exclusive affair, recorded at a hotel a few days later.) Although another live album was recorded and released just a few short months after these shows (Ella at Juan-Les-Pins), the material has few overlaps. Ella is in fine form as usual, she turned up the candlepower in front of an audience  personalizing Peggy Lee's "I Love Being Here with You" early in the program, and even singing in Japanese, to the delight of the crowd, during a stirring "'S Wonderful." The quartet, including Eldrige on trumpet plus pianist Tommy Flanagan, bassist Bill Yancey, and drummer Gus Johnson, are quite adept at sounding bigger than a four-piece, especially on Ella's saucy "Whatever Lola Wants." (Also, an instrumental mini-set of four tracks concludes the first disc.) Raiding the vaults can be a risky proposition, but here, as with the massive four-disc Twelve Nights in Hollywood compilation, fans of Fitzgerald specifically, or great jazz singing in general, will find a wealth of great material. ~ John Bush https://www.allmusic.com/album/ella-in-japan-s-wonderful-mw0002125314

Personnel:  Ella Fitzgerald - Vocals;  Roy Eldridge - trumpet;  Tommy Flanagan - piano;  Bill Yancy - bass;  Gus Johnson - drums

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Album: Ella In Japan: 'S Wonderful  Disc 2

Year: 2011

File: MP3@320K/s

Time: 36:27

Size: 84,0 MB

(3:32)  1. Cheek To Cheek

(3:29)  2. Shiny Stockings

(4:31)  3. Can't Help Lovin' Dat Man

(3:45)  4. Bill Bailey

(5:02)  5. Take The 'A' Train

(0:38)  6. Closing / A-Tisket, A-Tasket

(3:42)  7. Ain't Misbehavin

(3:56)  8. My Last Affair

(6:59)  9. Perdido

(0:49) 10. Closing / A-Tisket, A-Tasket

Ella In Japan: 'S Wonderful; Disc 1, Disc 2

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Kenny Burrell - Jazzmen Detroit

Styles: Guitar Jazz
Year: 1956
File: MP3@320K/s
Time: 33:52
Size: 77,9 MB
Art: Front

(5:57)  1. Afternoon in Paris
(4:46)  2. You Turned the Tables on Me
(5:28)  3. Apothegm
(5:21)  4. Your Host
(5:37) 5. Cottontail
(6:40)  6. Tom's Thumb

This Savoy CD lists Kenny Burrell as session leader, but it is clearly a group effort that could easily have been attributed to Pepper Adams or pianist Tommy Flanagan. Burrell has the edge, though, in writing credits with the contribution of two tunes: the quietly assured "Your Host" and the bluesy, hard bop line "Tom's Thumb." Adams offers his leisurely, sophisticated "Apothegm" to the date. Flanagan, for his part, is pure elegance, subtlety, and swing. With the exception of drummer Kenny Clarke, all the players hail from the motor city.

Coming up through the same hometown music scene may help account for the fine group interplay. It's also apparent the musicians had the luxury of working through these six tunes before sitting down to record. The result does full justice to the fine writing and arranging and allows for thoughtfully developed improvisations. Ensemble entries are crisp and assured, as are the entrances by all soloists. Burrell favors a dry, clean attack here, while Adams reins in his more full-throated tendencies. Clarke, Flanagan, and bassist Paul Chambers support with consummate taste. The overall mood may be a bit too polite, but this remains a classy, near classic performance. There's no padding, although, at 33 minutes, the running time is brief. The sound recording is excellent.By Jim Todd  http://www.allmusic.com/album/jazzmen-detroit-mw0000097797

Personnel: Kenny Burrell (guitar); Pepper Adams (baritone saxophone); Tommy Flanagan (piano); Paul Chambers (bass); Kenny Clarke (drums).

Jazzmen Detroit

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Mark Whitfield - 7th Ave. Stroll

Styles: Guitar Jazz
Year: 1995
File: MP3@320K/s
Time: 66:05
Size: 152,8 MB
Art: Front

(5:44) 1. Washington Square Thoroughfare
(8:09) 2. Harlem Nocturne
(6:45) 3. 7th Ave, Stroll
(7:00) 4. A Brooklyn Love
(6:46) 5. Businessman's Bounce
(4:20) 6. Spring In Manhattan
(5:37) 7. Sunday In New York
(4:54) 8. The Bowery Blues
(6:22) 9. Sunset At Waterside
(4:46) 10. Headin' To The Wes' Side
(5:36) 11. Autumn In New York

A talented guitarist influenced by George Benson and versatile enough to play straight-ahead jazz or R&B, Mark Whitfield was originally a bassist. At 15 he switched to guitar and soon won a scholarship to Berklee. After graduating from Berklee in 1987, Whitfield temporarily moved to Brooklyn and appeared at many sessions.

George Benson suggested he work for Jack McDuff and that association was a big break for Whitfield. He has since recorded as a leader for Warner Bros. and Verve, and as a sideman with many players including Jimmy Smith, Nicholas Payton, Ray Brown, and Courtney Pine.
https://www.jazzmusicarchives.com/artist/mark-whitfield

Personnel: Guitar – Mark Whitfield (tracks: 1 to 11); Bass – Christian McBride (tracks: 1, 3, 4, 6, 8, 10), Dave Holland (tracks: 2, 5, 7, 9, 11); Drums – Al Foster (tracks: 2, 5, 7, 9, 11), Gregory Hutchinson (tracks: 1, 3, 4, 6, 8, 10); Piano – Stephen Scott (5) (tracks: 1, 3, 4, 6, 8, 10), Tommy Flanagan (tracks: 2, 5, 7, 9, 11)

7th Ave. Stroll

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Clifford Jordan - The Adventurer

Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 35:11
Size: 81,0 MB
Art: Front

(5:17)  1. He's A Hero
(7:08)  2. Quasimodo
(4:54)  3. No More
(5:06)  4. Blues For Muse
(6:49)  5. Adventurer
(5:55)  6. I'll Be Around

Clifford Jordan was a fine inside/outside player who somehow held his own with Eric Dolphy in the 1964 Charles Mingus Sextet. Jordan had his own sound on tenor almost from the start. He gigged around Chicago with Max Roach, Sonny Stitt, and some R&B groups before moving to New York in 1957. Jordan immediately made a strong impression, leading three albums for Blue Note (including a meeting with fellow tenor John Gilmore) and touring with Horace Silver (1957-1958), J.J. Johnson (1959-1960), Kenny Dorham (1961-1962), and Max Roach (1962-1964). After performing in Europe with Mingus and Dolphy, Jordan worked mostly as a leader but tended to be overlooked since he was not overly influential or a pacesetter in the avant-garde. 

A reliable player, Clifford Jordan toured Europe several times, was in a quartet headed by Cedar Walton in 1974-1975, and during his last years, led a big band. He recorded as a leader for Blue Note, Riverside, Jazzland, Atlantic (a little-known album of Leadbelly tunes), Vortex, Strata-East, Muse, SteepleChase, Criss Cross, Bee Hive, DIW, Milestone, and Mapleshade.
By Scott Yanow https://www.allmusic.com/artist/clifford-jordan-mn0000157487/biography

Personnel:  Clifford Jordan - tenor saxophone, alto saxophone, flute; Tommy Flanagan - piano; Bill Lee - bass; Grady Tate - drums

The Adventurer

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Buck Clayton - A Buck Clayton Jam Session

Styles: Trumpet Jazz
Year: 1975
File: MP3@256K/s
Time: 75:39
Size: 138,9 MB
Art: Front

(17:43)  1. Sidekick
(11:52)  2. Change For A Buck
(12:12)  3. The Duke We Knew
(15:11)  4. Glassboro Blues
( 5:10)  5. Glassboro Blues Rehearsal
(13:29)  6. The Duke We Knew Rehearsal

Jazz suffered a major loss when, in the late 1960s, Buck Clayton had to retire from playing due to problems with his lip. But instead of permanently retiring from jazz altogether, he continued to make his mark as an arranger, bandleader, and educator. Clayton doesn't play at all on A Buck Clayton Jam Session: 1975; instead, this blowing date finds him overseeing and directing a 12-piece band that includes Joe Newman and Money Johnson on trumpet, Vic Dickenson and George Masso on trombone, Buddy Tate, Buddy Johnson, and Sal Nistico on tenor sax, Lee Konitz and Earle Warren on alto sax, Tommy Flanagan on piano, Milt Hinton on bass, and Mel Lewis on drums. To be sure, that's a variety of musicians some have strong swing credentials, others were primarily hard boppers, and you even have a musician who came out of the Cool School (Konitz) and went on to explore post-bop. But they manage to find common ground on this swing-oriented jam, which concentrates on Clayton's own compositions and emphasizes blowing, blowing, and more blowing. Thankfully, the liner notes list the order of the solos. Originally a vinyl LP in the '70s and reissued on CD in 1995 (when Chiaroscuro added two previously unreleased bonus tracks), A Buck Clayton Jam Session is less than essential but is an enjoyable jam that die-hard swing fans will appreciate.~ Alex Henderson 

http://www.allmusic.com/album/a-buck-clayton-jam-session-1975-mw0000076132

Personnel: Buck Clayton (conductor, trumpet); Earle Warren, Lee Konitz (alto saxophone); Budd Johnson, Buddy Tate, Sal Nistico (tenor saxophone); Joe Newman, Money Johnson (trumpet); Vic Dickenson, George Masso (trombone); Tommy Flanagan (piano); Milt Hinton (bass); Mel Lewis (drums).

A Buck Clayton Jam Session 1975

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Benny Golson - Gettin' With It

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 37:20
Size: 86,1 MB
Art: Front

( 6:15)  1. Baubles, Bangles And Beads
( 5:11)  2. April In Paris
( 6:55)  3. Blue Streak
( 6:40)  4. Tippin' On Thru
(12:16)  5. Bob Hurd's Blues

Benny Golson leads a potent quintet in this 1959 studio date; the tenor saxophonist is joined by pianist Tommy Flanagan, trombonist Curtis Fuller, bassist Doug Watkins, and drummer Art Taylor. Golson's snappy arrangement of "Baubles, Bangle and Beads" features Fuller's fine mute work and Flanagan's upbeat inventive solo before he introduces his big-toned tenor into the mix. Golson's slight vibrato and Taylor's swirling brushwork are highlights of his interpretation of "April in Paris." The remaining three tracks are all originals by the leader: the up-tempo hard bop cooker "Blue Streak," the jaunty strut "Tippin' on Thru," and the extended blues "Bob Hurd's Blues," which will get anyone's feet tapping. This is one of Benny Golson's best dates as a leader because one not only gets to enjoy his always strong arrangements, but his consistently first-rate tenor sax solos. Highly recommended. ~ Ken Dryden https://www.allmusic.com/album/gettin-with-it-mw0000180765

Personnel: Benny Golson - tenor saxophone; Curtis Fuller - trombone; Tommy Flanagan - piano; Doug Watkins - bass; Art Taylor - drums

Gettin' With It

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Clifford Jordan - Mosaic

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 78:40
Size: 180,6 MB
Art: Front

(6:06)  1. Sunrise In Mexico
(5:20)  2. Extempore
(4:49)  3. Down Through The Years
(4:05)  4. Quittin' Time
(4:46)  5. One Flight Down
(3:56)  6. Windmill
(5:00)  7. Don't You Know I Care?
(4:59)  8. Mosaic
(3:54)  9. Cumberland Court
(4:52) 10. A Story Tale
(5:39) 11. You're Driving Me Crazy
(3:28) 12. Defiance
(6:03) 13. Prints
(5:03) 14. Hip Pockets
(5:16) 15. They Say It's Wonderful
(5:16) 16. If I Didn't Care

Two excellent early Clifford Jordan albums, Starting Time and A Story Tale, are reissued in full on this single CD. Jordan, whose sound was just beginning to become quite distinctive in 1961, is heard with a quintet also including trumpeter Kenny Dorham, pianist Cedar Walton, bassist Wilbur Ware, and drummer Albert "Tootie" Heath, and on a set with altoist Sonny Red, Tommy Flanagan or Ronnie Mathews on piano, bassist Art Davis, and drummer Elvin Jones. 

With the exception of four selections, all 16 tunes are group originals. Best-known are Walton's "Mosaic" and "One Flight Down," but all of the music is high-quality hard bop. Dorham and Red are both in excellent form, constantly challenging Jordan. Fine if formerly obscure music. ~ Scott Yanow http://www.allmusic.com/album/mosaic-mw0000010913

Personnel: Clifford Jordan (tenor saxophone); Sonny Red (alto saxophone); Kenny Dorham (trumpet); Ronnie Mathews, Tommy Flanagan, Cedar Walton (piano); Wilbur Ware (acoustic bass); Elvin Jones, Albert "Tootie" Heath (drums).

Mosaic

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Joe Henderson - The Complete Blue Note Studio Sessions (5-Disc Set)

Styles: Jazz
Year: 2021
Time: 79:01
File: MP3 @ 320K/s
Size: 180,9 MB
Art: Front

(15:18) 1. Una Mas (One More Time)
( 8:58) 2. Straight Ahead
( 7:20) 3. Sao Paulo
( 5:08) 4. If Ever I Would Leave You
( 8:01) 5. Blue Bossa
( 9:09) 6. La Mesha
( 4:14) 7. Homestretch
( 6:02) 8. Recorda Me
( 7:23) 9. Jinrikisha
( 7:24) 10. Out of the Night

If an artist stamps his jazz passport with any one of these labels Blue Note, Verve, Milestone it's pretty much a guarantee that you've arrived in style. Tenor saxophonist Joe Henderson has traveled with all three and more. The 2021 reissue from the prestigious Mosaic Records focuses on Henderson's 1960s tenure with Blue Note offers a new opportunity to experience an abundance of rich and creative jazz from the decade.

Big band and bop were duking it out in the late 1940s, bebop gained a foothold in the 1950s and the 1960s saw some amazingly creative artists emerge as they conjured up even more jazz hybrids (straight jazz, Avant-Garde, fusion and more). Henderson began to come of age during the very late 1950s, the tail end of one of the most dynamic and creative decades for jazz. He then moved confidently into the 1960s and beyond. He began to gain momentum in the 1960s (sitting in with saxophone master Dexter Gordon early on), learned from listening to other sax giants including Charlie Parker and Sonny Rollins and soon teamed up with numerous A-list artists including trumpeter Kenny Dorham, a Blue Note co-artist. The spotlight shifted a bit during the seventies and eighties for Henderson but he was amazingly prolific in the 1990s. Verve championed him during that decade with a high profile 'come back' campaign and sessions such as Lush Life (1982) contained everything from the supple and smoky "Isfahan" and "Blood Count" to the soaring and spontaneous "Johnny Come Lately." Touring took him to various venues and in a talk backstage after a mid-1990s concert, Mr. Henderson was dapper and smartly dressed, low key, quiet and reserved. He was a joy to talk to. But his constant companion, a lit cigarette, was absent, probably due to venue restriction (chain smoking eventually took him down in 2001.)

Mosaic collected nearly fifty cuts on five CDs and captured a world of spontaneous creativity. In addition, a modest yet informative booklet is included. A book's worth of praise could follow, so let's look at a few tracks from each compact disc: Everything gets underway with the title cut from trumpeter Kenny Dorham's Una Mas (1963) album in which Henderson joins as a featured sideman. At over fifteen minutes, the opening track is a celebration of the then contemporary sounds of Bossa Nova, with hints of other styles including the blues. He may be the second billed musician on the disc, but Henderson's sax is supple, lush and creatively enticing as a close bond was being forged between the two men. Everyone swings, and they are upbeat on "Straight Ahead," one of the other standout tracks from the Dorham-lead sessions. (full review => https://www.allaboutjazz.com/the-complete-joe-henderson-blue-note-studio-sessions-joe-henderson-mosaic-records)

Personnel: Joe Henderson: Saxophone; Kenny Dorham: Trranumpet; Herbie Hancock: Piano; Tony Williams: Drums; McCoy Tyner: Piano; Bob Cranshaw: Bass; Duke Pearson: Piano; Richard Davis: Bass, Acoustic; s: Drums; Tommy Flanagan: Piano; Ron Carter: Elvin Jones: Bass; Cedar Walton: Piano; Lee Morgan: Trumpet; Curtis Fuller: Trombone; Grant Green: Guitar; Bobby Hutcherson: Vibraphone; J.J. Johnson: Trombone; Al Harewood: Drums; Woody Shaw: Trumpet; Andrew Hill: Piano.

The Complete Blue Note Studio Sessions CD1

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Styles: Jazz
Year: 2021
Time: 76:41
File: MP3 @ 320K/s
Size: 175,6 MB
Art: Front

( 8:17) 1. La Mesha (alternate take)
( 7:38) 2. Homestretch (alternate take)
( 8:33) 3. Teeter Totter
(10:05) 4. Pedro's Time
( 5:38) 5. Our Thing
( 6:20) 6. Back Road
( 8:06) 7. Escapade
( 7:11) 8. Teeter Totter (alternate take)
( 5:31) 9. Our Thing (alternate take)
( 9:18) 10. In 'N Out (alternate take)

The Complete Blue Note Studio Sessions CD2

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Styles: Jazz
Year: 2021
Time: 76:45
File: MP3 @ 320K/s
Size: 175,7 MB
Art: Front

(10:25) 1. In 'N Out
( 9:09) 2. Punjab
( 6:17) 3. Serenity
( 7:11) 4. Short Story
( 6:25) 5. Brown's Town
(12:24) 6. Trompeta Toccata
( 5:46) 7. Night Watch
(11:05) 8. Mamacita
( 8:00) 9. The Fox

The Complete Blue Note Studio Sessions CD3

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Styles: Jazz
Year: 2021
Time: 78:40
File: MP3 @ 320K/s
Size: 180,1 MB
Art: Front

(11:58) 1. Inner Urge
( 9:16) 2. Isotope
( 7:14) 3. El Barrio
( 7:21) 4. You Know I Care
( 7:24) 5. Night and Day
( 8:14) 6. Hobo Joe
( 8:30) 7. Step Lightly
( 6:07) 8. The Kicker
( 5:46) 9. Mo' Joe
( 6:45) 10. If

The Complete Blue Note Studio Sessions CD4

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Styles: Jazz
Year: 2021
Time: 59:11
File: MP3 @ 320K/s
Size: 135,5 MB
Art: Front

(7:08) 1. A Shade of Jade
(8:03) 2. Mode for Joe
(6:53) 3. Black
(6:43) 4. Caribbean Fire Dance
(7:23) 5. Granted
(6:41) 6. Free Wheelin'
(9:28) 7. Mode for Joe (alternate take)
(6:49) 8. Black (alternate take)

The Complete Blue Note Studio Sessions CD5

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Tal Farlow - Chromatic Palette

Styles: Guitar Jazz
Year: 1981
File: MP3@320K/s
Time: 38:14
Size: 88,5 MB
Art: Front

(4:14)  1. All Alone
(5:58)  2. Nuages
(3:24)  3. I Hear A Rhapsody
(4:52)  4. If I Were A Bell
(4:20)  5. St. Thomas
(5:21)  6. Blue Art, Too
(4:32)  7. Stella By Starlight
(5:29)  8. One For My Baby (& One More For The Road)

This album is most notable for the interplay between veteran guitarist Tal Farlow and pianist Tommy Flanagan. With bassist Gary Mazzaroppi completing the trio, the musicians perform Tal's "Blue Art, Too" (based on a blues), plus seven superior standards, including "Nuages," "If I Were a Bell" and "St. Thomas." In general, the music is on the relaxed side but there is plenty of inner heat to be felt on the fine set. ~ Scott Yanow http://www.allmusic.com/album/chromatic-palette-mw0000611946

Personnel: Tal Farlow (guitar); Tommy Flanagan (piano); Gary Mazzaroppi (bass).

Chromatic Palette

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Buddy Tate Feat. Clark Terry - Tate-A-Tate (Remastered Version)

Styles: Saxophone And Trumpet Jazz
Year: 1960/2016
File: MP3@320K/s
Time: 35:40
Size: 82,7 MB
Art: Front

(8:12)  1. Groun' Hog
(4:10)  2. Tate-a-Tate
(5:38)  3. Snatchin' It Back
(6:21)  4. 20 Ladbroke Square
(4:13)  5. All Too Soon
(7:04)  6. Take the "A" Train

For more than seven decades, Texas-bred George “Buddy” Tate graced the American jazz scene with his hard-blowing tenor saxophone style. A resilient tone with high register inflections in the so-called “Texas tenor” sound distinguished Tate among his swing era colleagues. He was a member of the Count Basie Orchestra during the late 1930s and 1940s and later became a bandleader in his own right. By most accounts, Tate was born George Holmes Tate on February 22, 1913, in Sherman, Texas. He began performing in 1925 while still in his teens when his brother handed him an instrument and asked him to play tenor saxophone with the family quartet called McCloud's Night Owls. Tate and the Night Owls learned to play largely by listening to recordings by Louis Armstrong and mimicking the sound. The band toured professionally for the next four years, after which Tate continued to play the horn, performing with a series of territory bands and with circus bands until the early 1930s when he toured the south-western United States with Nathan Towles' band. During those early years, Tate spent time with Terrence Holder's band from 1930-33 and toured with Andy Kirk's Clouds of Joy in 1934-35. In 1934 Tate filled in briefly with Count Basie's Orchestra as a replacement for Lester Young. Young eventually returned to the band, and Tate joined up with Towles for another four years beginning in 1935. Tate worked with Towles until 1939 when Herschel Evans, who was Basie's tenor saxophone player, died. Basie then brought Tate back into the orchestra as a permanent fixture for nearly a decade. Perhaps nowhere was the contention for attention between saxophone players of that era more pronounced than among Basie's sidemen. Among the notables were Illinois Jacquet also one of the so-called Texas tenors, Lucky Thompson, and Young, all of whom along with Tate transformed moments of the orchestra's performances into full-scale dueling sets between horns. Tate was heard on many recordings by the Basie orchestra during that era, including selected recordings where Tate performed on alto saxophone as well as tenor. He emerged from Basie's band as a seasoned professional. After Tate parted ways with Basie in 1949, Tate appeared with Hot Lips Page, Lucky Millinder, and Jimmy Rushing until 1952. He then assembled his own house band at Harlem's Celebrity Club in 1953, marking the start of a gig that lasted for 21 years, until the early 1970s. Tate's European tours brought him largely to France where, in 1967 and 1968, he performed as bandleader in a trio comprised of Milt Buckner on organ and Wallace Bishop on drums. 

Tate and Buckner recorded a series of tenor saxophone and organ duets in 1967 on the Black and Blue label, including “Buddy Tate with Milt Buckner,” which is revered among Tate's best works. He made two earlier European tours as a sideman for Buck Clayton, in 1959 and 1961 respectively. In 1967 Tate also appeared with John Hammond in a concert program called Spirituals to Swing and toured with the Saints and Sinners. Tate spent time in the 1970s as a sideman in the Benny Goodman Orchestra. Tate's 1973 release, “Buddy Tate and His Buddies”, featured his former Basie cohort, Jacquet, pianist Mary Lou Williams, and trumpeter Roy Eldridge. Also numbered among the buddies were guitarist Stan Jordan, drummer Gus Johnson, and Milt Hinton on bass. The album, one of Tate's more popular recordings, was re-issued in 1994. In the 1980s, Tate toured extensively with Jacquet's group called the Texas Tenors. The Tenors followed a festival circuit that took the players to the Newport Jazz Festival in 1980 and to the festival in Cork in 1983 and again in 1985. His festival tours with Jacquet in the 1980s included annual visits to the Grande Parade du Jazz in Nice, France. Additionally, Tate's North American agenda included both live and taped performances with Jay McShann and Jim Galloway in Canada. In 1978 Tate taped a collection of recordings for Muse Records under the bill of Buddy Tate & the Muse All Stars.” Those albums included “Live at Sandy's,” “Hard Blowin',” and “Muse All Stars.” In 1991 Tate joined fellow tenor saxophone player James Moody and a collection of others among his peers on the live recording, “Lionel Hampton and the Golden Men of Jazz.” The 1996 album “Conversin' with the Elders,” by saxophonist James Carter marked what would become Tate's final appearance on record. He remained active and performed with Lionel Hampton and the Statesmen of Jazz in the late 1990s until a bout with cancer left him incapacitated. In January of 2001 Tate moved to Phoenix, Arizona, to live near his daughter. He died in Arizona soon afterward, in a nursing home in Chandler on February 10, 2001. https://musicians.allaboutjazz.com/buddytate

Personnel: Tenor Saxophone – Buddy Tate; Trumpet, Flugelhorn – Clark Terry;   Bass – Larry Gales; Drums – Arthur Taylor; Piano – Tommy Flanagan

Tate-A-Tate (Remastered Version)

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Tommy Flanagan, Wilbur Harden - West 42nd Street

Styles: Piano Jazz
File: MP3@320K/s
Time: 38:11
Size: 88,4 MB
Art: Front

(7:51) 1. West 42nd Street
(5:26) 2. E.f.f.p.h.
(7:16) 3. Wells Fargo
(7:59) 4. Rhodamagnetics
(9:38) 5. Snuffy

Known for his flawless and tasteful playing, Tommy Flanagan received long overdue recognition for his talents in the 1980s. He played clarinet when he was six and switched to piano five years later. Flanagan was an important part of the fertile Detroit jazz scene (other than 1951-1953 when he was in the Army) until he moved to New York in 1956. He was used for many recordings after his arrival during that era; cut sessions as a leader for New Jazz, Prestige, Savoy, and Moodsville; and worked regularly with Oscar Pettiford, J.J. Johnson (1956-1958), Harry "Sweets" Edison (1959-1960), and Coleman Hawkins (1961). Flanagan was Ella Fitzgerald's regular accompanist during 1963-1965 and 1968-1978, which resulted in him being underrated as a soloist.

However, starting in 1975, he began leading a series of superior record sessions and since leaving Fitzgerald, Flanagan has been in demand as the head of his own trio, consistently admired for his swinging and creative bop-based style. Among the many labels he has recorded for since 1975 are Pablo, Enja, Denon, Galaxy, Progressive, Uptown, Timeless, and several European and Japanese companies. For Blue Note, he cut Sunset and Mockingbird in 1998, followed a year later by Samba for Felix. Despite a heart condition, Flanagan continued performing until the end of his life, performing two-week stints at the Village Vanguard twice a year, recording and touring. He died on November 16, 2001, in Manhattan from an arterial aneurysm.~ Scott Yanow https://www.allmusic.com/artist/tommy-flanagan-mn0000519715/biography

West 42nd Street

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Tommy Flanagan - Solo Piano

Styles: Piano Jazz
File: MP3@320K/s
Time: 46:32
Size: 107,4 MB
Art: Front

( 3:33) 1. Parisian Thoroughfare
( 2:35) 2. Wail
( 3:34) 3. Isn't It Romantic
( 4:43) 4. Sleepin' Bee
( 3:26) 5. Yesterdays
( 4:39) 6. Stompin' At The Savoy
(11:47) 7. Strayhorn Medley
( 3:04) 8. Con Alma
( 3:23) 9. If You Could See Me Now
( 2:59) 10. Ruby My Dear
( 2:43) 11. Lover

Tommy Flanagan was known for his tasteful, flawless and swinging piano playing. He added class to every session that he was involved with and fortunately it was well documented during the latter part of his career. Solo Piano was not initially released until decades after its 1974 recording. It is significant historically because this outing was the pianist’s first recording as a leader in 13 years and, most importantly, because it is very good music.

Until the long delayed release of Solo Piano, it was believed that Tommy Flanagan’s “comeback” began with 1975’s The Tokyo Recital for the Pablo label and that his only full-length album of unaccompanied piano solos was 1977’s Alone Too Long which was released by Denon in Japan. Solo Piano forced a slight readjustment of the jazz history books and, most importantly, offers listeners some very enjoyable music from the great pianist. It also includes a few surprises, particularly for those listeners who think of Flanagan as primarily a bop stylist.

When swing was succeeded by bop as jazz’s modern mainstream, the function of the piano changed from being a timekeeper to take part of the rhythm section. While the pre-1945 styles of jazz piano had the pianists keeping time with his or her left hand, usually by striding back and forth between bass notes and chords, in bebop that role is usually handled by the string bassist. Bop pianists use their left hands to hit chords on a more unpredictable basis, accenting beats like a drummer “dropping bombs,” while their right plays hornlike lines.

That approach works perfectly in trio settings but can leave some pianists sounding incomplete when taking unaccompanied solos. Bud Powell, the leader in the field, was able to imply the beat and slightly adjust his style when playing solos. In the case of Tommy Flanagan, his ability to play swing was a major asset and in a solo setting he often added a modified stride, as can be heard on his version of “Sleeping Bee.” On swing-oriented numbers such as “Isn’t It Romantic,” “Sleeping Bee” and “Yesterdays,” Flanagan always kept the melody close by even while creating improvised variations. One never has a problem knowing where the pianist is for he builds his improvisations off of the melody rather than simply discarding the theme in favor of jamming over its chord changes. He follows those classic songs with an infectious version of “Stompin’ At The Savoy” that manages to sound both vintage and modern.

To conclude the enjoyable program, Flanagan performs a song apiece by three great composers of the bebop era (Dizzy Gillespie’s “Con Alma,” Tadd Dameron’s “If You Could See Me Now,” and Thelonious Monk’s “Ruby, My Dear”) before ending the set with a joyful rendition of “Lover.” By the time Tommy Flanagan left Ella Fitzgerald’s backup band in 1978, his series of trio recordings had reminded the jazz world that he was a brilliant and very musical pianist. He worked steadily during the next 23 years, touring Europe and Japan while being based in New York and remaining one of the most consistently satisfying of all jazz pianists. Flanagan passed away on Nov. 16, 2001 at the age of 71 but he has never been forgotten. Tommy Flanagan is remembered with love, respect and admiration for his playing and his classy nature. Solo Piano adds to his impressive musical legacy. https://storyvillerecords.bandcamp.com/album/solo-piano-2

Solo Piano

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Curtis Fuller - Jazz...It's Magic

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

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

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

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

Jazz...It's Magic

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Tommy Flanagan - In His Own Sweet Time

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 53:01
Size: 122,5 MB
Art: Front

(6:20) 1. Smooth as the Wind
(6:53) 2. If You Could See Me Now
(5:25) 3. Untired Blues
(4:37) 4. Some Other Spring
(4:46) 5. How Long Has This Been Going On
(4:23) 6. Who Can I Turn To
(4:37) 7. Just Squeeze Me
(5:04) 8. Daydream
(5:06) 9. Valse Hot
(5:46) 10. Goodbye

With a name revered in the jazz world but almost totally unrecognised elsewhere, Tommy Flanagan, who died in 2001 aged 71, was the complete pianist. In the late 50s he played on John Coltrane’s Giant Steps and Sonny Rollins’s Saxophone Colossus, followed by years as accompanist to Ella Fitzgerald and Tony Bennett. It wasn’t just that he was reliable; Flanagan made even the very best sound better. When, finally, he emerged as a leader in his own right, the full extent of his brilliance became clear. He was much admired for his touch, a quality difficult to define but easy to recognise.

It’s certainly in full bloom on this 1994 live album, one of his few completely solo recordings (although not his only one, as the notes here imply). This is its first release. The 10 tracks, all slow-to-moderate in tempo, include such rare delights as Tadd Dameron’s If You Could See Me Now and Billy Strayhorn’s Day Dream. Flanagan takes his time, as the album title suggests, but every movement is so purposeful, every phrase so judiciously rounded, that you can almost hear the audience holding its collective breath.~ Dave Gelly https://www.msn.com/en-gb/entertainment/music/tommy-flanagan-in-his-own-sweet-time-review-%E2%80%93-a-masterly-touch/ar-BB1ejvx6

Personnel: Piano – Tommy Flanagan

In His Own Sweet Time

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Tommy Flanagan, John Coltrane, Kenny Burrell - The Cats

Styles: Jazz, Post Bop
Year: 1983
File: MP3@320K/s
Time: 42:21
Size: 97,5 MB
Art: Front

( 7:24) 1. Minor Mishap
( 5:55) 2. How Long Has This Been Going On?
( 7:55) 3. Eclypso
( 9:07) 4. Solacium
(11:58) 5. Tommy's Tune

The Cats are John Coltrane, Kenny Burrell, Tommy Flanagan, and Idrees Sulieman, heavyweights that clearly mark this as a Prestige All-Stars blowing session. However, this 1957 recording is actually a showcase for Flanagan, a rising star in his first major role. None of the tunes are all that challenging, following basic blues formulas that befit the nature of the session, which was probably quickly organized and recorded. But as you might expect this gives the players plenty of opportunities to wail.Coltrane demonstrates that he would soon be exploring more harmonically advanced territories than the others, tearing through rapid-fire solos with no trouble whatsoever. Burrell takes a more laid-back approach, stringing together bluesy licks in a relaxed fashion. If there's a weak link here, it's Sulieman, who despite a few nice solos seems tentative in spots and a little directionless in others.
But fortunately this is Flanagan's session, a gifted sideman who provides the right support to make sure that everyone stays on course. Along with the sextet tunes, a trio recording of "How Long Has This Been Going On?" proves that Flanagan was capable of handling the spotlight on his own. The slow, graceful rendering of the standard proves that the pianists had plenty of originality and taste and is the only track on the album that stands out. The Cats isn't the best recording by any of these musicians, who recorded in various combinations elsewhere (the later Kenny Burrell with John Coltrane , which also features Flanagan, is an essential purchase), but nevertheless The Cats is a solid album with plenty of tasty playing.~ David Rickert https://www.allaboutjazz.com/the-cats-john-coltrane-prestige-records-review-by-david-rickert.php

Personnel: Tommy Flanagan - piano; John Coltrane - tenor sax; Idrees Sulieman - trumpet; Kenny Burrell - guitar; Doug Watkins - bass; Louis Hayes - drums.

Slide Hampton - Drum Suite

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

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

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

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

Drum Suite Zippy

Drum Suite MC

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Pepper Adams, Donald Byrd - Motor City Scene

Styles: Saxophone And Trumpet Jazz
Year: 1961/2013
File: MP3@320K/s
Time: 42:46
Size: 98,4 MB
Art: Front

(10:12)  1. Stardust
(10:42)  2. Philson
( 8:03)  3. Trio
( 8:34)  4. Libeccio
( 5:12)  5. Bitty Ditty

A reissue of a session originally released in 1961, Motor City Scene is an excellent example of the wealth of talent in the Detroit area during the 40s, 50s, and 60s. Co-led by trumpeter Donald Byrd and baritone saxophonist Pepper Adams, the cast includes a veritable who’s who of jazzmen on their respective instruments: pianist Tommy Flanagan, guitarist Kenny Burrell, bassist Paul Chambers, and the drums of Louis Hayes. The opening cut, Hoagy Carmichael’s ballad “Star Dust,” is music to get lost in. With Adams and Burrell laying out, we’re treated to Byrd’s majestic tone, reverence for the song’s melody, and exquisite sense of drama. Not to be outdone, Flanagan makes a lovely statement of his own before Byrd enters for a second solo and takes the tune out. Adams shines on his own composition “Philson,” when he begins lazily and then develops lines with his customary bite and precision. Chambers’ rock solid walking bass and Hayes’ crackling snare drum accents ignite an up-tempo version of Errol Garner’s “Trio,” in which Burrell takes three striking choruses of single note lines. The highlight of the session is another Adams’ tune, “Libeccio.” The alternating Latin and straight jazz sections seem to bring out the best in all of the soloists who are clearly inspired by Hayes’ fills. The session ends with “Bitty Ditty,” a memorable composition by another Detroit area jazzman, Thad Jones, which features some of Flanagan’s best playing on the date. The five cuts and (by today’s standards) short playing time of Motor City Scene left me wanting more.~ David A.Orthmann https://www.allaboutjazz.com/motor-city-scene-donald-byrd-rhino-records-review-by-david-a-orthmann.php?width=1920

Personnel: Trumpet – Donald Byrd; Saxophone – Pepper Adams; Drums – "Hey" Lewis;  Bass – Paul Chambers ; Guitar – Kenny Burrell; Piano – Tommy Flanagan

Motor City Scene

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Lem Winchester, Benny Golson - Winchester Special

Styles: Vibraphone And Saxophone Jazz 
Year: 1991
File: MP3@320K/s
Time: 39:28
Size: 91,2 MB
Art: Front

(10:02)  1. Down Fuzz
( 4:01)  2. If I Were A Bell
( 7:00)  3. Will You Still Be Mine
( 7:31)  4. Mysticism
( 4:11)  5. How Are Things In Glocca Morra
( 6:42)  6. The Dude

This excellent CD reissue features the ill-fated vibraphonist Lem Winchester teamed up with tenor saxophonist Benny Golson, pianist Tommy Flanagan, bassist Wendell Marshall and drummer Art Taylor for three standards, an obscurity and two of the leader's originals. The music falls between bop and hard bop with consistently swinging solos that are generally fairly inventive. This was one of Winchester's three recordings for the New Jazz label; all are easily recommended to straightahead jazz fans. ~ Scott Yanow https://www.allmusic.com/album/winchester-special-mw0000271817

Personnel: Vibraphone – Lem Winchester; Tenor Saxophone – Benny Golson;  Bass – Wendell Marshall; Drums – Arthur Taylor; Piano – Tommy Flanagan

Winchester Special

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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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