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Jazz Blues Club » Music » Jazz » BeBop » Hard-bop
1954-1956: Steve Lacy - Early Years 1954-1956 (2 CD Set) Music » Jazz » BeBop » Hard-bop
1954-1956: Steve Lacy - Early Years 1954-1956 (2 CD Set)
Artist: Steve Lacy
Album: Early Years 1954-1956
Label: Fresh Sound Records - FSR-CD 364
Year: 1954-1956
Release: 2004
Format, bitrate: Mp3, 320 kBit/s
Time: 45:17 / 1:08:28
Size: 110.66 MB / 161.74 MB
AMG rating: 1954-1956: Steve Lacy - Early Years 1954-1956 (2 CD Set)

The Legendary Pioneer Of Modern Soprano Sax

This 2-CD set charts the exciting early years of Steve Lacy, playing progressive Dixieland and swinging mainstream jazz on a soprano saxophone with extraordinary freshness, vigor and personal style, when he exploded onto the mid-50's jazz scene. To hear Steve play the multi-toned modern figures and extended line on an instrument usually associated with Sydney Bechet is always a stimulating experience. Of his extraordinary approach to the instrument, Lacy said: "As Charlie Parker increased the technical and expressive possibilities of the alto, Milt Jackson, the vibraphone, Kenny Clarke, the drums and Jimmy Blanton, the bass, one of my personal aims is to do the same for the soprano." On hearing these sessions, we think you'll agree that he managed to do just that.

During the preparation of this production Steve Lacy sadly passed away in Boston on Friday, June 4, 2004. He maintained a vigorous teaching and performing schedule right up until his last month. He continued to produce works of startling originality, and was considered one of jazz's most prolific recording artists. Fifty years after he made his first recordings, it is obvious now that Steve Lacy took that challenging instrument and made it his own. He'll be missed.
1962: The Three Sounds - Out Of This World Hard-bop, Post-bop
1962: The Three Sounds - Out Of This World
Artist: The Three Sounds
Album: Out Of This World
Label: Blue Note Records (Catalog#: BST-84197) US
Format: FLAC 24 bit/ 48 khz, LP-Rip
Released: 1965
Size: 170MB + 136MB + 122MB
Time: 40:50
AMG rating 1962: The Three Sounds - Out Of This World

Out of This World relies less on originals than before, concentrating on standards which sound startlingly fresh. It's the loose, flexible groove that's the key. Simpkins and Dowdy keep things on track, while Gene Harris plays -- he can be nimble, he can pound, but he keeps the music flowing at a nice, easy pace. He has a good sense of the groove, and he stays within the groove even as he plays a lot of notes; it's truly an individual style. Despite the R&B-flavored arrangements on "Girl of My Dreams" and the swinging, gospel-inflected "Sanctified Sue," Out of This World is a particularly light and breezy record from the Three Sounds. They're just as comfortable stretching out with the groove as they are with keeping things short, simple, and concise -- either way, it's thoroughly enjoyable music. But no matter how easy the group is to enjoy, they have true style, as Harris' bluesy flourishes and the rhythm section's supple support illustrate. It's hard to sound this light and easy, and the Three Sounds pull it off with grace.
~ Stephen Thomas Erlewine, All Music Guide.

Go out of the world with The Three Sounds on this sweet little set for Blue Note - as the trio are at their early best, and working with a care of craft that you won't find on other 60s albums for labels like Verve or Mercury! The mighty Gene Harris is in the lead on piano, moving between a great blend of lyrical and more soul-based styles - given great accompaniment from Bill Dowdy on drums and Andy Simpkins on bass - the latter of whom is an overlooked genius, with this round tone and solid touch that really holds the group together! Titles are a nice mix of exotic standards and gutbuckety originals - and tunes include "My Silent Love", "Just In Time", "Out Of this World", "Out Of the Past", "Sanctified Sue", and "Girl Of My Dreams".
1974: Eddie Harris - ‎For Bird And Bags Hard-bop, Post-bop, Modern Jazz
1974: Eddie Harris -  ‎For Bird And Bags
Artist: Eddie Harris
Album: For Bird And Bags
Label: VeeJay
Year: ; Release:1974
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Time: 40m25s
Size: 93.7mb
AMG rating: 1974: Eddie Harris -  ‎For Bird And Bags

It is only right that tenor-saxophonist Eddie Harris recorded for the Exodus label at least on one occasion, since that was the name of his first hit. Most unusual among the selections is "Salute to Bird" (on which Harris quotes many Charlie Parker tunes) and "Salute to Bags" (during which the leader switches to piano). Harris plays with a Chicago-based quintet featuring Charles Stephney on vibes and piano; guitarist Roland Faulkner; pianist Willie Pickens; and guitarist Joe Diorio (the last two of which were on the artist's earlier records) make guest appearances. Throughout, Harris (whose mastery of the extreme upper register and immediately recognizable sound are both quite impressive) is in excellent form; pity that this music was last available on a long out-of-print LP.
~ Scott Yanow, All Music Guide
1959: Billy Taylor - Taylor Made Jazz Music » Jazz » BeBop » Hard-bop

1959: Billy Taylor - Taylor Made Jazz
Artist: Bill Taylor
Album: Taylor Made Jazz
Label: Argo
Year: 1959
Format, bitrate: MP3, 320 Kbps (LP-rip)
Size: 67.48 MB

Duke Ellington had an uncanny knack for assembling smaller groups of bandmates (say, seven or eight) and scoring music for them that retained all the oomph of his full orchestra. And though this isn't one of those small Ellingtonian unit sessions, it's just about the next best thing. Having assembled several members of Duke's band and written eight definitely Duke-influenced tunes, pianist/composer Billy Taylor's Taylor Made Jazz would probably have been marketed as a "tribute album" if it had been released recently. But given the recording's vintage (1957), there are two types of people who would be most interested in it: historical completists who want their collections to include a majority of the recording catalog pertinent to a certain musician (i.e., Taylor or Ellington), or Johnny Hodges fans. "Biddy's Beat" swings; "Daddy-O"'s got a little spunk; "Cu-Bu" is (what else?) a cool blues. Clark Taylor is as mellow as ever and there's even some solo room for Harry Carney. On one hand, Taylor Made Jazz is a great example of the standard mid-'50s studio sessions highlighted by clean solos, tight ensembles, and tasteful accompaniment work from a bunch of veteran players. On the other hand, this session really seems like an opportunity Taylor had to try out some of his pretty ballad material with Hodges, Ellington's alto sax balladeer extraordinaire. Half of Taylor Made Jazz consists of slow n' syrupy solo tunes for Hodges, and despite the rest of the record's strong swinging, this gushier material becomes the center of attention. Check out the versatility of his rigid vibrato on "Day Dreaming" (different from the Billy Strayhorn-penned "Daydream," even though it sounds a lot like the work of Duke's alter ego) to hear how nearly classically perfect Hodges could be. Heck, he puts Marcel Mule to shame.
~John Uhl, All Music Guide
1996: Bill Taylor - Music Keeps Us Young Music » Jazz » BeBop » Hard-bop
1996: Bill Taylor - Music Keeps Us Young
Artist: Bill Taylor Trio
Album: Music Keeps Us Young
Label: Arkadia Jazz
Year: 1996; release: 1997
Quality: MP3@320 kbps
Size: 160 mb
Total time: 70:30

It is extremely difficult to believe that Billy Taylor was 76 at the time of this frequently lively recording. For the trio set with bassist Chip Jackson and drummer Steve Johnson, Taylor performs five originals and six jazz standards with creativity and swing. The repertoire (which has among its highlights "Wouldn't It Be Loverly," and a 10 1/2-minute exploration of "Body and Soul," "Naima," Freddie Hubbard's "Up Jumped Spring," and the pianist's most famous composition, "I Wish I Knew How It Would Feel to Be Free") is generally boppish, spontaneous and quite accessible, mixing together medium-tempo romps with ballads. Although always a bit underrated as a pianist, the seemingly ageless Taylor had by 1996 been recording for over 52 years!
~ Scott Yanow, All Music Guide

On this first release by his current working trio, renowned pianist, educator, and jazz spokesman Billy Taylor belies 75 years of life with his cheerfully infectious, flawlessly articulated performances of six standards and five of his 300-odd compositions. Of the latter, we hear the swinging, gospel-grooved, civil rights anthem, "I Wish I Knew How It Would Feel To Be Free," the Oscar Pettiford-inspired "One For The Woofer," a feature for bassist Chip Jackson in appropriately acoustic sound and style, the alternately bluesy and lyrical "Ballade" and "Interlude," and "Arkadia Blues," which is kicked along mightily in both ensemble and solo by drummer Steve Johns. The standards range from Broadway's "Wouldn't It Be Loverly?" through "Lover, Come Back To Me" and "Body And Soul" to Coltrane's "Naima," Freddie Hubbard's "Up Jumped Spring" and Juan Tizol's "Caravan," which also spotlights Johns. ~ Jack Sohmer,
1977: Tommy Flanagan 3 - Montreux' 77 Music » Jazz » BeBop » Hard-bop
1977: Tommy Flanagan 3 - Montreux' 77
Artist: Tommy Flanagan
Album: Tommy Flanagan 3 - Montreux' 77
Label: Pablo / OJC
Year: 1977; release: 1989
Quality: mp3/320 kbps
Size: 119 Mb
Time: 49:14
AMG rating 1977: Tommy Flanagan 3 - Montreux' 77

This Pablo recording of Montreux '77 was cut at a time when pianist Tommy Flanagan was almost forgotten due to his long stint with Ella Fitzgerald's backup band. This fine trio outing with bassist Keter Betts and drummer Bobby Durham has been reissued on CD in the Original Jazz Classics series with one track ("Heat Wave") added to the original program. The two ballad medleys are enjoyable, but it is on "Barbados," "Woody 'N You" and "Blue Bossa" that Flanagan shows how hard-swinging a pianist he can be. His solo career really started to take off a few years after this concert appearance.
~ Scott Yanow, All Music Guide.
1958: Bennie Green - Soul Stirrin' Music » Jazz » BeBop » Hard-bop
1958: Bennie Green - Soul Stirrin'
Artist: Bennie Green
Album: Soul Stirrin' (bonus track)
Label: Blue Note
Year: 1958; release: 2004
Quality: MP3@320 kbps
Size: 104 mb
Total time: 46:58

One of the greatest albums ever recorded by hardbop trombone legend Bennie Green an all-star sextet session that cooks like a mofo! The group features the twin tenors of Billy Root and Gene Ammons (billed just as "Jug" on the session, because of contractual reasons) and it crackles with electricity from a rhythm section that features Ike Isaacs on bass, Sonny Clark on piano, and Elvin Jones on drums. There's some fantastic tracks on here, including Babs Gonzales' "Lullaby of the Doomed", and a monster jam called "We Wanna Cook", which was once described to us as "all you ever need to have a house party" to which we wholeheartedly agree! Other tracks include "Black Pearl", "BG Mambo", and "Soul Stirrin" and the album's one of the heaviest duty Blue Notes from the time! Features a bonus mono take of "Soul Stirrin".
1996-2015, Dusty Groove, Inc.
1988: Frank Morgan - Yardbird Suite Music » Jazz » BeBop » Hard-bop

1988: Frank Morgan - Yardbird Suite
Artists: Frank Morgan
Album: Yardbird Suite
Label: Contemporary Records
Year: 1988
Quality: Flac
Size: 271 Mb
Total time: 49:28
AMG Rating: 1988: Frank Morgan - Yardbird Suite

Altoist Frank Morgan explores his bebop roots on this infectious set, playing six bop-era standards (four by his idol Charlie Parker) and "Skylark." With stimulating support from pianist Mulgrew Miller, bassist Ron Carter and drummer Al Foster, Morgan pays tribute to Bird, yet does not copy him (although he has the ability to sometimes sound very similar to Parker). This spontaneous session (which includes such songs as "Yardbird Suite," "Scrapple From the Apple" and "Star Eyes") has its subtle surprises and is often hard-swinging. Recommended. ~ Scott Yanow, All Music Guide
1976: Urbie Green - The Fox Music » Jazz » BeBop » Hard-bop
1976: Urbie Green - The Fox
Artist: Urbie Green
Album: The Fox
Label: CTI Records (Catalog#: CTI 7070)
Format: FLAC, LP- Rip
Year: 1976; release: 1977
Size: 103MB + 111MB
Time: 38:29

Smooth and silky jazz funk from trombonist Urbie Green - a record that's much more in a mainstream R&B fusion mode than his earlier work - yet also arranged by David Matthews in a soulful style that still keeps things pretty real on the best cuts! The group's a good one for the mellow groove of the material - and includes Mike Mainieri on keyboards, Eric Gale on guitar, Jeremy Steig on flute, and Toots Thielemans laying down a bit of harmonica - all kicking back in classic 70s CTI styles. Titles include the nice modal groover "Mertensia", plus "Manteca", "Foxglove Suite", "Another Star", and "Goodbye".
1956: Cannonball Adderley / Buddy Collette - Sessions Live Music » Jazz » BeBop » Hard-bop
1956: Cannonball Adderley / Buddy Collette - Sessions Live
Artists: Cannonball Adderley / Buddy Collette
Album: Sessions Live
Label: Calliope
Year: 1956; release: 1976
Quality: MP3@320 kbps (LP-rip)
Size: 59,4 mb
Total time: 28:10
Merry Christmas!

During the mid-'70s, the short-lived Calliope label issued a series of poorly packaged and badly labeled LP anthologies of live jazz, which contained a lot of great performances taken from television broadcasts of the latter half of the 1950s. Composer credits and supporting musicians, as always, aren't mentioned, though most of the participants on the nine tracks heard on this album are identifiable. Side one is mostly taken up by Cannonball Adderley's fine quintet. The alto saxophonist had just made his recording debut as a leader the previous year; he's joined by brother Nat on cornet, pianist Junior Mance, bassist Sam Jones, and drummer Jimmy Cobb. Adderley's "Spectacular" is an uptempo bop vehicle based on the chord changes to "(Back Home Again In) Indiana," while he unleashes a cascade of notes in an otherwise subdued take of "Willow Weep for Me." Singer Sylvia Syms is joined by an unidentified rhythm section for a brisk rendition of "The Man I Love" and the warm "Then I'll Be Tired of You," though the latter song is marred by some brief feedback. The second side is a 1956 broadcast with Buddy Collette, heard on both alto sax and flute, accompanied by pianist Dick Shreve, bassist John Goodman, and drummer Bill Dolney. Collette's lighter style of playing alto sax hardly keeps "Makin' Whoopee" from swinging, though he does emit a couple of inadvertent reed squeaks. Collette's exotic "Fall Winds" features his haunting flute, though the piece became better known under its later title of "Desert Sands." Annie Maloney, also with an unknown rhythm section, sings "The Lady Is a Tramp" in what may be her only known recorded appearance. This long unavailable record is one of the best titles in the Sessions: Live series.
~ Ken Dryden, All Music Guide
1957/1958: The Dizzy Gillespie Octet - The Greatest Trumpet Of Them All (4 bonus tracks) Music » Jazz » BeBop » Hard-bop
1957/1958: The Dizzy Gillespie Octet - The Greatest Trumpet Of Them All (4 bonus tracks)
Artist: The Dizzy Gillespie Octet
Album: The Greatest Trumpet Of Them All (4 bonus tracks)
Label: American Jazz Classics
Years: 1957/1958; release: 2014
Quality: MP3@320 kbps
Size: 166 mb
Total time: 71:02

This release presents the complete original Dizzy Gillespie LP "The Greatest Trumpet of them All" (Verve MGV-S6117), featuring the brilliant trumpeter in an octet format with such stars as Benny Golson and Gigi Gryce, who were also the arrangers on the date. A very rare 1958 Paris session showcasing Diz in a small group setting with Coleman Hawkins, Stan Getz, Sonny Stitt, and Oscar Peterson has been added here as a bonus. ~ American Jazz Classics
1975: Clifford Jordan - Highest Mountain Music » Jazz » BeBop » Hard-bop

1975: Clifford Jordan - Highest Mountain
Artist: Clifford Jordan
Album: Highest Mountain
Label: Muse
Year: 1975; Release: 1991
Format, bitrate:
Time: 42m49s
Size: 101mb

Tenor-saxophonist Clifford Jordan teams up with pianist Cedar Walton, bassist Sam Jones and drummer Billy Higgins for this excellent modern hard bop set which has been reissued on CD by Muse. Of the five compositions (which include an original apiece by Jordan, Walton, Jones and Bill Lee), only Thelonious Monk's "Blue Monk" and Jordan's title cut had much life beyond this set but the music is consistently memorable, including Walton's "Midnight Waltz." All of the musicians play up-to-par and Clifford Jordan (who was continually underrated throughout his life) is immediately recognizable as usual.
~ Scott Yanow All Music Guide
1984: Ricky Ford - Shorter Ideas Music » Jazz » BeBop » Hard-bop
1984: Ricky Ford - Shorter Ideas
Artist: Ricky Ford
Album: Shorter Ideas
Label: Muse Records (Catalog#: MR 5314)
Released: 1985
Format: FLAC, LP- Rip
Time: 33:18
Size: 111MB + 111MB
AMG Rating: 1984: Ricky Ford - Shorter Ideas

Ricky Ford explores the music and ideas of Wayne Shorter - a perfect fit for Ford's deeply soulful style of blowing the tenor! The set's actually got a more tightly arranged feel than you might expect - which makes for a nicely fresh take on some of Shorter's greatest numbers from earlier years, and creates some extremely inventive playing between group members that include Jimmy Knepper, James Spaulding, Kirk Lightsey, Rufus Reid, and Jimmy Cobb. Titles include Shorter tunes "Yes Or No", "Miyako", "Dance Cadaverous", and "Pinnochio" and Ford originals "Wolf Trap" and "Tabloid Blues". Dusty Groove, Inc.

Ford, who has usually recorded with small groups, here heads an all-star sextet with altoist James Spaulding and trombonist Jimmy Knepper -- an inspired idea that works. They perform four Wayne Shorter numbers, a couple of Ford's originals, and Duke Ellington's "Happy Reunion." Ford takes the lion's share of the solo space and is clearly up to the task, making these sometimes complex compositions seem accessible and logical. Ford has long been underrated (too old to be a Young Lion and too young to be an elder statesman), but based on the evidence of this recording alone he clearly deserves much greater acclaim. ~ by Scott Yanow, AMG.
1967: Booker Ervin - Booker 'n' Brass Hard-bop, Post-bop
1967: Booker Ervin - Booker 'n' Brass
Artist: Booker Ervin
Album: Booker 'n' Brass
Label: Blue Note
Year: 1967, release: 1998
Format, bitrate: Mp3 320 Kbps
Time: 49:07
Size: 112 MB

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To hear Booker Ervin as the leading solo voice on a recording with a larger ensemble is a treat, not only for his fans, but for those interested in modern big-band sounds grown from the bop era that are flavored with urban blues. A trio of different sessions done at Webster Hall in New York City features groups ranging from ten to eleven pieces, with personnel switched up, and no supplemental saxophonists. Freddie Hubbard is the only other soloist besides Ervin, the trombone section features top-rate players Bennie Green, Britt Woodman, and Garnett Brown, and the rhythm section of pianist Kenny Barron, bassist Reggie Johnson, and drummer Lenny McBrowne is as solid as can be. The session is based entirely on themes dedicated to major cities in the U.S.

Three versions of "L.A. After Dark," featuring different solos from Hubbard, are included on the CD version, written by the arranger of the date Teddy Edwards, a quintessential uptown homage to his adopted home. Ervin's "East Dallas Special" - a mix of "Night Train" and "Sister Sadie" - and the short, tuneful Jerry Lieber-Mike Stoller penned hit of Wilbert Harrison's "Kansas City," and the energetic 12-bar "St. Louis Blues" all shuffle along, powered by the soulful McBrowne. Four typical standards are included, with Ervin's tart-sweet post-John Coltrane saxophone sound undeniably leading the way. "Do You Know What It Means to Miss New Orleans?" is a slow spare horn chart accented by the booming bass of Johnson, while "I Left My Heart in San Francisco" is a polite and heartfelt treatment of this all-time favorite. "Harlem Nocturne" is quite dissimilar from the Joe Harnell hit version of the era, this one approximating tango proportions. Closest to true big-band regalia, "Salt Lake City" depicts a not very jazzy or bluesy city with a sophistication that suggests the best progressive charts of Duke Ellington, and especially Oliver Nelson, with two-note horn shout-outs. While the charts of Edwards and the emphasis on brass instruments holds interest, the overall sounds are only somewhat arresting. Ervin is the straw that stirs this tasteful martini, but he is heard to better effect on his numerous small ensemble recordings, and especially his work with Charles Mingus.
~ Michael G. Nastos , All Music Guide
1957: Kenny Burrell - K.B. Blues Music » Jazz » BeBop » Hard-bop
1957: Kenny Burrell - K.B. Blues
Artist: Kenny Burrell
Album: K.B. Blues
Label: Blue Note
Year: 1957; release: 2004
Format, bitrate:Mp3, 320 Kbps
Size:82.16 MB

A real hard-burner from Kenny Burrell a set that was recorded for Blue Note in the guitarist's early career, but not issued by the label until the 70s and even then only in Japan! Kenny's got the sharp edge and strong sense of leadership you'll hear on his classic Midnight Blue and the lineup features strong tenor work from Hank Mobley, who seems to underscore the best elements in Burrell's tone plus work from Horace Silver on piano who plays with lots of soulful undercurrents, alongside Doug Watkins on bass, and Louis Hayes on drums! The record's got some slightly raspy edges, which may be why Blue Note originally held it back but it's a real treasure for the deeper side of Kenny's tones and titles include "Out For Blood", "Nica's Dream", "KB Blues", and "DB Blues". 1996-2014, Dusty Groove, Inc.
1977: Lou Donaldson - Color As A Way Of Life Hard-bop, Soul-Jazz
1977: Lou Donaldson - Color As A Way Of Life
Artist: Lou Donaldson
Album: Color As A Way Of Life
Label: Cotillion Records (Catalog#: SD 9915)
Released: 1977
Format: FLAC, LP- Rip
Time: 36:52
Size: 127MB + 129MB

Lou Donaldson made two Cotillion albums at the tail-end of the 70s; "Different Scene" and this one. Although not looked upon favourably Donaldson does not disappoint. He is joined by veteran horn players Ernie Royal and Seldon Powell, and just those guys alone bolster the album.

There are some sweet moments here despite the routine arrangements, sterile production and cut-rate roster, close to half of whom count this album as either their only credit or one of less than a handful. Except for drummer Jimmie Young most of the rhythm section were nobodies and both horn and string sections were split down the middle as far as seasoned session vet vs. unknowns is concerned. On the plus side, it's obvious a lot of these guys were going for broke and giving it their best shot, especially William Phipps on the rhodes (check out the sweet washes and nimble solos he sprinkles throughout) and A.C. Drummer on the guitar (this man loves the phased wah-wah sound for better or worse).

A couple cookers, a few ballads and a bit of funk make it worth the minimal fee but don't expect any revelations from Lou, who maintains his standard of techical excellence even though he tends to get buried in the busy arrangements or lost in the mix. Not essential by any means but it will have appeal for the more forgiving fans of LD and those of Jazz-Disco-Funk fusion in general. ~ soundological
2007: Michal Urbaniak - Saturday Night At The Village Vanguard Hard-bop, Post-bop
2007: Michal Urbaniak - Saturday Night At The Village Vanguard
Artist: Michal Urbaniak
Album: Saturday Night At The Village Vanguard
Label: Ubx Productions
Year: 2007
Format, bitrate: FLAC , 16 bit/44Mhz
Time: 47:19
Size: 324MB

Michal Urbaniak has made over 60 albums over the last four decades, but none, he says, have given him more satisfaction than those issued in the Jazz Legends series, three disks taken from a one-week gig at the Villiage Vanguard in New York City. This volume, No.3, is from Jan.12, 1985, and combines two imperishable standards and four Urbaniak originals.
~ Mike Hennessy
1960-1961: Booker Ervin - Down In The Dumps Music » Jazz » BeBop » Hard-bop
1960-1961: Booker Ervin - Down In The Dumps
Artist: Booker Ervin
Album: Down In The Dumps
Label: Savoy
Years: 1960-1961; release: 1994
Quality: mp3-320
Size: 113 mb (with full scans)
Total time: 48:56

This album reissues tenor saxophonist Booker Ervin's second session as a leader (with a quintet also including trumpeter Richard Williams, pianist Horace Parlan, bassist George Tucker and drummer Dannie Richmond) plus two songs ("When You're Smilin'" and "The Trolley Song") from an obscure set by singer Barbara Long that contain Ervin solos. The main session has four Ervin originals plus two standards. The intense tenor, whose sound had roots in early R&B but was open to the influence of the avant-garde, was instantly recognizable by 1960 and this music, although not essential (it has not yet been reissued in complete form on CD domestically), has many strong solos by Ervin, Williams and Parlan.
~ Scott Yanow, All Music Guide
1974: Freddie Hubbard - High Energy Hard-bop, Post-bop, Funk-Jazz
1974: Freddie Hubbard - High Energy
Artist: Freddie Hubbard
Album: High Energy
Label: Columbia ‎
Year: 1974
Format, bitrate: Mp3, 320 kBit/s
Time: 40:10
Size: 95.1 MB

One of Freddie Hubbard's few decent efforts during his very commercial period with Columbia, this LP found his quintet (with tenor-saxophonist Junior Cook and keyboardist George Cables) joined by a small orchestra and a string section on a set of potentially dismal material. Fortunately these six performances (particularly "Crisis," "Ebony Moonbeams" and Stevie Wonder's "Too High") are given fairly creative treatment. The leader/trumpeter is in good form and there is solo space given to Ernie Watts (on bass flute, soprano and flute) and tenorman Pete Christlieb in addition to the quintet members.
~ Scott Yanow, All Music Guide
1967: Grant Green - Iron City Music » Jazz » BeBop » Hard-bop
1967: Grant Green - Iron City
Artist: Grant Green
Album: Iron City
Label: Savoy Jazz
Year:1967, release2003.
Format, bitrate: mp3, 320
Size: 94Mb

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Although his most famous records were made on Blue Note, Grant Green's IRON CITY, which was originally released on Cobblestone and later Muse Records, is ... Full Descriptionarguably the best of his mid-period output. Recorded in 1967, this is a trio session with Big John Patton showing some amazing skills on Hammond organ and Ben Dixon on drums. Together they form the consummate organ trio that was the basis of the soul-jazz movement.

Green is masterful throughout, showing tremendous dexterity, expression, and fire. His dancing lines on exciting cuts like the nimble "Samba De Orpheus" and the ultra-funky "High Heeled Sneakers" are excellent examples of his influential single-line soling technique. Patton is exceptional as well; his powerful work on these and Nat Adderley's "Work Song" are prime examples of his own mastery of the organ. Of special note is the trio's moving rendition of the traditional "Motherless Child." In all, this is classic Grant Green, classic soul, and classic fun.

Recorded for Muse Records in 1967 as Grant Green was on an extended recording hiatus -- it was his only record between 1965's His Majesty, King Funk, his only album for Verve, and 1969's Carryin' On, his return to Blue Note -- Iron City actually captures the guitarist in fine form, jamming on six blues and R&B numbers with his longtime cohorts, organist Big John Patton and drummer Ben Dixon. The trio members had long ago perfected their interplay, and they just cook on Iron City, working a hot groove on each song. Even the slow blues "Motherless Child" has a distinct swing in its backbeat, but most of the album finds the trio tearing through uptempo grooves with a vengeance. Green's playing is a bit busier than normal and he solos far more often than Patton, who lays back through most of the album, providing infectious vamps and lead lines. The two styles mesh perfectly with Dixon's deft drumming, resulting in a fine, overlooked date that showcases some of Green's hottest, bluesiest playing.
~ Stephen Thomas Erlewine, All Music Guide
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