Artist: Wynton Kelly
     Album: Comin' In The Back Door
     Label: Verve
     Year: 1963, release: 2003
     Quality: MP3@320 kbps
     Size: 37,9 mb
     Total time: 43:04


     A real cooker of a set – and one that features Wynton's piano over some great larger backings from Claus Ogerman! The style of the set is really wonderful – as Wynton plays with a core smaller group that includes Kenny Burrell on guitar, plus regulars Paul Chambers on bass and Jimmy Cobb on drums – all of whom make more than ample space for Ogerman to come into the mix and fill up the tunes with some sweetly grooving 60s backings – often using electric bass to punch up the bottom, and rollick things around in a stepping style that's a nice mainstream take on the soul jazz groove that Kelly virtually helped invent! A few tracks are more in a small combo mode, but even those manage a pretty darn smoking groove – and overall, the album's got a lot more depth than even some of Kelly's best for the Vee Jay label from previous years! Titles include the bossa groover "Cesar & Cleopatra" – plus "Quiet Village", "If That's The Way You Want It", "Comin' In The Back Door", and "Theme From Burke's Law". © 1996-2010, Dusty Groove America, Inc.

     Artist: Sonny Rollins
     Album: Sonny Boy
     Label: Prestige/OJC
     Year: 1956, release: 1989
     Quality: MP3@320 kbps
     Size: 78 mb (with all covers)
     Total time: 39:01


     The music on this former LP was the last of tenor saxophonist Sonny Rollins' Prestige dates to appear on CD. Actually the release is a bit odd for it reissues four of the six numbers from the previously released CD Tour de Force (OJC 095), replacing "My Ideal" and "Two Different Worlds" (the latter an Earl Coleman vocal) with "The House I Live In" from an earlier session that resulted in the Plays for Bird album; usually the Original Jazz Classics series avoids such duplication. Tour de Force is a more logical purchase, although the music on this CD does feature the immortal tenor saxophonist in fine form with a quartet comprised of pianist Kenny Drew, bassist George Morrow and drummer Max Roach (other than the earlier selection which also has trumpeter Kenny Dorham). ~ Scott Yanow, All Music Guide

     Artist: Toshiko Akiyoshi Jazz Orchestra featuring Lew Tabackin and Frank Wess
     Album: Wishing Peace (from"Liberty Suite")
     Label: Ausverkau
     Year: 1986
     Format, bitrate: Flac
     Time: 44;28
     Size: 263 MB
     AMG rating:


     Ironically after Toshiko Akiyoshi and Lew Tabackin broke up their West Coast big band, relocated to New York and put together a new orchestra, they seemed to get less publicity than previously. In fact, since this 1986 recording for their own Ascent label, Akiyoshi's ensemble has made relatively few albums. For the Ascent LP, the 16-piece big band performs a remake of "Feast in Milano" (which is more complex than Akiyoshi's earlier version), Tabackin's ballad "Unrequited Love" and Akiyoshi's three-part sidelong "Liberty Suite." The soloists include trombonist Conrad Herwig, Walt Weiskopf on tenor, trumpeters John Eckert and Brian Lynch, altoist Jim Snidero, flutist Frank Wess and Tabackin on tenor and flute. All of the Toshiko Akiyoshi Jazz Orchestra's recordings are well worth acquiring.

     Artist: Nathan Davis
     Album: Makatuka
     Label: Segue Records
     Year: 1971
     Format, bitrate: mp3@320kb/sec
     Time: 39:06
     Size: 90.5MB
     AMG rating:

     When you have been in radio for Twenty-Six years playing all kinds of music, you kind of get an "ear" for something distinct. This is exactly what my ears grasped when I listened to Nathan Davis playing three instruments (bass clarinet, soprano sax, tenor sax) along with some very fine side-men who unite into some funky and soulful sounds.

Nathan Davis, born and raised in Kansas City, Kansas, participated in his high school band and dance band, won his state music competition from which he received various scholarships leading him to a degree in Music Education from the University Of Kansas, and the production and promotion of jazz concerts at various Universities. While in the army, and living in Europe for Ten years, Nathan won the European and U.S. Army music competition, toured all over France, Germany, Belgium, and many other countries. He studied at the Sorbonne, instructed jazz studies at the Paris American Academy of Music, and in 1969, Belgium's Minister of Culture employed Nathan to give a series of jazz clinics. Nathan worked with many fine musicians: Donald Byrd, Hampton Hawes, Art Blakey, Art Taylor, Kenny Clarke, Mel Waldron, Benny Bailey, and Eric Dolphy, who influenced his flute and bass clarinet sounds.

Now, Nathan returns to the U.S. as Director of Jazz Studies Program at the University of Pittsburgh, and to record his first album in this country. The Hip Walk, Happy Girl, Rules of Freedom, and other albums were recorded overseas. Nathan produced Jazz Pittsburgh, part of the annual week long Three Rivers Art Festival for which he received numerous standing ovations in addition to putting together a Big Band consisting of many of the fine local musicians.

In this album, Nathan Davis composes and plays with Joe Kennedy, piano, Nelson Harrison, trombone, Don Depaotis on electric piano, Virgil Walters on fender bass, Mike Taylor, bass, and Rodger Humphries (formerly with Horace Silver) on drums.

Listen to the sounds of Nathan Davis who is practicing under the influence of hypnosis as he puts you under his weird spell.

MAKATUKA, in 7/8 time, is a tribute to Makaya Ntzhoko, a South African drummer with whom Nathan recorded a live album in Munich, Germany. Nathan opens up on tenor sax, joined by trombonist Nelson Harrison, and after a few bars of a soulful African melody, Don Depaotis blends in on electric piano. Just dig the sounds they get!

TO URSULA WITH LOVE, was written by Nathan for his wife; listen to the way he tells of love for his woman through his soprano sax. I suggest that you play this one for your lady when you want to get into your bag.

SLAVE MARCH, depicts musically tramping slaves (they may be slaves to many things – love, peace, job, etc.). In this cut, Nathan plays bass clarinet and tenor sax. Bassist, Virgil Walters was added to this number to give it a contrasting bass effect. It begins with the beautiful work of Nelson Harrison, Nathan's tenor sax and Rodger Humphries coming in nicely on drums. No trouble with the grease on this one. The fellows just slide soulfully on through, but the Slaves March doesn't stop…it just fades out for the march is never really over. Dig it!

EXTRA SENSORY PERFECTION, puts you in your weird bag and under a spell when Nathan plays his tenor. He brings to you the sounds of a new world, a world of many moods. Listen to all the cats quietly get into a nice groove.

I WANT TO BE FREE, swings through with a message. It might seem odd for a singer to be in on Nathan's recording date, but blues is part of jazz, and the young people today have a message for the world. Young vocalist, Wheeler Winstead, a student at the University of Pittsburgh, first heard by Nathan singing with the Pitt Band, puts it over. Nathan takes a groovy solo on soprano sax along with Nelson Harrison, one of the finest trombonist in the country.

LADIES LIB, swings from head to toe. I know you'll like this one as Nathan puts together some sounds that most disc jockeys have been asking for. Everyone can go into their spell here, and do their thing.

There is something for everyone on this album. Tell your friends about the spell this album puts you in. Right on!

     Artist: Tommy Flanagan
     Label: OJC/Prestige
     Album: The Tommy Flanagan Trio
     Year: 1957, release: 1992
     Quality: MP3 320 Kbps
     Size: 84,62 mb
     Total Time: 34:31




     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.

     Artist: Kenny Burrell
     Album: Tin Tin Deo
     Year: 1977
     Label: Bellaphon
     Format: Flac (cue, log, scans)
     Size: 216 Mb
     Total time: 39:19



This CD reissue brings back a typically tasteful set by guitarist Kenny Burrell. Performing in a sparse trio with bassist Reggie Johnson and drummer Carl Burnette, Burrell plays boppish and swinging versions of his own blues "The Common Ground," Erroll Garner's playful "La Petite Mambo" and six jazz standards. Nothing particularly surprising occurs but Burrell is heard throughout in above-average form and this release should please his fans.

     Artist: Miles Davis Quintet
     Album: Winter In Europe 1967
     Label: Gambit
     Year: 1967; release: 2006
     Format, bitrate: mp3@320 kbps
     Time: 75:21
     Size: 159 MB

     Here, over two unique shows from late 1967, we get some of the finest quintet performances from the Miles Davis Quintet during the transition from acoustic to electric. This formation had only been together about a year when these shows were taped (Ron Carter was the last to be added) and the constant evolution of their sound is evident throughout.


     The group present on these two outstanding concerts (Sweden and Germany, 1967) marked the turning point between acoustic and electric Miles. At the time of this '67 European tour, the formation as a whole had been together for just one year and, although a new trend is evident and some tunes prelude a more advanced phase, they coexist with old standards like 'I Fall In Love Too Easily' and 'Around Midnight' as well as some of Miles' all-time favorites like 'Walkin''. 12 tracks total.

     Artist: Roy Campbell Quartet
     Album: It's Krunch Time
     Label: Thirsty Ear Recordings
     Year: 2001
     Format, bitrate: mp3, 320
     Size: 94 mb
     AMG rating:


     Roy Campbell's engaging Blue Series entry features an acoustic quartet with Khan Jamal on vibes, Wilber Morris (who passed away shortly thereafter) on bass, and Guillermo E. Brown on drums. The trumpeter takes his time developing passionate rubato statements on tracks like "Tenderness of Spring," "The Opening," and "New Groes for the Millennium," the last of which eventually — almost reluctantly — settles into a languid swing tempo. The pace is quick, the groove catchy on "Ode for Mr. DC," and Jamal shines, with his slightly raspy sound, on "Khanducting." Everyone takes a turn in the spotlight on the tumultuous title track. There's also a loosey-goosey version of Monk's "Bemsha Swing" and a closing, solo-trumpet deconstruction of "The Star-Spangled Banner."

     Artist: Red Callender
     Album: Speak Low
     Label: Fresh Sound Records
     Year: 1956, 1958
     Format, bitrate: mp3 256kbps
     Time: 44:05
     Size: 83MB
     AMG rating:

     The tuba in jazz is a rare avis with few practitioners. Ray Draper, Bernard McKinney, Howard Johnson, Joe Daley, Bob Stewart, and Marcus Rojas are among the most prominent, but bassist Red Callender was prominently using it in modern mainstream jazz before them all. This precious reissue from Fresh Sound brings back in print his Crown label LP from 1956 Speak Low, and The Lowest, originally on the Metrojazz label from 1958. To have them both on one CD is wondrous, though the total time of 44 minutes is a bit skimpy for full price. These are sextet and septet recordings with tuba, French horn, guitar, flute, clarinet, and rhythm section featuring the peerless bassist Red Mitchell, a great choice. They comprise a witty, ear turning, neat instrumentation and a true sonic treat. How the high woodwinds and low-end brass complement each other is nothing less than remarkable. The best evidence of this unseemly union is heard on "A Foggy Day," with bowed overcast bass, a bell chime like Callender, and beautiful counterpoint between the mysterious instruments perfectly evoking a steamy lighthouse scene on Hermosa Beach. Very much like Yusef Lateef of this time period, the exotic tone of "Speak Low" meshes Buddy Collette's flute with the tuba and understated percussion. Both are definitive pieces of conceptual jazz brilliance, and highlight the 1956 sessions. There's also the exquisitely melancholic "In a Sentimental Mood," and Callender's original "Cris," epitomizing California cool. The four tracks from 1958 sport the septet, featuring muted trumpeter Gerald Wilson and pianist Gerald Wiggins, also with Collette and Mitchell. They do a pensive, long distance, West Coast viewpoint on "Autumn in New York," a fun "Dedicated to the Blues" fronted by flute and tuba with trumpet chiming in after the fact of the melody, and an irresistible bopper "The Lowest," exhibiting the most energy of the disc. There are those who don't much care for the tuba in any context, and others who've had difficulty swinging with it. Callender had few problems, either wielding it or making it sound assured and cohesive on this recommended recording.

     Artist: Kenny Burrell & John Coltrane
     Album:Kenny Burrell & John Coltrane
     Label: Prestige/OJC
     Year: rec. March 7, 1958/rel.2006
     Format: MP 3@ 320Kb/s + lossless format (flac, cue, log, scans )
     Time: 37:30
     Size: mp3 - 71.4 Mb; lossless - 259 MB
     AMG rating:

With lossless links from m-r hungaropitecus

During his final months with Miles Davis' group, John Coltrane participated in a number of recording sessions for Prestige independently of Davis. This album is but one such recording. In 1958, when this recording was made, Coltrane may have been at his creative peak. During this period, his work began to transcend "bebop" and "cool," anticipating even more modern developments in jazz-changes that would affect a whole generation of musicians.
On KENNY BURRELL WITH JOHN COLTRANE, we hear the two jazz masters creating time-honored renditions of tunes such as "Why Was I Born," a duet that highlights the musicians' ability to not only savor each note, but to take a rather plaintive composition and develop it organically. Burrell, Coltrane, and company swing "Freight Trane" with great authority, thanks to the drumming acumen of Jimmy Cobb. On this tune, Coltrane uses a variety of sudden flourishes and lyrical lines, while Burrell comps chords in simpatico. Most importantly, this album represents the one-time chemistry of Burrell and Coltrane. That alone makes this CD a must.

     Artist: Branford Marsalis with Albert Collins & Linda Hopkins
     Album: Zellerbach Auditorium
     Label: SBO (butleg)
     Year: 1993
     Format, bitrate: MP3@320 kbps
     Time: 1:45:32
     Size: 189 Mb

     Artist: Ahmad Jamal
     Album: Poinciana
     Label: SBME
     Year: Oct 25, 1951-Oct 25, 1955
     Release: 1990
     Format: MP3, 320 kbps
     Time: 42:41
     Size: 99 MB
     AMG Rating:


     This fascinating date features pianist Ahmad Jamal at the beginning of his recording career. With guitarist Ray Crawford and either Eddie Calhoun or Israel Crosby on bass, Jamal showcases a style that would be a major influence on Miles Davis' music. Jamal's use of space and dynamics was very different than the style of any other jazz pianist of the era. His versions of "Old Devil Moon," "Will You Still Be Mine?," "The Surrey with the Fringe on Top," and "A Gal in Calico" inspired Miles to record the songs in a similar fashion, and his "Billy Boy" became the basis of a performance by the Red Garland Trio. Most fascinating is Jamal's inventive interpretation of "Pavanne," for it has a section very reminiscent of "So What" (which was not "composed" by Davis until over two years later) and a melody statement that is exactly the same as John Coltrane's "Impressions."

     Artists: Red Mitchell & Harold Land
     Album:Hear Ye!
     Label: Atlantic
     Year: 1961, release: 2000
     Quality: mp3 320 kbps
     Size:120 MB
     AMG Rating



In the early '60s, bassist Red Mitchell and tenor saxophonist Harold Land co-led a quintet in Los Angeles. The group did not catch on but they did record one Atlantic set that has been reissued on CD. In addition to the co-leaders, the quintet included trumpeter Carmell Jones, pianist Frank Strazzeri, and drummer Leon Pettis, and, although their original program of six songs was comprised entirely of group originals, the music falls easily into the hard bop area with plenty of fine solos and swinging ensembles. The CD reissue adds two previously unreleased tracks including a lone standard, "I'm Old Fashioned." This is a fine effort from a group that deserved greater recognition at the time.

     Artist: Donald Harrison & Terence Blanchard
     Album: Eric Dolphy and Booker Little Remembered Live at Sweet Basil, Vol 1
     Label: Evidence
     Year: 1986 ; release: 1993
     Format, bitrate:mp3, VBR
     Time: 46:55
     Size: 62.9MB

     In memory of the great tandem of alto saxophonist/flutist/bass clarinetist Dolphy and trumpeter Little, Blanchard and Harrison team with the same rhythm section -- Mal Waldron on piano, Richard Davis on bass, Ed Blackwell on drums -- who backed those modern jazz pioneers, who played 25 years previously at the Five Spot (The Great Concert of Eric Dolphy on Prestige.) These sessions at Sweet Basil in N.Y.C. do great justice to that historic juncture while creating a little history of their own in the process. There are three lengthy selections. "The Prophet" is almost 22 minutes of the sheer joy and bluesy madness that so typified the Dolphy sound. The band captures a sourdough, bluesy swagger. Harrison's solo is less edgy but just as frantic as Dolphy's, while Blanchard is Blanchard, capturing the melodicism but not the bite of Little. Blackwell spontaneously doubles the time during the trumpeter's solo, settles it back, and then lets Waldron and Davis rest in a solid groove. "Aggression" is the highlight: a lightning-fast, ribald-toned hard bop line played perfectly. This is where Waldron's signature vamping comes to the forefront; his deep blue-grey chords express his completely individual sound during the trio-only section. "Booker's Waltz" has Harrison switching to bass clarinet, with not quite the same childlike depth as Dolphy, and mixed a little thin. This is a beautiful, 3/4-paced song that ebbs and flows naturally, all members listening and responding in less dramatic ways. Despite eventual stylistic comparisons, which are truthfully minor, the intentions of this recording and its execution produce more than delightful results. It's a major coup for Blanchard and Harrison. Further proof is found on the companion disc, Fire Waltz. Recommended.

     Artist: Art Blakey and the Jazz Messengers
     Album: Gypsy Folk Tales
     Label:Roulette Records
     Year: Feb 14, 1977-Mar 1, 1977
     Quality: MP3@320 kbps
     Size: 134 MB




     The 1977 version of The Jazz Messengers introduced two new voices to jazz (altoist Bobby Watson and the Russian trumpeter Valeri Ponomarev) in addition to featuring tenor saxophonist Dave Schnitter, veteran pianist Walter Davis and bassist Dennis Irwin. This Roulette LP includes six fairly recent originals in addition to a pair of numbers co-written by drummer Art Blakey with saxophonist Bob Mintzer. Davis's "Gypsy Folk Tales" and "Jodi" are the best-known songs and the hard-bop oriented solos are consistently fresh.

     Artist - Cannonball Adderley
     Album - Nippon Soul
     Label - OJC/Riverside
     Year - 1963, release - 2001
     Quality - FLAC, cue, log, scans
     Size - 363 MB
     Total time - 56:07

     Artist: Sonny Rollins
     Album: Ballads
     Label: Blue Note
     Year: 2002
     Format: mp3@320kbps
     Time: 00.41.29
     Size: 67,8 Mb

     Blue Note has done an admirable job of collecting the mellow material of a number of classic players for its Ballads series. Sonny Rollins' entry, like the others, finds the tenor in a late-night mood. The disc begins and ends with intimate trios offering fine renditions of "I Can't Get Started" and "Softly As in a Morning Sunrise," both featuring bassist Wilbur Ware and drummer Elvin Jones. The openness of these two live recordings allows Rollins plenty of room to search and discover the right notes. There's a seven-minute version of Thelonious Monk's "Reflections" with Monk himself sitting in, and an adventurous take on "Decision" with trumpeter Donald Byrd, pianist Wynton Kelly, and drummer Max Roach. Certain choices, like "How Are Things in Glocca Morra?" from Finian's Rainbow, also show Rollins' willingness to search outside of the jazz world for good material. It's difficult not to notice, when reading over the credits, other notable names on this disc. J.J. Johnson, Art Blakey, Horace Silver, and Paul Chambers help out on "Poor Butterfly," while Philly Joe Jones and Doug Watkins join in on "Namely You." Ballads is a good collection of Rollins' mid-'50s work and provides a good place to compare his technique in a number of different settings.

     Artist: Philly Joe Jones
     Album: Philly Mignon
     Label: Original Jazz Classics
     Year: 1977
     Quality: mp3 320 kbps
     Size: 93 MB



     For this Galaxy LP (which unfortunately has not yet come out on CD), drummer Philly Joe Jones leads a variety of all-stars throughout three obscurities, "Polka Dots and Moonbeams" and "Confirmation." Two songs (including "Polka Dots") feature tenor great Dexter Gordon in a quartet with pianist George Cables, bassist Ron Carter and the drummer/leader. The other three songs match Jones with cornetist Nat Adderley, Ira Sullivan (on tenor or soprano), Cables and Carter. Overall, everyone plays well on this modern hard bop set, making one hope that it will be reissued eventually in the OJC series.

     Artist: Dizzy Reece
     Album: Manhattan Project
     Label: Bee Hive Records BH 7001
     Year: 1978
     Format, bitrate: Mp3, 320 kb/s (LP-rip)
     Time: 45.96
     Size: 109 Mb
     AMG Rating


     It is a bit of a mystery why British trumpeter Dizzy Reece never became much better known. His three Blue Note dates of 1958-60 are of high quality, as is his New Jazz session (Asia Minor) of 1962. However, during the 16 years since, he only made one obscure European album (a 1970 set co-led by tenor saxophonist John Gilmore) and was largely forgotten. Fortunately, Bee Hive documented him in 1978, teaming Reece up with an all-star group (both Clifford Jordan and Charles Davis on tenors, pianist Albert Dailey, bassist Art Davis and drummer Roy Haynes). Reece easily keeps up with his notable sidemen, performing three hard bop originals, "Woody'n You" and a minor blues called "One for Trane." Hopefully, this highly enjoyable Bee Hive LP will someday be rediscovered and reissued on CD.

     Artist: Cannonball Adderley
     Album: Lugano 1963
     Label: TCB Records
     Year: 1963
     Format, bitrate: mp3@224kb/s
     Time: 60:56
     Size: 97.81MB




     This Swiss concert (broadcast by Swiss radio) features the 1963 Cannonball Adderley Sextet which was arguably the altoist's finest band. In addition to the leader, the performance features cornetist Nat Adderley, the versatile Yusef Lateef on tenor, flute and oboe, pianist Joe Zawinul, bassist Sam Jones and drummer Louis Hayes. Highlights include "Jive Samba," "Dizzy's Business," a lengthy "Trouble in Mind" and "Work Song" but all seven selections are quite rewarding. Cannonball Adderley fans can consider every recording by this classic unit to be essential.