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Jazz Blues Club » Music » Jazz » BeBop » Hard-bop
1968: Cannonball Adderley - Accent on Africa Music » Jazz » BeBop » Hard-bop
1968: Cannonball Adderley -  Accent on Africa
Artist: Cannonball Adderley
Album: Accent on Africa
Label: Capitol
Year: 1968
Format, bitrate: Mp3, 320 kBit/s
Time: 31.17
Size: 73.4mb

Though labeled as a Cannonball Adderley Quintet session, this is actually a workout with a percussion section loaded with African drums, a big band, and in spots, voices -- all unidentified. Nevertheless, this is one of the best and most overlooked of the Cannonball Adderley Capitols, a rumbling session that bursts with the joy of working in an unfamiliar yet vital rhythmic context. Cannonball turns in one of his swinging-est solos through a Varitone electronic attachment on Caiphus Semenya's "Gumba Gumba" and "Marabi" is a real hip-jiggler; you can't sit still through it. Other highlights include Cannon preaching blue smoke in his own Afro-Cuban-blues-flavored "Hamba Nami," a dignified trip through Wes Montgomery's "Up and At It," and Nat Adderley's commanding work on cornet at all times.
~ Richard S. Ginell, All Music Guide
1966: Wayne Shorter - Adam's Apple Music » Jazz » BeBop » Hard-bop
1966: Wayne Shorter - Adam's Apple
Artist: Wayne Shorter
Album: Adam's Apple
Year: 1966; release: 2003
Label: Blue Note
Format: mp3 320 Kbps
Total Time: 48:00
Total Size: 108,50 Mb
AMG Raiting: *****

With the possible exception of its song, "Footprints," which would become a jazz standard, Adam's Apple received quite a bit less attention upon its release than some of the preceding albums in Wayne Shorter's catalog. That is a shame because it really does rank with the best of his output from this incredibly fertile period. From the first moments when Shorter's sax soars out in the eponymous opening track, with its warmth and roundness and power, it is hard not to like this album. It might not be turning as sharp of a corner stylistically as some of his earlier works, like Speak No Evil, but its impact is only dulled by the fact that Shorter has already arrived at the peak of his powers. Taken in isolation, this is one of the great works of mid-'60s jazz, but when Shorter has already achieved a unique performance style, compositional excellence, and a perfectly balanced relationship with his sidemen, it is hard to be impressed by the fact that he manages to continue to do these things album after album. But Shorter does shine here, while allowing strong players like Herbie Hancock to also have their place in the sun. Especially hypnotic are two very different songs, the ballad "Teru" and Shorter's tribute to John Coltrane, "Chief Crazy Horse," both of which also allow Hancock a chance to show what he could do. ~ Stacia Proefrock, All Music Guide
1961 / 1963: Wes Montgomery - Complete Live At Jorgies Music » Jazz » BeBop » Hard-bop
1961 / 1963: Wes Montgomery - Complete Live At Jorgies
Artist: Wes Montgomery
Album: Complete Live At Jorgies
Years: 1961 / 1963; release: 2001
Label: Definitive Records
Format: mp3, 320, Kbps
Total Time: 60:04
Total Size: 146,16 Mb

It's really too bad that the Definitive label did such a shoddy job of editing Complete Live at Jorgies. For starters, with no explanation this fine 1961 gig featuring Wes Montgomery with the Montgomery Brothers (and Billy Hart on drums) is split into two parts so the label can insert a 1963 studio date with Billy Taylor, Grady Tate, and Ben Tucker. Eric Mills' equally crummy liner notes tell you that this was done but offers no reason why. While all the music here is very fine indeed, the split is inexcusable because jazz gigs depend on momentum to come across, especially on a recording. That beautiful versions of "All of You" and "Summertime" are separated from a pair of set closers like "Starlight" and "'Round Midnight" is unthinkable. While the inserted session from 1963 has its own charms -- most notably "There Will Never Be Another You," with Montgomery's subtleties being engaged wholesale by Taylor's remarkable right-hand work and Tate's soulful drumming -- it nonetheless pales in comparison to the taut intensity of the live show that precedes it and proceeds from it.
~ Thom Jurek, All Music Guide
1959: Art Blakey - Au Club Saint-Germain Vol.1-3 Music » Jazz » BeBop » Hard-bop
1959: Art Blakey - Au Club Saint-Germain Vol.1-3
Artist: Art Blakey
Album: Au Club Saint-Germain Vol.1-3
Label: Sony Music
Year: 1959 Released 2002
Format: bitrate: mp3@320kbps
Time: CD1 45:06,CD2 42:49,CD3 39:13
Size: CD1 126mb,CD2 120mb,CD3 112mb
AMG rating: ****

This three-LP box set from French RCA (part of which was reissued on the CD Paris 1958 and in full on two CD's in Japan) features the 1958 Jazz Messengers live in Paris stretching out on 11 songs. Trumpeter Lee Morgan, tenor saxophonist Benny Golson and pianist Bobby Timmons formed a potent team, backed up by bassist Jymie Merritt and the powerful drumming of leader Art Blakey. This hard-to-find set gives one a definitive look at the influential band.
~ Scott Yanow, All Music Guide.
1959: Art Blakey & The Jazz Messengers Avec Barney Wilen Les Liaisons Dangereuse Music » Jazz » BeBop » Hard-bop
1959: Art Blakey & The Jazz Messengers Avec Barney Wilen  Les Liaisons Dangereuse
Artists: Art Blakey & The Jazz Messengers
Avec Barney Wilen

Album: Les Liaisons Dangereuse
Label: Fontana
Year: 1969; release: 1960
Quality: MP3@320 kbps (LP-rip)
Size: 106 mb
Total time: 46:30

An interesting set of music originally recorded as the soundtrack for the French film Les Liaisons Dangereuses, the majority of these tracks feature Art Blakey's Jazz Messengers of mid-1959 with trumpeter Lee Morgan, tenorman Barney Wilen, pianist Boby Timmons and bassist Jymie Merritt joining the explosive drummer/leader. In general, the music manages to stand on its own with the ensemble getting to stretch out a bit on the rare material. ~ Scott Yanow, All Music Guide
1979: Kenny Burrell - Moon and Stars Music » Jazz » BeBop » Hard-bop
1979: Kenny Burrell -  Moon and Stars
Artist: Kenny Burrell
Album: Moon and Stars
Label: Concord Jazz
Year: 1979; Release:1992
Format, bitrate:mp3,320 kb/s
Time: 39.23
Size: 87,9 mb

This is a surprising release from Kenny Burrell, for the veteran guitarist plays half of the selections on acoustic guitar and does a very effective job giving a bossa nova rhythm (a la Laurindo Almeida and Charlie Byrd) to some of the tunes. The CD reissue, which also features bassist John Heard, drummer Roy McCurdy and percussionist Kenneth Nash, is mostly laidback, although the renditions of Billy Strayhorn's "U.M.M.G." and "Stolen Moments" swing. Best are the more lyrical pieces (such as "My Ship" and an unaccompanied "Lost In the Stars"), which allow Burrell to show off his pretty tone. ~ Scott Yanow, All Music Guide
1995: Chuck Owen - Chuck Owen And The Jazz Surge Hard-bop, Big Band
1995: Chuck Owen - Chuck Owen And The Jazz Surge
Artist: Chuck Owen
Album: Chuck Owen And The Jazz Surge
Label: Sea Breeze
Year: 1995
Format, bitrate: Mp3, 320 kBit/s
Time: 01:07:46
Size: 155.57 MB
AMG rating: ****

. . .it steadily builds momentum . . .(until) the ensemble lets out all the stops to bring the session to a thunderous climax. A superb big band. . . .
~ Jack Bowers, Cadence

Owen manages to balance the finesse of his arrangements with bop outbursts. A smouldering big band date.
~ David Lands, Jazz Journal
1954-1955: Bud Shank & Trombones - Cool Fool Cool, West Coast Jazz, Hard-bop
1954-1955: Bud Shank & Trombones - Cool Fool
Artist: Bud Shank & Trombones
Album: Cool Fool
Label: Fresh Sound
Year: 1954-1955
Release: 2003
Format, bitrate: Mp3, 320 kBit/s
Time: 57:29
Size: 130.99 MB
AMG rating: 1954-1955: Bud Shank & Trombones - Cool Fool

This Fresh Sound CD compilation pairs two separate 10" LPs from the 1950s by Bud Shank. The first, originally issued as Bud Shank and Three Trombones, is a bit unusual, as the alto saxophonist is joined by three valve trombonists (Bob Enevoldsen plus Maynard Ferguson and Stu Williamson, the latter two better known as trumpeters), plus a rhythm section consisting of Claude Williamson, Joe Mondragon, and Shelly Manne, with arrangements by Bob Cooper. Cooper's perky "Wailing Vessel" is the highlight of the session; there's also an alternate version that has been added to this reissue. Also worth noting are "Baby's Birthday Party" (an obscure work by Ann Ronell, composer of the standard "Willow Weep for Me") and the moody arrangement of "You Don't Know What Love Is." The latter recording, previously issued as Bud Shank and Bob Brookmeyer and also as a part of The Saxophone Artistry of Bud Shank, features the alto saxophonist and the valve trombonist joined by pianist Claude Williamson, bassist Buddy Clarke, and drummer Larry Bunker, plus a string quartet. Both players are in top form throughout these eight tracks. Russ Garcia's relaxed chart of "When Your Lover Is Gone," Johnny Mandel's rhumba-flavored scoring of "Out of This World," and his breezy original "Low Life" have obvious appeal. But Brookmeyer's imaginative composition "Rustic Hop" (previously recorded by Brookmeyer with Stan Getz and later with Gerry Mulligan) easily stands out as the best track from the latter sessions. All of this valuable music has since been reissued in the Mosaic Select box set Bud Shank and Bob Cooper.
~ Ken Dryden, All Music Guide
1971: Gene Ammons - The Black Cat Music » Jazz » BeBop » Hard-bop

1971: Gene Ammons -  The Black Cat
Artist: Gene Ammons
Album: Black Cat
Label: Prestige
Year: 1971
Format, bitrate: mp3;320 kbps (LP-rip)
Size: 78.7 MB

One of Gene Ammons' best late-period albums, 1970's Black Cat is a bluesy, low-key album and a comparative anomaly: a primarily acoustic soul-jazz album! Ammons was experimenting heavily with the amplified, feedback-laced electric saxophone during this period, but for Black Cat he sticks to his familiar unamplified tenor, playing raunchy gutbucket lines over Ron Carter's warm, deep-toned bass, Idris Muhammad's laid-back drums, and Harold Mabern's twinkling piano (yes, piano, not the soul-jazz cliché Hammond organ). Most of the time, only guitarist George Freeman is plugged in, but even he plays with clean-toned restraint. The centerpiece tracks are the funky soul-jazz blues "Piece to Keep Away Evil Spirits" and the more danceable, groove-oriented "Jug Eyes," which would become two of Ammons' most popular tracks, but the surprises are a pair of pop covers, Gary White's "Long Long Time" (popularized by Melanie and Linda Ronstadt) and the Beatles' "Something." Most soul-jazz covers of pop songs sound like boring, uninspired feints towards radio airplay, but Ammons turns both of these melodic ballads into solo showcases for himself and Mabern that show off both players at their finest. ~ Stewart Mason, All Music Guide
1955-1956: J.R.Monterose - Jaywalkin' Music » Jazz » BeBop » Hard-bop
1955-1956: J.R.Monterose - Jaywalkin'
Artist: Jack Montrose
Album: Jaywalkin'
Label: Fresh Sound Record
Years: 1955-1956; release: 2001
Quality: MP3@320 kbps
Size: 160 mb
Total time: 70:07

This is an illuminating series of three different sessions from the mid-'50s, where J.R. Monterose surrounds himself with crack players: Charles Mingus, Doug Watkins, Kenny Clarke, Jo Jones, Teddy Charles, Eddie Costa, Joe Puma, Ralph Sharon, and others. The sets are all groovin'-high treatments of everything from hard bop tunes of the era to an set of mostly Rodgers & Hart tunes completely turned upside down lyrically, harmonically, and rhythmically. Mingus, Clarke, Puma, Charles, and Sharon were the band for these cuts. While it begins with a Sharon original, it quickly moves into something wholly different. Mingus is waxing elegant here, invoking the Duke Ellington dictum of transforming everything into something else that's newer and brighter. On "Have You Met Miss Jones," Monterose gives the bassist the nod and he strolls out the melody, accenting it differently on every fourth beat; the saxophonist fills the middles with ostinato and Charles dances around the perimeter of Sharon and Clarke. On Gershwin's "Love Walked In," Sharon and Charles lead the front line, sweeping through the changes at a brisk but not bop pace for the entire melody before Charles solos his ass off on the chorus. Next it's Puma and Sharon, before Mingus and Monterose wax sweetly and loosely with the melody, stretching it to the breaking point before the vibes and piano come in to the rescue -- brilliant. The entire record is virtually spotless and the production job is top-notch. This is a welcome and necessary document in Monterose's discography.
~ Thom Jurek, All Music Guide
2007: Zohar Kahila - Changes Hard-bop, Post-bop
2007: Zohar Kahila - Changes
Artist: Zohar Kahila
Album: Changes
Year: 2007
Label: Hatav Hashmini
Format: mp3, 320 Kps
Total Time: 53:35
Total Size: 120,40 Mb

Israli pianist Zohar Kahila have been playing many styles in his home country since more than 20 years. he was the pianist of a wonderful Atraf Band who combines Latin styles with some jazz and rock spices. In Changes he plays straight ahead jazz , Latin, fusion and even one Israeli song turned into jazz rock. Very nice choices of jazz standards.
1999: Norman Simmons - The Art of Norman Simmons Hard-bop, Post-bop
1999: Norman Simmons - The Art of Norman Simmons
Artist: Norman Simmons
Album: The Art of Norman Simmons
Label: Savant Records
Year: 1999; release: 2000
Quality: MP3@320 kbps
Size: 166 mb
Total time: 71:19

Norman Simmons' record credits stretch back to a 1956 trio date for Argo and subsequent recordings with Carmen McRae, whom he accompanied for several years in the '60s, and with Betty Carter and Anita O'Day in the '70s. In fact, it's his sought-after ability as an accompanist that has rendered him practically invisible. Now 71, Simmons got his start in Chicago where, in the '50s, he was the house pianist at the Bee Hive Lounge backing up such notables as Charlie Parker and Dexter Gordon. He also worked with Johnny Griffin, Gene Ammons and a host of other Windy City players before moving to New York in '58. For the past 20 years he was Joe Williams' accompanist and musical director.
Simmons is a marvelous interpreter as well as a compelling composer and his "Joe," a cheery ballad written in honor of Williams, features sensitive solos from Simmons, tenorman Eric Alexander and guitarist Henry Johnson, another Williams associate. There's a lot of connectivity among these musicians-including bassist Paul West and drummer Paul Wells-and it certainly shows in their empathetic interplay. Besides the jaunty blues that starts things off, other Simmons originals include the boppish "Stiffed," with a series of intriguing ensemble riffs that serve to accent the action-a device Simmons also employs to good effect on "There Are Such Things" and his own relaxed "6 a.m."
The choice of standards reveals Simmons' fondness for harmonically rich material. "My Silent Love" and "The Hour of Parting" get exceptional interpretations. "Harlem Nocturne" (at 12:07) is the centerpiece of the disc, and gives both Alexander (a terrific full-bodied player who excels at any tempo) and Johnson (who seamlessly melds single-string lines with octave runs) a chance to move the music a bit out of the mainstream.
As someone observed, a great record can be played in the background without disturbing you and can also be played in the foreground without boring you. This is one of the greats.
~ Miles Jordan, Jazz Times
1959: Ira Sullivan with Johnny Griffin - Blue Stroll Hard-bop, Post-bop
1959: Ira Sullivan with Johnny Griffin - Blue Stroll
Artists: Ira Sullivan & Johnny Griffin
Album: Blue Stroll
Label: Delmark
Year: 1959; release: 1997
Quality: MP3@320 kbps
Size: 126 mb
Total time: 54:20

Many years have passed since Ira Sullivan, who turned 80 on May 1, 2011, left Chicago. The multi-hornman moved to Florida in the early '60s, and he never moved back to the Windy City. But Sullivan was so revered on the Chicago jazz scene of the '50s that local musicians still associate him with Chi-Town after all these years. Sullivan was still living in Chicago when, in 1959, he recorded Blue Stroll, an excellent hard bop date that united him with tenor saxophonist Johnny Griffin, pianist Jodie Christian, bassist Victor Sproles, and drummer Wilbur Campbell. The musicians' rapport is as strong on "Wilbur's Tune" (Delmark's CD version offers both the six-minute master take and an eight-minute alternate take), "63rd Street Theme," and the title track as it is on the Sam Coslow/Arthur Johnston standard "My Old Flame," which is the album's lone ballad. Sullivan plays no less than four different instruments on this CD: trumpet, alto sax, baritone sax, and the peck horn. In fact, he solos on all four instruments on "Bluzinbee," an exuberant 19-minute jam that finds Griffin making rare appearances on the alto and baritone saxes. Griffin, of course, is best remembered for his big-toned tenor playing, and hearing him solo on alto and baritone is a pleasant surprise (much like Charlie "Bird" Parker's appearances on tenor in 1947 and 1953 or Jackie McLean's tenor playing on his 1957 session A Long Drink of the Blues). Many of Chicago's bop musicians have lamented Sullivan's decision to move to Florida and wish he had never left Chi-Town; listening to the rewarding Blue Stroll, it isn't hard to understand why they feel that way. ~ Alex Henderson, All Music Guide
1955: Red Mitchell Happy Minors Music » Jazz » BeBop » Hard-bop
1955: Red Mitchell  Happy Minors
Artist: Red Mitchell
Album: Happy Minors
Label: Bethlehem/Solid (Japan) CD (Item 655974)
Year: 1955; release : 2003
Format mp3, bitrate: 320 kbps
Time: 28:54
Size: 103 mb

A hell of a cooker from bassist Red Mitchell a set that's got a sound that's way more mature and modern than you might guess from the image on the cover! Red's at the helm of a hip combo that also features sharp tenor from Zoot Sims and beautiful work on valve trombone from Bob Brookmeyer working here at that cool compressed height of his 50s style we love so much. Conte Candoli's in the group on trumpet, giving things a surprising sort of bite and rhythm is completed by Claude Williamson on piano and Stan Levey on drums players who can be bold one minute, and carefully quiet the next. Titles include "Kelly Green", "Once In A While", "Bluesology", "Happy Minor", and "Long Ago & Far Away". 1996-2015, Dusty Groove, Inc.
1965: Dexter Gordon - Clubhouse Music » Jazz » BeBop » Hard-bop
1965: Dexter Gordon - Clubhouse

Artist: Dexter Gordon
Album: Clubhouse
Label: Blue Note
Year: 1965; Release: 2007
Format, bitrate:mp3,320
Time: 38m39s
Size:92,9 mb
Repost with a new link

Although tenor saxophonist Dexter Gordon had moved to Europe in 1962, he made a return visit to the U.S. in 1965 that resulted in both this album and Gettin' Around. Gordon teams up with trumpeter Freddie Hubbard, pianist Barry Harris, bassist Bob Cranshaw and drummer Billy Higgins for three of his originals, two obscurities, and a standard that ended up being the date's most memorable performance: "I'm a Fool to Want You." It is excellent music, ~ Scott Yanow, All Music Guide
1973: Lucky Thompson I Offer You Hard-bop, Post-bop
1973: Lucky Thompson  I Offer You
Artist: Lucky Thompson
Album: I Offer You
Label: Groove Merchant
Year: 1973; release: 1976
Quality: MP3@320 kbps (LP-rip)
Size: 84,1 mb
Total time: 38:20

An excellent album of mellow soulful tracks by Lucky Thompson with a sweet 70s groove that's quite different from most of his other recordings! The album's got a cool mellow feel with Lucky veering much more towards a CTI-ish electric mode than the style he used on most of his other earlier albums, which were in a soul jazz or hardbop style. Thompson plays both tenor and soprano sax sometimes with hints of a post-Coltrane influence, in lines that are nice and snakey! The group's great too with Cedar Walton on acoustic and electric piano, Sam Jones on bass, and Louis Hayes on drums all very soulful players that help bring a righteous sort of energy to the album! Titles include "Munsoon", "Sun Out", "Aliyah", and a good cover of "Moment Of Truth". 1996-2015, Dusty Groove, Inc.

After he stopped teaching in 1974, Lucky Thompson permanently dropped out of music. On what would be his final album, Thompson (along with keyboardist Cedar Walton, bassist Sam Jones, and drummer Louis Hayes) performs five mostly straight-ahead originals, "The Moment of Truth," and the standard "Cherokee." Thompson, switching between tenor and soprano, was still very much in his musical prime at the time of this LP but apparently soon became sick of the whole music business, a major loss to jazz. He plays quite well throughout the set.
~ Scott Yanow, All Music Guide
1964: Sonny Stitt & Bennie Green - My Main Man Music » Jazz » BeBop » Hard-bop
1964: Sonny Stitt & Bennie Green - My Main Man
Artists: Sonny Stitt & Bennie Green
Album: My Main Man
Label: Argo/Chess
Year: 1964; release: 2004
Quality: MP3@320 kbps
Size: 92,1 mb
Total time: 35:23

A lost little cooker from Stitt and Green recorded at a time when they were working together briefly, with backing by a Chicago organ trio that includes Bobby Buster on Hammond, Jo Diorio on guitar, and Dorel Anderson on drums. Tracks are short and fierce, but it's clear that Stitt can groove in a "blow the jukebox out" kind of way when he's in the right company but still show enough of the impeccable care that he did with his straighter jazz albums on Roost and Verve. Titles include "Let's Play Chess", "Double Dip", "My Main Man", and "Broilin".
1996-2015, Dusty Groove, Inc.
1959: Grant Green - First Recordings + 6 Bonus tracks Music » Jazz » BeBop » Hard-bop
1959: Grant Green - First Recordings + 6 Bonus tracks
Artist: Grant Green
Album: First Recordings + 6 Bonus tracks
Label: Phoenix Records
Year: 1959; release: 2013
Quality: MP3@320 kbps
Size: 177 mb
Total time: 76:57

Anyone casually searching for guitarist Grant Green's first recordings might easily wind up standing at a discographical crossroads, as three different albums claim to contain his earliest work. Technically speaking, Gambit's 2007 reissue of Grant Green's First Recordings is the definitive article; even if tenor saxophonist Jimmy Forrest was the leader on these sessions, what you hear are the guitarist's first performances in a recording studio. Recorded in New York City on December 10 and 12, 1959, this music represents Forrest's transition from a decade-long adventure as an R&B star to a jazzier, more stretched-out phase of his existence. Seven of these tracks were issued by Delmark records as Jimmy Forrest's album All the Gin Is Gone. This little group initially discovered itself as the backup band for trumpeter Harry "Sweets" Edison. Supported by the formidable rhythm section of Green, pianist Harold Mabern, bassist Gene Ramey and drummer Elvin Jones, Forrest blew some of the best jazz of his entire career. The producers of this compilation have rearranged the sequencing, beginning with the tracks that contain Green's first recorded solos, and have added eight alternate takes, including six numbers on which Green either lays out or only plays rhythm guitar. As for those other two "firsts": Grant's First Stand was the first album to be issued under Grant Green's name; it was recorded for Blue Note on January 28, 1961, with organist Baby Face Willette and drummer Ben Dixon. First Session, on the other hand, combines Green's debut session as a leader (November 16, 1960 with Wynton Kelly, Paul Chambers and Philly Joe Jones) and a pair of alternate takes from a session that took place on October 27, 1961 with Sonny Clark, Butch Warren and Billy Higgins. Producer Alfred Lion decided not to issue this material; it languished in the shadows until it was pulled from the Blue Note vaults and released to the public many years later. All of these albums are excellent, and you need them. ~ arwulf arwulf, All Music Guide
1955,1958,1960-1961: Clark Terry - Four Classic Albums 4LP/2CD Hard-bop, Post-bop
1955,1958,1960-1961:  Clark Terry - Four Classic Albums  4LP/2CD
Artist: Clark Terry
Album: Introducing Clark Terry / One Foot in the Gutter /
Clark Terry Quartet with Thelonious Monk / It's About Time 4LP/2CD
Label: AVID
Years: 1955,1958,1960-1961; release: 2013
Quality: MP3@320 kbps
Size: CD1-181 mb; CD2 - 181 mb
Total time: CD1-79:57; CD2-79:33

AVID Jazz here presents four classic Clark Terry related albums, including original LP liner notes on a finely re-mastered and low priced double CD.
Introducing Clark Terry; The Dave Bailey Sextet-One Foot In The Gutter; Clark Terry With Thelonious Monk and Jimmy Hamiltons- Its About Time.
Introducing Clark Terry.not a bad line up for the first time Clark Terry had a full album of his which to express himself. Clark Terry, of course, on trumpet, Cecil Payne on baritone sax, Jimmy Cleveland, trombone, Horace Silver, piano, Oscar Pettiford, cello and bass, Wendell Marshall, bass and Art Blakey on drums. Oh and arrangements by a certain Mr Quincy Jones! The Dave Bailey Sextet-One Foot In The Gutter, Clark Terry is here featured in the Bailey band, who is quoted in the original liner notes as saying.I got the musicians..particular favourites of mine..together as soon as possible. Joined for the recording session by fellow musicians and friends, the set takes on a party atmosphere with all musicians blowing up a storm. Clark Terry Quartet with Thelonious Monk- Mr Terry must have been doing something right as our next album finds him with his own quartet accompanied by the legendary pianist Thelonious Monk, in a very rare and extremely accommodating sideman role!! Completing the quartet is Sam Jones on bass and Philly Joe Jones on drums. This fine album could also be the first time that the fleugelhorn is featured as a jazz instrument! Jimmy Hamilton-Its About Time-under-rated tenor saxophonist and clarinettist Jimmy Hamilton wrote all the material for this swinging album. He is joined by Clark Terry on trumpet and flugelhorn, Britt Woodman on trombone, Tommy Flanagan on piano, Wendell Marshall on bass and Mel Lewis on drums.
All four albums have been digitally re-mastered
~ AVID Entertainment
1983: Dave Pike - Moon Bird Hard-bop, Funk-Jazz
1983: Dave Pike - Moon Bird
Artist: Dave Pike
Album: Moon Bird
Label: Muse Records (Catalog#: MR 5261)
Year: 1983
Format, Bitrate: FLAC (LP-Rip)
Time: 38:45
Size: 118 MB +124 MB

******* Re-Post, Re-Rip *******

Another one of the post-Europe Dave Pike recordings, with a sound that's a bit straighter than usual, but still with his usual great take on jazzy vibes playing. The title track's a nice breezy groover, and the LP also includes two more originals, one with a Latiny feel called "Set the Stage", the other with the usual Pike goofiness, called "Jumpy the Snail". ~
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