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Jazz Blues Club » Music » Jazz » BeBop » Hard-bop
1954/1960: Duke Jordan & Bud Powell - New York & Paris Music » Jazz » BeBop » Hard-bop
1954/1960: Duke Jordan & Bud Powell - New York & Paris
Artists: Duke Jordan & Bud Powell
Album: New York & Paris
Label: Vogue/BMG
Years: 1954/1960; release: 1997
Quality: MP3@320 kbps
Size: 158 mb
Total time: 66:01
AMG Rating: 1954/1960: Duke Jordan & Bud Powell - New York & Paris

This highly enjoyable 1997 CD has some classic bebop from pianist Duke Jordan, who is joined by bassist Gene Ramey and drummer Lee Abrams during his first recording session as a leader. Jordan, who seven years earlier had been Charlie Parker's pianist in one of Bird's finest groups, reprises his famous introduction to "Embraceable You," introduces his most famous composition ("Jordu"), and swings his way through a variety of standards and two other originals ("Scotch Blues" and "Wait and See") that are worth reviving. The three alternate takes had been previously unreleased. This CD also has the four songs recorded during a session a 1960 in Paris by Bud Powell in a trio with bassist Pierre Michelot and drummer Kenny Clarke. The troubled pianist was fortunately having a good day, and is heard in near-prime form on such numbers as "John's Abbey" and "Crossin' the Channel." Recommended. ~ Scott Yanow, All Music Guide
1962: Gene Ammons - Velvet Soul Hard-bop, Soul-Jazz
1962: Gene Ammons - Velvet Soul
Artist: Gene Ammons
Album: Velvet Soul
Label: Prestige Records (Catalog#: PR 7320)
Year: 1960-1962; Released: 1964
Format: FLAC, LP-Rip
Time: 38:15
Size: 247 MB

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Released as Gene Ammons was starting a long prison sentence for possession of narcotics, Velvet Soul is a collection of outtakes pieced together from three different 1960-1962 sessions. As a result, it barely hangs together as an album, and while no tracks are barrel-scrapers, songs like the lugubrious nine-minute title track (starring organist Johnny "Hammond" Smith) aren't exactly the best examples of Ammons' work. Two highlights do stand out, however: The gorgeous, Middle Eastern-influenced "Salome's Tune" is rhythmically intriguing and features some swell solos, and a late-night version of Mel Tormé's "A Stranger in Town" is a gorgeous, low-key piano and tenor duet. The two remaining tracks, a nearly ten-minute take on the standard "The Song Is You" featuring a full orchestra and the inconsequential "Light'n Up," are listenable but not inspired, a fair assessment of the album as a whole.
~ Stewart Mason, All Music Guide.
1984: Horace Parlan - Glad I Found You Music » Jazz » BeBop » Hard-bop
1984: Horace Parlan - Glad I Found You
Artist: Horace Parlan
Album:Glad I Found You
Year: Jul 30, 1984
Format, bitrate: Mp3 320kbps
Time: 42:19
Size: 98,5 MB
AMG Rating: 1984: Horace Parlan - Glad I Found You

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Expatriate pianist Horace Parlan and a couple of fine Scandinavians (bassist Jesper Lundgaard and drummer Aage Tanggaard) welcome Thad Jones (heard exclusively here on flugelhorn) and the great tenor Eddie Harris to this spirited set. Jones was making a successful, if short-lived comeback, and at two years before his death, this was one of his final high-quality small-group recordings. Harris is heard throughout in top form. The quintet performs two Parlan originals (including "Something for Silver"), a couple of obscurities, John Lewis' "Afternoon In Paris" and Bud Powell's "Oblivion." Parlan sounds inspired by the other musicians on this spirited hard bop set.
~ Scott Yanow, All Music Guide
2010: Manhattan Jazz Quintet - Latino-Bop Music » Jazz » BeBop » Hard-bop

2010: Manhattan Jazz Quintet - Latino-Bop
Artist: Manhattan Jazz Quintet
Album: Latino-Bop
Label: Birds Records
Year: 2010
Format, bitrate: Mp3, 320 Kbps
Time: 57:37
Size: 133 MB

Manhattan Jazz Quintet, an all-star band led by pianist and arranger David Matthews and a brainchild of Japanese producer Shigeyuki Kawashima, celebrated its 25th anniversary with a strong tribute album to Art Blakey. Their latest release, Latino-Bop, is a collection of famous Latin songs, arranged and performed in the bop style.

This CD also represents a change in the membership. French-born and internationally renowned bassist FranÃois Moutin replaced Charnett Moffett who left the all-star group after 16 years. Featuring trumpeter Lew Soloff, tenor saxophonist Andy Snitzer and drummer Victor Lewis, the quintet performs Matthews' brilliant arrangements with vigor and flair.

The all-star band sounds terrific here. The rhythm section provides kinetic grooves and pushes the entire group. The horn players' performances are inspired and intensely hot! The sound quality of the recording is also quite good. Recommended for fans of Latin and hard bop jazz! Produced by Shigeyuki Kawashima. Recorded at Sear Sound Studio, New York, March 11 & 12, 2010.

1978: Freddie Hubbard - Super Blue Hard-bop, Post-bop
1978: Freddie Hubbard - Super Blue
Artist: Freddie Hubbard
Album: Super Blue
Label: Columbia
Year: 1978; Release:2007
Format, bitrate:MP3, 320kbps
Size: 134mb

After several terrible sellout albums for Columbia, Freddie Hubbard attempted to rekindle some of the magic from his CTI years on this small-group date. With such CTI alumni as flutist Hubert Laws, tenor man Joe Henderson, and even guitarist George Benson (on one selection) helping out, Hubbard showed that he still had the chops (if not necessarily the creativity) to continue being a major jazz trumpeter. Unfortunately, his career became pretty aimless over the following years. ~ Scott Yanow, All Music Guide
1953, 1956-1958: Miles Davis Quintet with John Coltrane - The Unissued Cafe Bohemia Broadcasts Music » Jazz » BeBop » Hard-bop
1953, 1956-1958: Miles Davis Quintet with John Coltrane - The Unissued Cafe Bohemia Broadcasts
Artists: Miles Davis Quintet with John Coltrane
Album: The Unissued Cafe Bohemia Broadcasts
Label: Domino Jazz
Years: 1953, 1956-1958; release: 2013
Quality: MP3@320 kbps
Size: 177 mb
Total Time: 76:20

This release presents, for the first time on any format, the only three known 1956-57 Café Bohemia broadcasts by the Miles Davis Quintet featuring John Coltrane on tenor sax, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Among the highlights are Miles only existing live versions of Girl in Calico, Stablemates and How Am I to Know?. Shortly after the third of these broadcasts, Coltrane would leave Miles to be replaced by Sonny Rollins. He would return in 1958, when Bill Evans replaced Garland on piano, as showed by our fourth, May 17, 1958 broadcast. As a bonus, an amazing and also never before released tour de force by Miles on A Night in Tunisia taped in Washington in 1953, as well as an all-star 1958 jam session on What Is This Thing Called Love?
1975: Stanley Cowell - Regeneration Hard-bop, Post-bop
1975: Stanley Cowell - Regeneration
Artist: Stanley Cowell
Album: Regeneration
Label: Strata-East
Year: 1975
Format, bitrate: MP3@320kbps
Time: 33:07
Size: 73.0 MB

Around the time of this recording, Stanley Cowell had achieved a degree of prominence as the pianist for the advanced bop quartet Music Inc., which he co-led with trumpeter Charles Tolliver, as well as for unusual projects like his Piano Choir. With Regeneration he chose another path, essentially trying to produced a jazz-infused pop album with strong African roots, perhaps owing a little bit to Stevie Wonder. He assembled an extremely strong cast of musicians for the venture, including Marion Brown, Billy Higgins, and Ed Blackwell, as well as several African string and percussion masters and, by and large, succeeded conceptually if not commercially. A few songs use vocals in a fairly standard pop framework, and, while they are performed capably enough, the lyrical content leaves something to be desired in typical mid-'70s fashion. But much of the rest of the music makes up for this with, among other things, a delightful fife and drum piece by Brown and strong bass work by Bill Lee (Spike's dad). Regeneration is an interesting, often enjoyable album which, aside from its own small pleasures, provides a snapshot of some of the cross-fertilization in genres occurring at the time.
~ Brian Olewnick, All Music Guide
2009: Tony Arco Trio - Rather Odd Music » Jazz » BeBop » Hard-bop
2009: Tony Arco Trio - Rather Odd
Artist: Tony Arco Trio
Album: Rather Odd
Label: Albóre
Year: 2009
Format,birate: Mp3, 320 kBit/s
Time: 01:05:24
Size: 118 MB

Born in Milan in 1965, Tony Arco began learning the drums at the age of thirteen with Maestro Lucchini.His first professional experiences started at the age of 18 with various local groups, while his first major jazz engagement was with pianist Piero Bassini, with whom he afterwards often performed at the Capolinea jazz club in Milan. He also played that time with various other artists, including Sergio Fanni, Mario Rusca (who he still performs with) and above all, one musician who would prove fundamental to his jazz education: the great American clarinet player Tony Scott. Arco has since played with Scott on numerous occasions both in Italy and abroad. His discography has also reached a top-ranking level, with more than thirty CDs recorded with artists as Lee Konitz, Enrico Rava, Mario Rusca, Antonio Farao, Dave Liebman, Tony Scott, Gianni Bedori, Guido Manusardi, Andrea Tofanelli, J.W. Orchestra, Franco DAndrea, Claudio Angeleri, Nick The Nightfly, Franco Cerri and Enrico Intra, besides those CDs of the Civica Jazz Band, which have won recognition with the music press. As a co-leader of the Cues Trio he has recorded Introducing Cues Trio, and Feel: Cues Trio meets Dave Liebman. He has also recorded two CDs as a leader with the Time Percussion group: A Journey Within, also Time Percussion with Franco DAndrea Live at Iseo Jazz Festival, as well as Its About Time with his own Tony Arco Quintet. Togheter with Liebman Tarenzi Benedettini he has recently released (Verve Records) the live album Dream of Nite and the album Negative Space. His latest release as a leader is the album Rather Odd (2009). ~
1963: John Patton - Along Came John Hard-bop, Soul-Jazz
1963: John Patton - Along Came John
Artist: John Patton
Album: Oh Happy Day
Label: Blue Note Records (Catalog#: BST 84130) US
Released: 1963
Format: FLAC, LP-Rip
Time: 34:25
Size: 230 MB
AMG rating: 1963: John Patton - Along Came John

Along Came John is the debut album by American organist John Patton, recorded in 1963 and released on the Blue Note label. ~ Wiki.

An excellent John Patton album and one that's got a two-tenor lineup for an extra-heavy soul jazz sound! Fred Jackson and Harold Vick are on the dual reeds, and Grant Green brings up the rear on guitar. Over it all is John Patton's searing organ, and Ben Dixon grooves nicely on drums. Most of the tracks are by Patton and Dixon, and titles include "Gee Gee", "Pig Foots", "Spiffy Diffy", "Along Came John", and the classic modal groover "The Silver Meter". Great stuff and one of Patton's best albums! ~ Dusty Groove Inc.

These original compositions may not all be memorable, but the band's interaction, improvisation, and solos are. Tenor saxophonists Fred Jackson and Harold Vick provide good support, as well, but the show belongs to Patton, Green, and Dixon, who once again prove they are one of the finest soul-jazz combos of their era. ~ Stephen Thomas Erlewine, AMG.
1963: Charlie Byrd Trio & Guests - At The Village Gate [LIVE] Music » Jazz » BeBop » Hard-bop
1963: Charlie Byrd Trio & Guests - At The Village Gate [LIVE]
Artist: Charlie Byrd Trio & Guests
Album: At The Village Gate [LIVE]
Label: Riverside /OJC
Year: 1963, release: 1999
Format: FLAC (cue, log, scans)
Time: 37:51
Size: 278 MB
AMG rating 1963: Charlie Byrd Trio & Guests - At The Village Gate [LIVE]

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This is a listening pleasure to the first degree. Unlike any other, Charlie Byrd sincerely knows how to make his instrument speak, sending graceful chords and melodies to this attentive audience. Staged at the Village Gate in New York City, Byrd pulls out a lengthy set of material from his soul, encountering everything from swing jazz to bebop (with the help of two special guests) to Latin America's candid art form. Yes, the trio plays bossa nova with grace and finesse, enlightening the crowd at this "miniature music festival," notes reviewer Joe Goldberg. Byrd prances along with his trio mates, Keter Betts on bass and Bill Reichenbach on the skins. Positively speaking, the majority of the material has a vibrant flair, with some attuned to a candid, easy listening aura, while other tunes heighten the energy with dramatic percussion and more elaborate sonic territory. For example, Byrd uses his colorful musical personality well during his originals, "Blues for Night People" and "Ela Me Deixou," while doing well to inspire with "Shiny Stockings" and an inviting "I Left My Heart in San Francisco." Melancholy and sweet, the trio brings in guests Seldon Powell on tenor sax and Clark Terry ("Some Other Spring") on trumpet to engage the listeners even further with spontaneity and creative charm. Joyous and uplifting, this record is sure to free up one's day, helping to release stress and put the swing beat, which might have been lost, back into the steps. "Where Are the Hebrew Children?," a piece registering in at eight long minutes, provides the template for a stirring free jam, eerie and haunting at times, honing in on a darker-feeling blues riff. Cheers to the Charlie Byrd Trio for a dynamic effort during this May 1963 gig. Applause, applause.
~ Shawn M. Haney, All Music Guide
1959-1961: John Coltrane - The Heavyweight Champion - The Complete Atlantic Recordings Vol.1-7 Hard-bop, Post-bop
1959-1961: John Coltrane - The Heavyweight Champion - The Complete Atlantic Recordings Vol.1-7
Artist: John Coltrane
Album: The Heavyweight Champion - The Complete Atlantic Recordings Vol.1-7
Label: Atlantic/WEA The Heavyweight Champion - The Com
Years: 1959-1961; release: 1995
Format: bitrate: mp3@320kbps
Time: 6:47:20
Size: cd1:163mb,cd2:142,6mb,cd3:151mb,

The Heavyweight Champion is a box set that lives up to its title. Collecting all of John Coltrane's Atlantic recordings, including a fair number of unreleased takes as well as an entire disc of alternate tracks and studio chatter, the seven-disc box set documents a pivotal moment in Coltrane's career, as he was moving from hard bop and sweet standards to a more daring, experimental style of playing influenced by the avant-garde. Much of the music is hard bop (Giant Steps) or lushly melodic (My Favorite Things), but the latter discs show the saxophonist coming to terms with the more experimental movements in jazz. The scope of this music is, quite simply, breathtaking -- not only was Coltrane developing at a rapid speed, but the resulting music encompasses nearly every element that made him a brilliant musician, and it is beautiful
~ Stephen Thomas Erlewine, All Music Guide.
2006: Keith Oxman - Dues in Progress Music » Jazz » BeBop » Hard-bop
2006: Keith Oxman - Dues in Progress
Artist: Keith Oxman
Album: Dues in Progress
Label: Capri
Year: 2005; release: 2006
Format, birate: Mp3, 320 Kbps
Time: 01:12:24
Size:158.33 MB
AMG Rating: 2006: Keith Oxman - Dues in Progress

On his seventh release for Capri, it is immediately apparent that Keith Oxman's abilities as a writer make him a force to be reckoned with. The tenor saxophonist makes his small group sound like a much larger band in his creative arrangement of the standard "I Hear a Rhapsody," showcasing veteran trombonist Curtis Fuller, trumpeter Al Hood, and pianist Chip Stephens, in addition to himself. Fuller's "Cap'n Kid" is cast as a playful calypso with Todd Reid's tom-toms and Stephens' Latin groove providing plenty of fuel for the soloists. Oxman really demonstrates how far he's willing to push the envelope by adding Peter Cooper's oboe as the initial lead voice in a warm quintet setting of "Darn That Dream." The leader also contributed several thoughtful originals to the date, including the sassy, very hip "Anna Kate" and the challenging blues "Two Wheelin' Nathan," in which Fuller takes top solo honors. This enjoyable CD is warmly recommended to hard bop fans. ~Ken Dryden, All Music Guide
1957: Art Blakey & the Jazz Messengers - A Night in Tunisia Music » Jazz » BeBop » Hard-bop

1957: Art Blakey & the Jazz Messengers - A Night in Tunisia
Artist: Art Blakey & the Jazz Messengers
Album: A Night in Tunisia
Label: Bluebird/ RCA
Year: 1957 ; release: 2002
Format, bitrate: Mp3, 320 Kbps
Time: 01:14:51
Size: 96.02 MB
AMG Rating: 1957: Art Blakey & the Jazz Messengers - A Night in Tunisia

This excellent set features one of the best recordings by the second version of the Jazz Messengers, and it is the only time that Blakey featured both altoist Jackie McLean and tenor saxophonist Johnny Griffin together; Griffin soon became McLean's successor with the band. Also in the group at the time were trumpeter Bill Hardman, pianist Sam Dockery, and bassist Spanky DeBrest. The selections include a lengthy version of "A Night in Tunisia," Sonny Rollins' "Evans," and an original apiece by McLean, Griffin, and Hardman. The music overall lives up to one's expectations, with Blakey's powerful drumming inspiring the soloists to play at their best. Classic hard bop. [Some reissues add three previously unreleased alternate takes, including "A Night in Tunisia."
~ Scott Yanow , All Music Guide
1966: Horace Silver The Jody Grind Music » Jazz » BeBop » Hard-bop
1966: Horace Silver  The Jody Grind
Artist: Horace Silver
The Jody Grind
Label: Blue Note
Style: Soul Jazz
Year: 1966; release: 1991
Quality: MP3@320 kbps
Size: 90 mb
Total time: 39:42
AMG Rating: 1966: Horace Silver  The Jody Grind
Jazz Legend Horace Silver Dies at 85


Following the subtly modern bent of much of The Cape Verdean Blues, Horace Silver recommitted himself to his trademark "funky jazz" sound on The Jody Grind. Yet he also consciously chose to keep a superbly advanced front line, with players like trumpeter Woody Shaw (retained from the Cape Verdean session), altoist/flutist James Spaulding, and tenor saxophonist Tyrone Washington. Thus, of all Silver's groove-centered records, The Jody Grind winds up as possibly the most challenging. It's also one of the most underappreciated; Silver's piano playing is at its rhythmic, funky best throughout, brimming over with confidence and good cheer, and evoking memories of the classic feel of his early-'60s quintet. His compositions have a similarly bright overtone, which (as the liner notes allude to) was becoming increasingly rare in mid-'60s jazz as the fury of the avant-garde and the Civil Rights upheaval began to seep into jazz's wider consciousness. The title cut is a playful, overlooked classic on the funky side of hard bop; Silver kicks it with a tasty groove, giving the rest of the musicians plenty to play off of. The whole group absolutely burns through "Grease Piece," a terrific hard swinger full of smoking solo statements from just about everyone on down to drum whiz Roger Humphries. Really, the whole album is packed with great grooves and tight solos, epitomizing the best virtues of Silver's music. For those who have digested classics like Song for My Father, Blowin' the Blues Away, and Finger Poppin', The Jody Grind is one of the best places to go next. ~ Steve Huey, All Music Guide
1957: Hank Mobley - Curtain Call Music » Jazz » BeBop » Hard-bop
1957: Hank Mobley - Curtain Call
Artist: Hank Mobley
Album: Curtain Call
Label:Blue Note
Year:Aug 18, 1957
Format, bitrate: Mp3 320kbps
Size: 93 MB
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Today we can only speculate as to why so many Blue Note sessions were not originally issued. Blue Note founder/producer Alfred Lion, known to be punctilious in upholding a very high standard for his product, sometimes felt that a particular session was not worthy of public release. While neither the playing nor writing is quite at the level of Mobley's 1960 critically acclaimed Soul Station (Blue Note 4031), "Curtain Call" is nevertheless a fine effort; yet it was only made available in 1984 by Toshiba EMI in Japan. Kenny Dorham, who like Mobley had worked in Max Roach's group, is featured on trumpet. (Dorham and Mobley had also recorded together on an earlier Mobley session for the Prestige label.) Highlights include the ballad "Deep in a Dream," which was to be re-recorded four years later with Ike Quebec for inclusion on Sonny Clark's great Leapin' and Lopin' LP. Hank's originals "Curtain Call" and "The Mobe" are sprightly and likable bop lines. Despite an occasional tendency for Mobley's relaxed articulation to sound a bit languorous, his playing is generally enjoyable, and his writing exhibits character, maturity, and a uniquely rhythmic approach to crafting memorable melodies.
~Lee Bloom , All Music Guide
1983: Kenny Burrell with Rufus Reid - A La Carte Music » Jazz » BeBop » Hard-bop
1983: Kenny Burrell with Rufus Reid - A La Carte
Artists: Kenny Burrell with Rufus Reid
Album: A La Carte
Label: Muse Records
Year: 1983; release: 1985
Quality: MP3@320 kbps
Size: 94,4 mb
Total time: 41:16

This quiet features duets from guitarist Kenny Burrell and bassist Rufus Reid. The playing is excellent and the interplay creative in a subtle way, but nothing out of the ordinary or particularly memorable occurs. However Kenny Burrell fans will enjoy this.
1957: Elliot Lawrence - Jazz Goes Broadway Hard-bop, Post-bop
1957: Elliot Lawrence - Jazz Goes Broadway
Artist: Elliot Lawrence
Album: Jazz Goes Broadway
Label: RCA Victor
Year: 1957; release: 1997
Quality: MP3@320 kbps
Size: 88,6 mb
Total time: 42:26

Although he mostly worked in radio, television, and the studios in the 1950s, pianist/arranger Elliot Lawrence also led a series of fine swing-oriented jazz dates. Most of his sessions were at the head of big bands, but, for this LP (not yet reissued on CD), Lawrence leads a pair of overlapping octets. Such soloists as Art Farmer or Nick Travis on trumpet, Jimmy Cleveland or Urbie Green on trombone, altoist Gene Quill, clarinetist Hal McKusick, tenorman Zoot Sims and Al Cohn (switching to baritone), the groups perform ten songs taken from Broadway shows. Four ("Just in Time," "I've Grown Accustomed to Her Face," "On the Street Where You Live," and "Mack the Knife") became standards while the other six sank into obscurity. The jazz all-stars (which also include bassist Chubby Jackson and drummer Don Lamond) uplift all of the tunes, with arrangements provided by Lawrence, Cohn, and Manny Albam.
~ Scott Yanow, All Music Guide
1993: Carl Fontana & Conte Candoli Quintet - The Complete Phoenix Recordings, Vols. 1-6 Music » Jazz » BeBop » Hard-bop

1993: Carl Fontana & Conte Candoli Quintet - The Complete Phoenix Recordings, Vols. 1-6
Artists: Carl Fontana & Conte Candoli Quintet
Album: The Complete Phoenix Recordings, Vols. 1-6 (6CD Set)
Label: Woofy Productions WPCD121
Year: 1993; Release: 2002
Format, bitrate: mp3@320kbps
Time: 6:49:24
Size: 955 MB (full scans)

In I993, l produced and recorded a summer-long series of perfomances at the gracious old Royal Palms Inn here in Phoenix. Featured were many past members of the Stan Kenton Orchestra and a nine cd box set was later released.
Carl and Cante kicked off that series and for three days recorded 32 tunes of which only five were included in the set. The balance has been in the archives ever since.
lt was during the Christmas holidays that l started to listen to them again. I was feeling very low...empty and sad. The year 2001 had been terrible for me. My brother was killed in an auto-related accident. A well known musician in Atlanta, he was only 49 years old. Then there was the news of Carls illness. I remember talking to Conte about it. lt saddened us terribly. Two monts later the devastating news that Conte had died alter a short hospital stay. And of course, there was that awful tragedy on Sepbmber 11th.
As I sat there listening to them, it brought back a flood of memories. They were very fond of each other as the music will bear out and just delighted to be playing together. What fun it was.
Both were blessed with prominent Roman noses and kidded and joked about it all the time. Carl told me that he once had an artistic disagreement with Jimmy Durante and that they were arguing nose to nose. On relating the incident, a musician passing by had commented that they must have been standing I8 inches apart!
Carl didn't like to travel much. Conte said it was because he was too busy in Las Vegas selling shade. In the mid 1990s Conte moved from Los Angeles to Palm Springs and Carl came back at him about selling shade. I dubbed them The Shade Brothers and we laughed about that for years.
The Royal Palms Inn had a goll course and we played for a quarter a hole. Conte, with cigar in mouth and vodka in hand, would ask...what's the course record and where's the first tee? Then, promptly hook it into the knee-high rough. I followed with somewhat the same result but then Carl hit it straight down the fairway. Conte and I were still searching for our ball when in the distance we could hear Carl sing out I'm on in two! Carl won easily but Conte insisted we had to have four eyes on him at oll times just to keep him honest. We were like kids.
I listened to the tapes over and over...for a period of montsand finally decided to release all the tunes just as they were played.
As with any live recording, there is sometimes unevenness. Conte ever the cheerleader, is all over the stage, moving side lo side, up and down and taking his solos from everywhere. Carl, on the other hand, is more disciplined, and keeps his bell to the mike. They are complemented by an outstanding rhythm section who have played together for years. These are world class player who traveled widely before settling in Phoenix.
Bill Anderson has played with Bill Watrous, Bud Shank, Al Grey and Bobby Shew... Warren Jones with James Mood, Bill Perkins, Pete Candoli and Dave Liebman...Rob Wainwright with Mose Allison, Slide Hampton, Charlie Byrd and Ken Peplowski.
This is the beginning of over 400 minutes of music. Enjoy!
~ Bob Lorenz, Liner Notes

Thanks To The Original Uploader!!!
1961-1962: Grant Green & Ike Quebeck - Complete Instrumental Sessions 2CD Music » Jazz » BeBop » Hard-bop
1961-1962: Grant Green & Ike Quebeck - Complete Instrumental Sessions 2CD
Artists: Grant Green & Ike Quebeck
Album: Complete Instrumental Sessions 2CD
Label: Essential Jazz Classics
Years: 1961-1962; release: 2013
Quality: MP3@320 kbps
Size: D1-152 mb (with scans); CD2 - 175 mb
Total time: CD1- 64:21; CD2 - 74:15

All existing instrumental recordings of guitarist Grant Green and tenor sax player Ike Quebec playing together. Double CD comprising two LPs released by Blue Note: "Blue and Sentimental" with Quebec as leader and "Born to Be Blue" led by Green. Penguin Guide to Jazz suggests that this album was Grant Green's finest hour ". not a note wasted".
All original sessions recorded by Rudy Van Gelder and produced by Alfred Lion.

Digitally remastered two CD set containing all existing instrumental recordings by Grant Green with Ike Quebec playing together. This set comprises the complete LPs Blue and Sentimental (with Quebec as the leader), and Born To Be Blue (with Green as the leader). We have also included all of the extra tunes from those sessions that were not included on the original LPs, as well as a rare two-tune date featuring readings of 'Granada' and 'Hey There'. As a bonus, we have added six songs from singer Dodo Greene's album My Hour of Need, on which both Quebec and Green participated as sidemen. Includes 20-page booklet.
~ Essential Jazz Classics.
1966: Oscar Peterson - Soul Espanol Hard-bop, Latin
1966: Oscar Peterson  - Soul Espanol
Artist: Oscar Peterson
Album: Soul Espanol
Label: Vereve
Year: 1966
Format: Flac
Time: 38:16
Size: 240.03 MB

Repost with new links from hungaropitecus

Oscar Peterson augmented his regular working trio of the time (bassist Sam Jones and drummer Louis Hayes) with Henley Gibson on congas, Marshall Thompson on timbales, and Harold Jones as an added percussionist for this release, which focuses mostly on the music of Brazilian composers (so the title Soul Espanõl is a bit misleading). With the surge of interest in bossa nova and samba, Peterson's interpretations of songs like "Manha de Carnaval," "How Insensitive," "Meditation," and "Samba de Orfeo" have stood up very well against similar jazz recordings of the mid-'60s. Peterson's "Soulville Samba" has a gospel flavor, while his "Sensitive Samba" is more laid-back; Vincent Youmans' decades-old "Carioca" also fit in nicely. This is an enjoyable, if not essential, part of Oscar Peterson's considerable discography.
~ Ken Dryden, All Music Guide
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