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Jazz Blues Club » Music » Jazz » BeBop » Hard-bop
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". ~
1973: Ron Carter - Blues Farm Hard-bop, Post-bop
1973: Ron Carter - Blues Farm
Artist: Ron Carter
Album:Blues Farm
Label: CTI/CBS
Year: 1973, release: 2004
Format, bitrate: Mp3 320 Kbps
Time: 36:15
Size: 83 MB

REPOST with new links

In 1968, having completed a five-year stint with Miles Davis, Ron Carter's career was wide open. Finding himself in typically high demand, the bassist decided not to make any long-term commitments (though he continued to join individual recording dates), opting instead to develop his solo career. In 1971, he released Uptown Conversation (Atlantic). Shortly after, he signed to the CTI label, releasing Blues Farm in 1973. The bass is rarely found in such a prominent role, its melodic qualities typically being subordinate to rhythmic ones. The presence of a pianist, guitarist, and two percussionists on Blues Farm frees Carter to explore both realms. Working with Davis was obviously a valuable experience. On numbers like "Footprints" (from Miles Smiles, 1965), Carter was required to extend and compress time, a technique that is second nature to him on Blues Farm. Dense, dexterous runs are broken up by long, bending lines and shades of blues phrasing, all executed with absolute grace. His playing becomes slightly imposing on "Django." While it's great to hear him lead the group on a tour through the song's shifting rhythms, the accompanists aren't allowed much space. Carter's playing is best when more deeply integrated. On the title track, he engages in a wonderful exchange with flutist Hubert Laws, with the two swapping solos back and forth. On "Hymn for Him," his probing lines enrich the song, pushing its narrative forward. The best comes last as the group rides "R2, M1" to the album's conclusion. The song subsists largely on the group's energy (the most they display outwardly on the album) and Carter's deep, repetitious groove. Unfortunately, great musicianship does not always make for compelling results. Blues Farm's excursions are enjoyable, but somewhat reserved. Both the compositions and performances avoid strong emotions in favor of pleasing palettes of color and texture. The early-'70s production values only enhance this by softening the bed of musical tones. The resulting polish tranquilizes the sound and ultimately dates the album.
~ Nathan Bush, All Music Guide
1978: Johnny Griffin - Return Of The Griffin Music » Jazz » BeBop » Hard-bop
1978: Johnny Griffin - Return Of The Griffin
Artist: Johnny Griffin
Album: Return Of The Griffin
Label: OJC/Galaxy (Limited edition)
Year: 1978; release: 1993
Quality: MP3@320 kbps
Size: 102 mb
Total time: 39:44

Johnny Griffin recorded this studio album during his first visit to the United States in 15 years. Accompanied by a very supportive trio (pianist Ronnie Mathews, bassist Ray Drummond and drummer Keith Copeland), the great tenor is in frequently exuberant form on such tunes as "Autumn Leaves," his own "A Monk's Dream" and the funky "The Way It Is." Long one of the underrated masters, Johnny Griffin is heard at the peak of his powers on this modern bop session. ~ Scott Yanow, All Music Guide
1967-1968: Cannonball Adderley - Radio Nights Music » Jazz » BeBop » Hard-bop
1967-1968: Cannonball Adderley - Radio Nights
Artist: Cannonball Adderley
Album: Radio Nights
Label: Night Records
Years: 1967-1968; Release:1991
Genre: Hard-Bop,Soul Jazz
Format, bitrate: MP3 @320kbps
Size:192.05 MB
JazzTimes (6/91) - " of the best of all Cannonball live albums."

This CD contains private recordings of Cannonball Adderley's groups during 1967-68 playing at the Half Note in New York City. The music is quite worthy with altoist Cannonball Adderley featured in a quartet setting on "Stars Fell on Alabama," performing three songs with his quintet (including "Fiddler on the Roof") and playing three other pieces (highlighted by "Work Song" and "Unit Seven") with the sextet he had that featured Charles Lloyd on tenor. This music is generally superior to Adderley's commercial Capitol recordings of the period.
~ Scott Yanow, All Music Guide
1978: Dave Pike - On A Gentle Note Music » Jazz » BeBop » Hard-bop
1978: Dave Pike - On A Gentle Note
Artist: Dave Pike
Album: On A Gentle Note
Label: Muse Records (Catalog#: MR 5168)
Year: 1978
Format: FLAC-8 (LP-rip)
Time: 40:11
Size: 121MB + 121 MB

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

After 1966, vibraphonist Dave Pike was primarily heard on European labels until he made his first album for Muse in 1975. His second effort for the label teams Pike with a variety of top L.A. players: Tom Ranier on electric piano (he plays alto on "Scrapple from the Apple"), guitarist Ron Eschete, bassist Luther Hughes, drummer Ted Hawke, and the obscure Rudolph Johnson on tenor. There are some unaccompanied solos (Eschete on "Everytime We Say Goodbye," Ranier's keyboard on "Gigi," and Pike on "Visions of Spain") and a fair amount of variety in the rhythms (ranging from straight-ahead to Latin and rock), making this a generally unpredictable (if now hard to find) LP.
~ Scott Yanow, All Music Guide
1961 - 1965: Wes Montgomery - Midnight Guitarist Music » Jazz » BeBop » Hard-bop
1961 - 1965: Wes Montgomery - Midnight Guitarist
Artist: Wes Montgomery
Album: Midnight Guitarist
Label: Jazz Masterworks
Years:1961 - 1965; Release:1985
Format, bitrate:Mp3 @320kpbs (vinyl rip)
Time: 46:00
Size:110.65 MB

From Italy, this 6-track compilation LP features tracks recorded live in 1961, 1962 & 1965. Very little information is available about this LP on the net, but these live recordings showcase the amazing talent of the legendary Wes Montgomery, a must have for any Jazz guitar fan. ~WF
1954: Joe Gordon - Early Sessions Music » Jazz » BeBop » Hard-bop
1954: Joe Gordon - Early Sessions
Artist: Joe Gordon
Album: Early Sessions
Label: Fresh Sound
Year: 1954
Format, bitrate: Mp3 320 Kbps
Size: 171 MB
AMG rating: 1954: Joe Gordon - Early Sessions
REPOST with new links

These Joe Gordon sessions from 1954 show how the young trumpeter from Boston left his mark on jazz history as one of hard-bops most innovative and outstanding soloists. All these recordings were made in New York in 1954 and represent Gordons introduction into the jazz scene as a leader of his own group and also as a featured soloist with the Art Blakey Quintet. Before his tragic early death in 1963, Joe Gordon managed to inspire and amaze all those who heard
~ Blue Souns

One of the top hard bop trumpeters to emerge during the 1950s, Joe Gordon was just 26 when he recorded the two sessions that are on this excellent reissue. The first eight numbers are from his debut as a leader, a quintet project from September 1954 that matches his boppish horn with tenor saxophonist Charlie Rouse, pianist Junior Mance, bassist Jimmy Schneck, and drummer Art Blakey. The repertoire consists of two tunes by Gordon, three from Quincy Jones, and a trio of jazz standards. Gordon's only other set as a leader would be in 1961. The second half of this reissue is an Art Blakey pre-Jazz Messengers set comprised of seven songs by altoist Gigi Gryce and one Horace Silver tune. Gordon and Gryce blend together quite well while joined by pianist Walter Bishop, bassist Bernie Griggs, Blakey, and, during "Futurity," Sabu on conga. Both of these albums, reissued in full on a single CD, were originally cut for the Emarcy label. Easily recommended to hard bop collectors.
~ Scott Yanow, All Music Guide
1999: James Spaulding - Escapade Music » Jazz » BeBop » Hard-bop

1999: James Spaulding - Escapade
Artist:James Spaulding
Album: Escapade
Label: HighNote Records, Inc.
Year: 1999
Format, bitrate: MP3, 320 Kbps
Size:131.83 MB
AMG Rating:1999: James Spaulding - Escapade

Well-swung standards and compositions of Kenny Dorham, Dexter Gordon, Grant Green and Hank Mobley are tapped for revision. Don Sickler (trumpet/flugelhorn) joins Spaulding for eight of the ten tracks, with the immaculate trio of pianist John Hicks, bassist Ray Drummond and drummer Kenny Washington as support. Spaulding's tart-sweet alto sax has never sounded better, while his pristine flute playing is easily in the top ten of late-'90s jazz performers. The CD is bookended by Dorham's music, the opening title track a flute/flugelhorn traipse through classic Blue Notesville in a light Afro-Cuban beat, the closer "La Mesha" a flute/flugel ballad. Mobley's music comes back to back, as jungle toms and light bluesy swing signify the easy mood of "High Modes," with flute and muted trumpet in unison, while the classic post-bop vehicle "The Breakthrough" has alto and trumpet strutting their stuff and puffing their chests. Gordon's similarly classic bopper "Cheesecake" has Sickler's flugelhorn playing a countermelody vis a vis Spaulding's standard alto line, and they do the same for the hip, churning melody of Grant Green's "Grant's Tune," except that Spaulding changes up on the tenor-led original by using his flute. The three numbers without Sickler are the scorching bop of "Just One of Those Things," the easy bossa beat of Duke Ellington's "Warm Valley," and the ballad treatment, on flute, of the final Mobley piece "Madeline." Spaulding shows a consistency within mainstream parameters, a real sense of teamwork with these worthy session mates, and a willingness to take chances.
~Michael G. Nastos, All Music Guide
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
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