Vibraphonist Milt Jackson welcomes the two future co-leaders of The Jazztet (trumpeter Art Farmer and tenor-saxophonist Benny Golson) along with a fine rhythm section (pianist Tommy Flanagan, bassist Paul Chambers and drummer Connie Kay) on this CD reissue. The repertoire (which includes early versions of Golson’s “Whisper Not” and “I Remember Clifford” in addition to two standards, a Milt Jackson blues and John Lewis’s “Afternoon in Paris”) is very much in The Jazztet hard bop vein and Jackson fits in very well with the two lyrical horn soloists. A successful outing by some of the greats.

Personnel: Milt Jackson (vibraphone); Benny Golson (tenor saxophone); Art Farmer (trumpet); Tommy Flanagan (piano); Paul Chambers (bass); Connie Kay (drums).

Tracklist

01. Ill Wind
02. Blues For Diahann
03. Afternoon In Paris
04. I Remember Clifford
05. Thinking Of You
06. Whisper Not

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The last two years of the 1950s and early years of the ’60s saw Ornette Coleman exert a profound influence on the future direction of jazz. It was a remarkably fertile time for him as a composer. This set amply demonstrates his composing skill. Tunes like “Tears Inside,” “Turnaround,” and the aching beauty of “Lorraine” are brilliant and, in a perfect world, should be standard jazz repertoire today. Coleman quickly broke through to a new freedom in jazz. He would soon find more receptive players to work alongside than on this recording; however, the playing is still of high caliber and the tunes are now justly legendary.

Personnel: Ornette Coleman (alto saxophone); Don Cherry (trumpet); Percy Heath, Red Mitchell (bass); Shelly Manne (drums).

Tracklist

01. Tomorrow Is The Question!
02. Tears Inside
03. Mind and Time
04. Compassion
05. Giggin’
06. Rejoicing
07. Lorraine
08. Turnaround
09. Endless

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Donald Byrd’s Fuego is one of the many fine hard-bop sets the trumpeter recorded for Blue Note throughout the late 1950s and ’60s. Featuring all Byrd originals, from the driving pulse of the opening title track to the gospel-tinged “Amen,” which closes out the album, Fuego has much to recommend it. There are top-notch personnel (Jackie McLean lends his soulful sax work to the proceedings), strong compositions, and a relaxed, open feel throughout. And, of course, Rudy Van Gelder’s pristine engineering is the icing on the cake.

Personnel: Donald Byrd (trumpet); Jackie McLean (alto saxophone); Duke Pearson (piano); Doug Watkins (bass); Lex Humphries (drums).

Tracklist

01. Fuego
02. Bup A Loup
03. Funky Mama
04. Low Life
05. Lmanet
06. Amen

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This historical CD contains some of guitarist Wes Montgomery’s first recordings; in fact only three small-group songs predate these performances. The then-obscure guitarist is heard in two different quintets, both of which include his brothers Buddy (on piano) and Monk (playing electric bass). The earlier set has Harold Land’s tenor as a lead voice while altoist Pony Poindexter takes his place on the later date, Wes’s sound was already quite recognizable and he contributes six originals which alternate with Harold Land’s “Hymn for Carl” and four standards.

Personnel: Wes Montgomery (guitar); Pony Poindexter (alto saxophone); Harold Land (tenor saxophone); Buddy Montgomery (piano); Monk Montgomery (electric bass); Tony Bazley, Louis Hayes (drums).

Tracklist

01. Far Wes
02. Leila
03. Old Folks
04. Wes’ Tune
05. Hymn For Carl
06. Montgomeryland Funk
07. Stompin’ At The Savoy
08. Monk’s Shop
09. Summertime
10. Falling In Love With Love
11. Renie

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This is the one jazz record owned by people who don’t listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis’s masterful casting skills, if not of God’s existence), listing John Coltrane and Julian “Cannonball” Adderley on saxophones, Bill Evans (or, on “Freddie Freeloader,” Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane’s astringency on tenor is counterpoised to Adderley’s funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis’s men’s hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny.

Anniversary Edition with Bonus Tracks and DVD.

Tracklist

CD1
01. So What
02. Freddie Freeloader
03. Blue In Green
04. All Blues
05. Flamenco Sketches
06. Flamenco Sketches (Alternate Take)
07. Freddie Freeloader (Studio Sequence 1)
08. Freddie Freeloader (False Start)
09. Freddie Freeloader (Studio Sequence 2)
10. So What (Studio Sequence 1)
11. So What (Studio Sequence 2)
12. Blue In Green (Studio Sequence)
13. Flamenco Sketches (Studio Sequence 1)
14. Flamenco Sketches (Studio Sequence 2)
15. All Blues (Studio Sequence)

CD2
01. On Green Dolphin Street
02. Fran-Danc
03. Stella by Starlight
04. Love for Sale
05. Fran-Dance (Alternate Take)
06. So What (Previously Released in Unauthorized Form)

CD1:
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DVD: Celebrating a Masterpiece – Kind of Blue

Features a documentary on the conception and recording of Kind of Blue. In addition, the DVD features the “Robert Herridge Theater: The Sound of Miles Davis” television program, which originally aired on April 2, 1959 and starred Miles Davis and John Coltrane.

Contains:

Celebrating A Masterpiece: Kind Of Blue documentary
Robert Herridge Theatre: The Sound of Miles Davis
Photo gallery by Don Hunstein

DVD-RIP:

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DVD:

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This exciting session consists of the 1959 edition of The Miles Davis Sextet minus its leader, though it was later reissued as Cannonball & Coltrane, as there was evidence that both men had considerable input into the date. A brisk “Limehouse Blues” features great exchanges between the saxophonists, while Adderley’s soulful “Wabash” is more easygoing. This newly remastered CD is a distinct improvement over the earlier retitled reissue.

Cannonball Adderley Quintet: Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums).

Tracklist

01. Limehouse Blues
02. Stars Fell On Alabama
03. Wabash
04. Grand Central
05. You’re A Weaver Of Dreams
06. The Sleeper

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Lyric and thoughtful, pianist Bill Evans proved an urbane bridge between the early bop style of Bud Powell and playful funk of Horace Silver, and the later, modern approach of pianists like Herbie Hancock, Chick Corea, and Keith Jarrett (indeed, Jarrett went as far as to record with Evans’s backup band of drummer Paul Motian and bassist Gary Peacock). Evans’s second album as a leader,  Portrait In Jazz combines a pair of originals–”Blue in Green” and “Peri’s Scope”–with a handful of show tunes and standards, including a version of “Someday My Prince Will Come” that pre-dates Miles Davis’s adaptation. With a preference for irregular phrasing and a taste for unusual chord spellings, Evans was frequently able to recast old chestnuts and tired warhorses into new gems and spirited charges, as he does here with “Witchcraft,” “Spring Is Here,” and “When I Fall in Love.” And although he recorded in many different formats throughout his career, including duets with himself, the power and beauty of Evans’s trios helped him lay a special claim to that grouping.

Tracklist

01. Come Rain Or Come Shine (Take 5)
02. Autumn Leaves
03. Witchcraft
04. When I Fall In Love
05. Peri’s Scope
06. What Is This Thing Called Love
07. Spring Is Here
08. Someday My Prince Will Come
09. Blue In Green (Take 3)
10. Come Rain Or Come Shine (Take 4)
11. Autumn Leaves (Take 9, Monaural)
12. Blue In Green (Take 1)
13. Blue In Green (Take 2)

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for more info and buy check: vervemusicgroup.com/wayneshorter

1959 – Introducing Wayne Shorter

Tracklist

01. Blues A La Carte
02. Harry’s Last Land
03. Down In The Depths
04. Pug Nose
05. Black Diamond
06. Mack The Knife
07. Blues A La Carte (Alternate Take)
08. Harry’s Last Stand (Alternate Take)
09. Down In The Depths (Alternate Take)
10. Black Diamond (Alternate Take)

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1960 – Second Genesis

Tracklist

01. Ruby & The Pearl
02. Pay As You Go
03. Second Genesis
04. Mr.Chariman
05. Tenderfoot
06. The Albatross
07. Getting To Know You
08. I Didn’t Know What Time It Was

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1962 – Wayning Moments

Tracklist

01. Black Orpheus (Take 4)
02. Devil’s Island (Take 8 )
03. Moon Of Manakoor (Take 2)
04. Dead-End (Take 8 )
05. Wayning MOments (Take 2)
06. Powder Keg (Take 5)
07. All Or Nothing At All (Take 3)
08. Callaway Went That A Way (Take 3)
09. Black Orpheus (Take 3)
10. Devil’s Island (Take 7)
11. Moon Manakoor (Take 1)
12. Dead End (Take 7)
13. Wayning Moments (Take 3)
14. Powder Keg (Take 1)
15. Callaway Wen That A Way (Take 1)

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1964 – Juju

Tracklist

01. Juju
02. Deluge
03. House Of Jade
04. Mahjong
05. Yes Or No
06. Twelve More Bars To Go
07. Juju (Alternate Take)
08. House Of Jade (Alternate Take)

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1964 – Night Dreamer

Tracklist

01. Night Dreamer
02. Oriental Folk Song
03. Virgo
04. Black Nile
05. Charcoal Blues
06. Armageddon
07. Virgo (Alternate Take)

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1964 – Speak No Evil

Tracklist

01. Witch Hunt
02. Fee-Fi-Fo-Fum
03. Dance Cadaverous
04. Speak No Evil
05. Infant Eyes
06. Wild Flower
07. Dance Cadaverous (Alternate Take)

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1965 – Etcetera

Tracklist

01. Etceter
02. Penelope
03. Toy Tune
04. Barracudas (General Assembly)
05. Indian Song

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1965 – The All Seeing Eye

Tracklist

01. The All Seeing Eye
02. Genesis
03. Chaos
04. Face Of The Deep
05. Mephistopheles

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1965 – The Soothsayer

Tracklist

01. Lost
02. Angola
03. The Big Push
04. The Soothsayer
05. Lady Day
06. Valse Triste
07. Angola (Alternate Take)

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1966 – Adam’s Apple

Tracklist

01. Adam’s Apple
02. 502 Blues
03. El Goucho
04. Footprints
05. Teru
06. Chief Crazy Horse
07. The Collector

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1967 – Schizophrenia

Tracklist

01. Tom Thumb
02. Go
03. Schizophrenia
04. Kryptonite
05. Miyako
06. Playground

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1969 – Super Nova

Tracklist

01. Super Nova
02. Sweet Pea
03. Dindi
04. Water Babies
05. Capricorn
06. More Than Human

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1970 – Moto Grosso Feio

Tracklist

01. Moto Grosso Feio
02. Montezuma
03. Antigua
04. Vera Cruza
05. Iska

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1970 – Odyssey of Iska

Tracklist

01. Wind
02. Storm
03. Calm
04. De Pois Do Amor o Vazio
05. Joy

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1974 – Native Dancer

Tracklist

01. Ponta De Areia
02. Beauty And The Beast
03. Tarde
04. Miracle Of The Fishes
05. Diana
06. From The Lonely Afternoons
07. Ana Maria
08. Lilia
09. Joanna’s The Theme

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1985 – Atlantis

Tracklist

01. Endangared Species
02. The Three Marias
03. The Last Silk Hat
04. When You Dream
05. Who Goes There!
06. Atlantis
07. Shere Khan, The Tiger
08. Criancas
09. On The Eve Of Departure

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1986 – Phantom Navigator

Tracklist

01. Condition Rend
02. Mahogany Bird
03. Remote Control
04. Yamanjia
05. Forbidden, Plan-It!
06. Flagships

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1988 – Joy Ryder

Tracklist

01. Joy Rider
02. Cathay
03. Over Shadow Hill Way
04. Anthem
05. Causeways
06. Daredevil
07. Someplace Called Where

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1995 – High Life

Tracklist

01. Children Of The Night
02. At The Fair
03. Maya
04. On The Milky Way Express
05. Pandora Awakened
06. Virgo Rising
07. High Life
08. Midnight In California
09. Black Swan (In Memory Of Susan Portlynn Rome)

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2002 – Footprints Live!

Tracklist

01. Santuary
02. Masequelero
03. Valse Trist
04. Go
05. Aung San Suu Kyi
06. Footsprints
07. Atlantis
08. Juju

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2003 – Alegria

Tracklist

01. Sacajawea
02. Serenata
03. Vendiendo Alegria
04. Bachianas Brasileras No.5
05. Angola
06. Interlude
07. She Moves Through The Fair
08. Orbits
09. 12Th Century Carol
10. Capricorn II

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2005 – Beyond the Sound Barrier

Tracklist

01. Smilin’ Through (Arthur Penn)
02. As Far As The Eye Can See
03. On Wings Of Song
04. Tinker Bell
05. Joy Ryrder
06. Over Shadow Hill Way
07. Adventures Aboard The Golden Mean
08. Beyond The Sound Barrier

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Recorded in 1957, Sonny’s Crib features a front line of Curtis Fuller, Donald Byrd, and John Coltrane with Sonny Clark on piano, Art Taylor on drums, and Paul Chambers on bass. Truly still a bebop recording, done a full year before the landmark Cool Struttin’ session, nonetheless the set produced some awesome readings of classic tunes, like the opener, “With a Song in My Heart,” with one of the knottiest Byrd solos ever. As Chambers and Taylor up the rhythmic ante and Clark comps with enormous chords in the background, the entire line solos, but it is Byrd’s that is stunning in its complexity — though Coltrane could play bebop as well as anybody. The most notable tracks on the session are the classic readings of Kurt Weill’s “Speak Low” and “News for Lulu,” the latter of which has been adopted by John Zorn as his theme. On the former, Clark’s rearrangement, with Coltrane leading the front line, is truly revelatory. Using a Latin rhythm in cut time, Clark sets up a long, 22-note melody line that moves right into Trane’s solo. He moves the key around and harmonically shifts gears as Clark follows and stays in the pocket for him while Trane uses the middle register for legato pyrotechnics. Fuller’s next and covers over the blues inherent in the tune with pure swing, before Byrd brings it back into the fold with a gorgeous counterpoint of the melody. Clark taps his way into extended harmonics on the sixths and sharpens the accents as he trounces the original key and plays double trills to get back. The latter is a smokin’ Latin take on the hard bop blues, with a staggered melodic line and a large tonal palette that gives the horn players room to explore the timbral possibilities of Clark’s colors — which are revealed in the loosest, skittering skein of bluesy phrasing this side of Horace Silver in his solo. In all, Sonny’s Crib is a phenomenal recording, one that opened the door to hard bop becoming the norm in the late ’50s, and one that drew deft, imaginative performances from all its players.

Tracklist

01. With A Song In My Heart
02. Speak Low
03. Come Rain Or Come Shine
04. Sonny’s Crib
05. News For Lulu
06. With a Song In My Heart (Alternate Take)
07. Speak Low (Alternate Take)
08. Sonny’s Crib (Alternate Take)

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Trumpeter Blue Mitchell left his home in Miami for a short stint in New York City, headed back to Florida, and then to Los Angeles before his brief but vital career as a jazz trumpeter ended. This sojourn identified his sound, initially branded by the warmth of the Southeast, burnished by the hustle and bustle of the Big Apple, and polished by the West Coast cool school demeanor. In 1959, as Mitchell returned to Miami, he connected with Detroit trombonist Curtis Fuller and Philadelphia tenor saxophonist Jimmy Heath to form one of the most potent three-horn front lines in jazz history. Few knew how good they were until after the fact, but this recording, the third album for Mitchell as a leader, has him and his mates in full flight. This is one of the most precious jazz recordings of a year that would soon give sway to the Blue Note sound, and is in many real and important ways as much of a prelude as any other statement. It’s a must-have for all serious mainstream jazz fans.

Tracklist

01. Minor Vamp
02. The Head
03. The Way You Look Tonight
04. Park Avenue Petite
05. Top Shelf
06. Waverely Street
07. Blue Soul
08. Polka Dots and Moonbeams
09. Nica’s Dream

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