John Coltrane – The Complete Africa/Brass Sessions
Posted by dOk | Filed under 1961, Jazz
In 1961 John Coltrane’s explorations of different modes and rhythms led to several powerful works that invoked other cultures, like “Olé,” “India,” and “Brazilia.” While those pieces were all recorded with expanded versions of his quartet, “Africa” was a unique opportunity, with Eric Dolphy’s arrangements for up to 13 brass and reed instruments providing a setting of volcanic energy for Coltrane’s majestic, declamatory tenor and the surging drumming of Elvin Jones. The orchestrations, as well as the solos, vary on the two sessions heard here, and there are also thoughtful adaptations of traditional material like “Greensleeves,” a lilting feature for Coltrane’s soprano saxophone that recalls the earlier treatment of “My Favorite Things,” and “Song of the Underground Railroad.” The two-CD complete collection expands on the original release with alternate takes of “Africa” and “Greensleeves” as well as a previously unissued recording of “The Damned Don’t Cry.”
Tracklist
CD1
01. Greensleeves
02. Song Of The Underground
03. Greensleeves (Alternate Take)
04. The Damned Don’t Cry
05. Africa (First Version)
CD2
01. Blues Minor
02. Africa (Alternate Take)
03. Africa
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Art Blakey & The Jazz Messengers – Buhaina’s Delight
Posted by dOk | Filed under 1961, Jazz
When Art Blakey’s Jazz Messengers expanded to a sextet with the addition of Curtis Fuller on trombone, the group took on the character of a small big band propelled by Blakey’s forceful drumming. Buhaina’s Delight, another session in the long line of great Blue Note dates from this period, displays that classic line-up in pristine form. With Freddie Hubbard replacing Lee Morgan, Cedar Walton replacing Bobby Timmons and musical director Wayne Shorter, the Messengers were full of fresh sounds and vibrant with energy.
Uncharacteristically for a Messengers session, the relaxed shuffle “Backstage Sally” opens the disc in a laid back groove. Shorter’s brilliant playing is featured prominently on this session on the delicate ballad “Contemplation” and many stunning solo spots. The title track (dubbed for Blakey’s Islamic name, Buhaina) and a dynamic arrangement of the standard “Moon River” are excellent examples of the classic Messengers sound: challenging horn arrangements, expressive soloing and assertive drumming by the leader. Also included on this set are bonus takes of all but two of the original tunes. For any Messengers fan, this is a delightful package, indeed.
Personnel: Art Blakey (drums); Jymie Merritt (bass instrument); Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (piano).
Tracklist
01. Backstage Sally
02. Contemplation
03. Bu’s Delight
04. Reincarnation Blues
05. Shaky Jake
06. Moon River
07. Backstage Sally (Alternate Version)
08. Bu’s Delight (Alternate Version)
09. Reincarnation Blues (Alternate Version)
10. Moon River (Alternate Take)
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Jackie McLean – Bluesnik
Posted by dOk | Filed under 1961, Jazz
Many regard this as the greatest album of Jackie McLean’s career, and while there is a lot of competition for that honor, this is one of his most intriguing and satisfying works. McLean, Freddie Hubbard, and Kenny Drew all contribute tunes, and each is a unique and fascinating take of the blues. This album is a testament to infinite variety that this resilient music form has in the hands of true masters. This Rudy Van Gelder remaster has two alternate takes added to the original album.
Personnel: Jackie McLean (alto saxophone); Freddie Hubbard (trumpet); Kenny Drew (piano); Doug Watkins (bass instrument, bass guitar); Pete La Roca (drums).
Tracklist
01. Bluesnik
02. Goin’ Way Blues
03. Drew’s Blues
04. Cool Green
05. Blues Function
06. Torchin
07. Goin’ Way Blues (Alternate Take)
08. Torchin’ (Alternate Take)
Dexter Gordon – Doin’ Allright
Posted by dOk | Filed under 1961, Jazz
After spending most of the ’50s away from the scene, saxophonist Dexter Gordon entered the recording studio in 1961 to create what became the first in a series of seven incredible albums for Blue Note. On Doin’ Allright he proved why the world needed him back. Gordon assuredly embraced the inventive melodicism of Lester Young with the striking harmonies of Charlie Parker. He also mastered the art of quoting other musical passages within a cogent solo. As the reissue proves, the results are timeless, especially on such achingly beautiful ballads as “You’ve Changed.” Although Gordon used a group of studio musicians—rather than his own band—on this date everybody sounds remarkably cohesive. This session also featured then 23-year-old whiz-kid trumpeter Freddie Hubbard.
Personnel: Dexter Gordon (tenor saxophone); Dexter Gordon; George Tucker (bass instrument); Freddie Hubbard (trumpet); Horace Parlan (piano); Al Harewood (drums).
Tracklist
01. I Was Doing All Right
02. You’ve Changed
03. For Regulars Only
04. Society Red
05. It’s You Or No One
06. I Want More
07. For Regulars Only (Alternate Take)
Hank Mobley – Workout
Posted by dOk | Filed under 1961, Jazz
Workout teams tenorman Hank Mobley with guitarist Grant Green for a rousing session that befits the title. Also in attendance are rhythm section aces Wynton Kelly, Paul Chambers, and Philly Joe Jones, who provide swinging support. Muscular tunes like the title track and the aptly titled “Smokin’” are the focus here as the two expertly blow and wail through the changes like frenzied boxers in a title bout. Also included are Mobley’s catchy blues number “Uh Huh” and masterful takes on the standards “The Best Things in Life Are Free” and “Three Coins in the Fountain.” In all, it is easy to hear why Workout is one of Mobley’s quintessential recordings.
Personnel: Hank Mobley (tenor saxophone); Wynton Kelly (piano); Grant Green (guitar); Paul Chambers (bass); Philly Joe Jones (drums).
Tracklist
01. Workout
02. Uh Huh
03. Smokin’
04. The Best Things In Life Are Free
05. Greasin’ Easy
06. Three Coins In A Fountain
Duke Pearson – Dedication!
Posted by dOk | Filed under 1961, Jazz
Recorded for a small label that proceeded to go broke, Dedication! would not be released until nine years after its initial recording. This seems odd considering the all-star cast of players. Pianist Duke Pearson is joined by trumpeter Freddie Hubbard, baritone player Pepper Adams, trombonist Willie Wilson, bassist Thomas Howard, and drummer Lex Humphries on seven selections. The set kicks off with Tommy Flanagan’s “Minor Mishap,” an upbeat piece that brings forth nice solos from everyone. This might be Pearson’s session, but everybody is given plenty of room to cut loose. Wilson, for instance, is featured for the length of “The Nearness of You” and for a great deal of “Time After Time.” This is fortunate in retrospect; he made few recordings and would pass away in 1963, two years after this record was made. Pearson also turns in a number of nice solos. Like Hank Jones, his light touch serves him well on instrumentals like “Blues for Alvina” and “Time After Time.” The performances by Hubbard and Adams are topnotch throughout; they turn in first-rate work on numbers like Donald Byrd’s “Lex” and the Pearson original “The Number Five.” An important factor in the success of this album is the unusual combination of trumpet, trombone, and baritone saxophone that creates a resonant, full sound. Pearson would make a number of other fine recordings for Blue Note during the ’60s, but none finer than this one. Dedication! serves as a fine introduction to a talented pianist.
Personnel: Duke Pearson (piano); Pepper Adams (baritone saxophone, brass); Freddie Hubbard (trumpet); Wilfred Wilson, Willie Wilson (trombone); Lex Humphries (drums).
Tracklist
01. Minor Mishap
02. Number Five (aka Miss Bertha D. Blues)
03. The Nearness Of You
04. Apothegm
05. Lex
06. Blues For Alvina
07. Time After Time
Freddie Hubbard – Minor Mishap
Posted by dOk | Filed under 1961, Jazz
This 1961 session-first released on Fontana in the late ’60s, now reissued on Black Lion-offers a look at a young Hubbard before his reputation with Art Blakey’s Jazz Messengers took hold and he became known as the future of jazz trumpeting. Listening to Hubbard take control from trombonist Willie Wilson in the third cut, “Blues For Alvina,” and bend the ensemble’s mood and pacing around a masterfully built improvisation shows that the future bandleader and innovator had already made the scene.
Pianist Dick Pearson’s trio comprises the steady, always-swining rhythm section heard here. Tracks six and seven, two versions of Pearson’s “Number Five,” present an interesting opportunity to hear the variations that occur among great players from take to take. Hubbard’s efforts in the second are edgier, driving the sextet toward a hotter sound more alive with nuance. Both Hubbard and baritone saxophonist Pepper Adams work Donald Byrd’s “Lex,” and the differences are subtle but significant. This is the early work of a great young trumpet player about to explode.
Personnel: Freddie Hubbard (trumpet, horns); Pepper Adams (baritone saxophone); W. Wilson, Willie Wilson (trombone); Duke Pearson (piano); Lex Humphries (drums).
Tracklist
01. Minor Mishap (Take 3)
02. Minor Mishap (Take 4)
03. Blues For Alvina (Take 3)
04. Blues For Alvina (Take 5)
05. The Nearness Of You (Take 3)
06. Number Five (Take 3)
07. Number Five (Take 5)
08. Lex (Take 2)
09. Lex (Take 4)
10. Time After Time (Take 2)
11. Apothegm (Take 6)
12. Apothegm (Take 14)
Art Blakey & The Jazz Messengers – The Freedom Ride
Posted by dOk | Filed under 1961, Jazz
This is one of the best albums by Blakey’s Jazz Messengers, performed by one of his most star studded lineups. Performing infront of Blakey’s explosive drumming is Wayne Shorter on tenor, Lee Morgan on trumpet, Bobby Timmons on piano, and Jymie Merritt on bass. Most of the tracks were penned by Wayne Shorter or Lee Morgan and all feature high energy performances, especially by Wayne Shorter. His tenor is on fire as he delivers one knock out solo after another. His solo and his exchange with Lee Morgan on “El Toro” as well as his solo on the bonus track “Uptight” are stand outs. The entire group shows it’s soft touch on the one slow number, the bonus track “Pisces”. Blakey’s extended drum piece, “The Freedom Rider” gives the master plenty of room to stretch out and flex his considerable skill as one of Jazz’s all time great drummers. This is an exciting, hard swinging set of classic hard bop, and is easliy recommended.
Tracklist
01. Tell It Like It Is
02. Freedom Rider
03. El Toro
04. Petty Larceny
05. Blue Lace
06. Uptight
07. Pisces
08. Blue Ching
Bill Evans Trio – Waltz For Debby
Posted by dOk | Filed under 1961, Jazz
Recorded live at the Village Vanguard, this set rounded out what became known as an early “full” portrait of Bill Evans by following Sunday at the Village Vanguard with most of the rest of the music he played on June 25, 1961. Very little in the annals of piano-trio jazz ever reached the clarity of execution that Evans made his own with the recordings from this single date. With bassist Scott LaFaro and drummer Paul Motian, Evans reached a rapport that sounded whisper-intimate, rolling into gentle cascades and then rhythmically pouncing juts. On the keys, Evans sounds at once completely walled-off and nakedly open as he takes on “My Foolish Heart” and the title melody. The chords are voiced ever so oddly, as are the bass and drums. Coming as it did several months in the wake of the successful first episode in Evans’s Vanguard, Waltz for Debby just made it all the more obvious what a wonder the world had in this trio and its leader.
Tracklist
01. My Foolish Heart
02. Waltz For Debby (Take 2)
03. Detour Ahead (Take 2)
04. My Romance (Take 1)
05. Some Other Time
06. Milestones
07. Porgy (I Loves You, Porgy)
08. Discussing Repertoire)
09. Waltz For Debby (Take 1)
10. Detour Ahead (Take 1)
11. My Romance (Take 29
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Ray Charles & Milt Jackson – Soul Brothers/Soul Meeting
Posted by dOk | Filed under 1958, 1961, Jazz
These records are “cool” in the classic sense of the word: they swing, groove, whisper and discuss with the sophisticated yet down-home relaxation of a late-night session. While Milt Jackson’s work with the Modern Jazz Quartet represents a kind of bebop perfection, the truism about the MJQ has always been that it’s Jackson the irrepressible soloist and blues spirit that provides the ballast to John Lewis’ more cerebral explorations of form and composition.
At the same time, Ray Charles’ reputation as the definitive gospel-inspired R&B shouter and bandleader overshadows the facts of his jazz background and impressive musicianship. This is a guy, after all, who early in his career wanted to sound as much like Nat Cole as possible–and did, for a time, as both a singer and a pianist. So while these giants meet on the common turf of the blues on these two records, they bring a sharp jazz sensibility to the numerous and varied twelve-bar grooves here. Charles’ stompin’ bebop lines on the bonus track “Charlesville” are only one of the many revelations of this session.
Tracklist
DISC 1
01. How Long Blues
02. Cosmic Ray
03. The Genius After Hours
04. Charlesville
05. Bags Of Blues
06. Deed I Do
07. Blue Funk
DISC 2
01. Soul Brothers
02. Bag’s Guitar Blues
03. Soul Meeting
04. Hallelujah I Love Her So
05. Blue Genius
06. X-Ray Blues
07. Love On My Mind
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Duke Jordan – Flight To Jordan
Posted by dOk | Filed under 1961, Jazz
Duke Jordan made his mark in jazz in the late 1940s as one of bebop innovator Charlie Parker’s regular pianists, but he didn’t blossom as a composer until the hard-bop era of the mid-’50s. Flight To Jordan, his 1960 Blue Note debut, captures Jordan at a creative peak. The album features a slightly unusual combination of musicians: Reggie Workman, who would soon thereafter make his own mark in jazz’s avant-garde sector; Stanley Turrentine, whose lusciously smooth, big-toned tenor would establish him as a leading light of the soul-jazz movement; and the fine, under-recorded Jamaican trumpeter Dizzy Reece. The latter’s tart approach contrasts wonderfully to Turrentine’s sweetly earthy sound. As a bonus, this remastered reissue includes two bonus tracks, one a trio take of the beloved standard “I Should Care.”
Tracklist
01. Flight To Jordan
02. Starbright
03. Squawkin’
04. Deacon Joe
05. Split Quick
06. Si Joya
07. Diamond Stud
08. I Should Care
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Ornette Coleman – Free Jazz
Posted by dOk | Filed under 1961, Jazz
As jazz’s first extended, continuous free improvisation LP, Free Jazz practically defies superlatives in its historical importance. Ornette Coleman’s music had already been tagged “free,” but this album took the term to a whole new level. Aside from a predetermined order of featured soloists and several brief transition signals cued by Coleman, the entire piece was created spontaneously, right on the spot. The lineup was expanded to a double-quartet format, split into one quartet for each stereo channel: Ornette, trumpeter Don Cherry, bassist Scott LaFaro, and drummer Billy Higgins on the left; trumpeter Freddie Hubbard, bass clarinetist Eric Dolphy, bassist Charlie Haden, and drummer Ed Blackwell on the right. The rhythm sections all play at once, anchoring the whole improvisation with a steady, driving pulse. The six spotlight sections feature each horn in turn, plus a bass duet and drum duet; the “soloists” are really leading dialogues, where the other instruments are free to support, push, or punctuate the featured player’s lines. Since there was no road map for this kind of recording, each player simply brought his already established style to the table. That means there are still elements of convention and melody in the individual voices, which makes Free Jazz far more accessible than the efforts that followed once more of the jazz world caught up. Still, the album was enormously controversial in its bare-bones structure and lack of repeated themes. Despite resembling the abstract painting on the cover, it wasn’t quite as radical as it seemed; the concept of collective improvisation actually had deep roots in jazz history, going all the way back to the freewheeling early Dixieland ensembles of New Orleans. Jazz had long prided itself on reflecting American freedom and democracy and, with Free Jazz, Coleman simply took those ideals to the next level. A staggering achievement.
Tracklist
01. Free Jazz
02. First Take (Bonus Track)
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Oliver Nelson – The Blues and the Abstract Truth
Posted by dOk | Filed under 1961, Jazz
The late Oliver Nelson had such a successful career as a composer of film and TV music (“Theme From the Six Million Dollar Man”) and arranger that it often overshadowed his abilities as a jazz musician. In 1961, Nelson assembled a fantastic small ensemble, including Eric Dolphy, Bill Evans, and Freddie Hubbard, for a session of six original compositions. Nelson was also an excellent, bluesy-toned saxophonist (heard here on tenor and alto) and his tunes cover a variety of moods, from the elegiac “Stolen Moments” to the wryly humorous, Aaron Copeland-like “Hoe-Down” to the rippling “Cascades.” Dolphy’s edgy, vocally inspired alto sound, the surging brassy tone of Hubbard’s trumpet, and the swinging lyricism of Bill Evans make a potent combination, contributing to Blues’s status as a classic of post-bop jazz.
Tracklist
01. Stolen Moments
02. Hoe-Down
03. Cascades
04. Yeanin’
05. Butch and Butch
06. Teenie’s Blues
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Grant Green – Grantstand
Posted by dOk | Filed under 1961, Jazz
Grant Green’s third album to be released, Grantstand teams the clear-toned guitarist with an unlikely backing group of musicians who rarely appeared with Blue Note otherwise: tenor saxophonist Yusef Lateef (who doubles on flute), organist Brother Jack McDuff, and drummer Al Harewood. Although Lateef was beginning to delve deeply into Eastern tonalities and instruments around the same time, his playing here is pretty straightforward and swinging, fitting the relaxed, bop-tinged soul-jazz that makes up most of the session. For his part, McDuff is mellower than his usual ferocious self, laying back and swinging with a blissful ease. Green contributes two bluesy originals, the nine-minute title track and the 15-minute “Blues in Maude’s Flat,” which are turned into loose, loping jams that rank as some of the best examples of Green’s ability to work an extended groove. (The CD bonus track, “Green’s Greenery,” is in much the same vein, though not as long.) Elsewhere, Green leads a delicate, sensitive exploration of “My Funny Valentine” that ended up as his greatest standard performance to date, setting the stage for a great deal more work in this vein that was soon to be forthcoming (including his brilliant sessions with Sonny Clark). Still, the groove is what reigns supreme for most of the album; if you’re looking for Green the soul-jazz groovemaster, Grantstand is an excellent place to find him.
Tracklist
01. Grandstand
02. My Funny Valentine
03. Blues In Maude’s Flat
04. Old Folks
05. Green’s Greenery
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The Crusaders Albums!
Posted by dOk | Filed under 1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968, 1969, 1970, 1971, 1973, 1974, 1975, 1976, 1977, 1978, 1979, 1980, 1981, 1982, 1984, 1985, 1987, 1988, 1991, 2003, 2004, 2006, Discography, Jazz
In 1961, four fellows from Houston transplanted themselves to Los Angeles and added more distinctly bluesy elements to the soul jazz style with an ear-grabbing album called The Freedom Sound on the Pacific Jazz label. The band, which had been known in turn as the Swingsters, the Modern Jazz Sextet, and the Nighthawks, was now named the Jazz Crusaders. Its four co-leaders were trombonist Wayne Henderson, tenor saxophonist (and occasional bassist) Wilton Felder, pianist Joe Sample, and drummer Nesbert “Stix” Hooper.
The Jazz Crusaders sound caught on big time, and their subsequent Pacific Jazz albums rewarded them with a good deal of exposure. The band performed regularly and got plenty of airplay. One of its signature pieces, the rollickingly fast “Young Rabbits,” was even used as the musical background for a Ford Mustang TV commercial.
But as times changed, so did the Jazz Crusaders. In the late Sixties, they placed such popular numbers as the Beatles’ “Eleanor Rigby” and “Get Back” in their repertoire, and firm backbeats began to bolster many a selection. By 1971, they decided that the word “jazz” kept them from attracting a wider listener base, and so they emerged anew with The Crusaders, Vol. 1 (Chisa), an album that openly infused jazz with pop, soul, and r&b elements.
If the Jazz Crusaders had achieved some degree of popularity, it was nothing like the crossover success that greeted the Crusaders. Such albums as Scratch, Southern Comfort, Chain Reaction, Those Southern Knights, Free as the Wind, Images, Street Life, and Royal Jam (recorded variously for the Chisa, ABC Blue Thumb, and MCA labels) sold well and brought in a deluge of new fans. Street Life’s title track provided the Crusaders with a Billboard top forty hit, reaching no. 36 in 1979.
The Crusaders’ popularity started to fade in the early Eighties, prompted by Henderson’s departure. Hooper then left as well, and by the early Nineties Sample and Felder had disbanded the group. A few years later, Henderson and Felder began performing together, first as the New Crusaders and, more recently, as the Jazz Crusaders.
for more info and buy check: vervemusicgroup.com/crusaders
1961 – Freedom Sound
Tracklist
01. The Geek
02. M.J.S. Funk (Alternate Version)
03. Coon (Alternate Version)
04. Freedom Sound
05. Theme From “Exodus”
06. That’s It
07. M.J.S. Funk
08. Coon
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1962 – At The Lighthouse
Tracklist
01. Introduction
02. Congolese Sermon
03. Cathy’s Dilemma
04. Blues For Ramona
05. Weather Beat
06. Scandalizing
07. Appointment In Ghana
08. Penny Blue
09. Boopie
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1962 – Lookin’ Ahead
Tracklist
01. Sinnin’ Sam
02. Tonight
03. 507 Neyland
04. Till All Ends
05. Tortoise And The Hare
06. In A Dream
07. Big Hunk Of Funk
08. The Young Rabbits
09. Song Of India
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1963 – Tough Talk
Tracklist
01. Deacon Brown
02. Turkish Black
03. Brahm’s Lullaby
04. Boopie
05. Tough Talk
06. No Name Samba
07. Lazy Canary
08. Lonely Horn
09. Brother Bernard
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1964 – Heat Wave
Tracklist
01. On Broadway
02. Green Back Dollar
03. Close Shave
04. Free Sample
05. Mr Sandman
06. Heat Wave
07. Sassy
08. Theme From ‘The L Shaped Room’
09. Some Samba
10. Stix March
11. Purple Onion
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1965 – Chile Con Soul
Tracklist
01. Agua Dulce (Sweetwater)
02. Soul Bourgeoisie
03. Ontem A Note
04. Tough Talk
05. Tacos
06. Latin Bit
07. The Breeze And I
08. Dulzura
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1965 – The Thing
Tracklist
01. The Thing
02. Sunset In Mountains
03. While The City Sleeps
04. White Cobra
05. New Time Shuffle
06. Para Mi Espoza
07. Soul Kosher
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1966 – Live At The Lighthouse ’66
Tracklist
01. Aleluia
02. Blues Up Tight
03. You Don’t Know What Love Is
04. Miss It
05. ‘Round Midnight
06. Some Other Blues
07. Scratch
08. Doin’ That Thing
09. Milestones
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1966 – Talk That Talk
Tracklist
01. Walkin’ My Cat Named Dog
02. Studewood
03. I Can’t Believe You Love Me
04. There Is A Time (Le Temps)
05. Hey Girl
06. Uptight (Everything’s Alright)
07. Arrastao
08. Mohair Sam
09. Walk On By
10. 1,2,3
11. The Shadow Do
12. Turkish Black
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1966 – The Festival Album Live Newport & Pacific Jazz Festivals
Tracklist
01. Introduction
02. Trance Dance
03. Summer’s Madness
04. Young Rabbits
05. Freedom Sound
06. Wilton’s Boogaloo
07. Half And Half
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Freddie Hubbard – Hub Cap
Posted by dOk | Filed under 1961, Jazz
On Hub Cap, his third effort as a leader, Freddie Hubbard sticks to the tried-and-true hard bop formula, which is something of a mixed blessing. There’s no question that much of this music is enjoyable, but it’s not quite up to the standards of its two predecessors. Part of the problem is Hubbard’s sextet, which features tenor saxophonist Jimmy Heath, trombonist Julian Priester, pianist Cedar Walton, bassist Larry Ridley, and drummer “Philly” Joe Jones. All of the musicians are talented, but only a few are inventive, and that becomes a problem, since it becomes clear that Hubbard is beginning to break free from his influences and develop his own style. In other words, he’s capable of more adventurous music than this straight-ahead hard bop. That said, Hub Cap is a very good hard bop date. There is energy to the performances, and the artist’s vigorous, inspired playing continues to impress, as do some of his original compositions. Only when compared to Hubbard’s first two records, or what would come later, does Hub Cap seem like a lesser effort.
Tracklist
01. Hub Cap
02. Cry Me Not
03. Luana
04. Osie Mae
05. Plexus
06. Plexus (Alternate Take)
07. Earmon Jr.
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Louis Armstrong & Duke Ellington – Together For The First Time/The Great Reunion
Posted by dOk | Filed under 1961, Jazz
Description? i can’t describe…. simply 2 giants of the jazz together
Tracklist
01. Duke’s Place
02. I’m Just A Lucky So and So
03. Cottontail
04. Mood Indigo
05. Do Nothin’ Thill You Hear From Me
06. The Beautiful American
07. Black and Tan Fantasy
08. Drop Me Off At Harlem
09. The Mooche
10. In A Mellow Tone
11. It Don’t Mean A Thing
12. Solitude
13. Don’t Get Around Much Anymore
14. I’m Beginning To See The Light
15. Just Squeeze Me
16. I Got It Bad (And That Ain’t Good)
17. Azalea
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Ike Quebec – It Might As Well Be Spring
Posted by dOk | Filed under 1961, Jazz
Working with the same quartet that cut Heavy Soul, Ike Quebec recorded another winning hard bop album with It Might As Well Be Spring. In many ways, the record is a companion piece to Heavy Soul. Since the two albums were recorded so close together, it’s not surprising that there a number of stylistic similarities, but there are subtle differences to savor. The main distinction between the two dates is that It Might As Well Be Spring is a relaxed, romantic date comprised of standards. It provides Quebec with ample opportunity to showcase his rich, lyrical ballad style, and he shines throughout the album. Similarly, Roach has a tasteful, understated technique, whether he’s soloing or providing support for Quebec. The pair have a terrific, sympathetic interplay that makes It Might As Well Be Spring a joyous listen.
Tracklist
01. It Might As Weel Be Spring
02. A Light Reprieve
03. Easy Don’t Hurt
04. Lover Man
05. Ol’ Man River
06. Willow Weep For Me
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Donald Byrd – Royal Flush
Posted by dOk | Filed under 1961, Jazz
In the early 1960s, long before he’d pursue a funkier, electric direction, Donald Byrd was one of the leading trumpeters on the American jazz scene. Recorded in autumn 1961, Royal Flush is hard-swinging and deep-grooving hard bop. It does, however, point to aspects of jazz’s future contributed by a young Herbie Hancock and the inventive drumming of Billy Higgins.
Tracklist
01. Hush
02. I’m A Fool To Want You
03. Jorgie’s
04. Shangri-la
05. 6 M’s 6
06. Requiem
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Max Roach – Percussion, Bitter Sweet
Posted by dOk | Filed under 1961, Jazz
Percussion, Bitter Sweet is one of drummer/composer Max Roach’s great musical-cultural statements, featuring wife Abbey Lincoln’s powerful vocals on the tumultuous “Garvey’s Ghost” (with its powerful Afro-Cuban percussive airs), and the prickly, straight shooting protest of “Mendacity.” Roach’s musical dream team band features several innovative players, such as the legendary reedman Eric Dolphy and the extraordinary young trumpeter Booker Little, both of whom died untimely deaths in the early ’60s. Roach and bassist Art Davis redefine the jazz beat in their own image, a truly unique rhythm section, and their 7-beat swing on “Man From South Africa” inspires some of the best playing on the session–as vivid and modern sounding today as it was 30 years ago.
Tracklist
01. Garvey’s Ghost
02. Mama
03. Tender Warriors
04. Praise For a Martyr
05. Mendacity
06. Man From South Africa
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