everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

Dizzy Gillespie was at the peak of his powers throughout the 1950s, still the pacesetter among trumpeters. This albun matches Dizzy with Stan Getz, the Oscar Peterson Trio and drummer Max Roach. Getz, although identified with the “cool” school, thrived on competition and is both relaxed and combative on the uptempo explorations of “It Don’t Mean a Thing” and “Impromptu”.

Personnel: Dizzie Gillespie (trumpet); Stan Getz, Hank Mobley (tenor saxophone); Oscar Peterson, Wade Legge (piano); Herb Ellis (guitar); Ray Brown, Lou Hackney (bass); Max Roach, Charlie Persip (drums).

Rappamelo’s favorite track:

everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

The cool tenor of Stan Getz and the extroverted vibraphonist Lionel Hampton might have seemed like an unlikely matchup but once again producer Norman Granz showed his talents at combining complementary talents. Hampton and Getz really battle hard on “Cherokee” and “Jumpin’ at the Woodside” and, other than a ballad medley, the other selections on this albu, are also heated. Classic music from two of the best. (allmusic)

Rappamelo’s favorite track:

everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

This is the seminal album that gave birth to the Blue Note Sound, to Art Blakey and The Jazz Messengers and to the Horace Silver Quintet. Shifting be-bop into an earthier, more blues-gospel orbit connected with audiences and forged the direction that hard bop would take for years to come. Kenny Dorham, Hank Mobley, Silver, Doug Watkins and Blakey deliver Horace’s compositions with panache and solo with heart-felt invention. A classic.

Rappamelo’s favorite track:

everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

The title was heralding the newest technolgy, high fidelity, a sonic wonder that preceeded stereo, and Miss Vaughn was an early subject of this technoligical breakthrough. Recorded for Columbia spanning the years 1949 to 1952, this is a wonderful recording of Miss Vaughn’s. She recorded eight selections in 1950 with an octet that included trumpeter Miles Davis, trombonist Benny Green, the remarkably cool clarinetist Tony Scott and tenorman Budd Johnson. This CD adds alternate takes to seven of the numbers, increasing the discography of both Sassy and Miles. This version of “Ain’t Misbehavin’” is a true classic (with memorable eight-bar solos by each of the four horns); “Mean to Me” and “Nice Work If You Can Get It” are gems, and the other performances are not far behind. In addition, Vaughan sings two versions of “The Nearness of You” in 1949; there is also a previously unknown recording of “It’s All In the Mind,” and three orchestra numbers from 1951 and 1953 wrap up the outstanding reissue. Sassy has rarely sounded better. Highly recommended. (allmusic)

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