Hank Jones, Christian McBride, Jimmy Cobb – West of 5th {Chesky}

Review by Ken Dryden (allmusic.com)

Veteran pianist Hank Jones is hardly slowing down at the age of 87, as heard on this beautifully recorded session in early 2006. With drummer Jimmy Cobb (who sticks to brushes) and Christian McBride rounding out his potent trio, Jones keeps old warhorses like “On Green Dolphin Street” fresh, giving ample space to his partner and adding a humorous detour into Billy Strayhorn’s “Rain Check.” Other highlights include his elegant treatment of his late brother Thad’s timeless ballad “A Child Is Born” and a hard driving take of Charlie Parker’s “Confirmation.” McBride shows depth beyond his years with strong accompaniment and swinging solos. This Hybrid Super Audio CD, recorded without any gimmickry such as remixing or compression, enables the listener to enjoy these intimate performances as if sitting in the studio with the players. Highly recommended!

01 – On Green Dolphin Street
02 – Mr. Walker
03 – Speak Low
04 – A Child is Born
05 – If I Were a Bell
06 – Billie’s Bounce
07 – Lotus Blossom
08 – Confirmation
09 – We’ll Be Together Again
10 – Stella by Starlight
11 – Eleanor

Hank Jones – piano
Christian McBride – bass
Jimmy Cobb – drums

Recorded January 29, 2006 at St.Peter’s Episcopal Church, New York City.

Quality: eac, flac, cue, log, artwork

Duke Ellington & John Coltrane {impulse!} “Analogue Productions”

Review by Scott Yanow (allmusic.com)

For this classic encounter, Duke Ellington “sat in” with the John Coltrane Quartet for a set dominated by Ellington’s songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Although it would have been preferable to hear Coltrane play in the Duke Ellington orchestra instead of the other way around, the results are quite rewarding. Their version of “In a Sentimental Mood” is a high point, and such numbers as “Take the Coltrane,” “Big Nick,” and “My Little Brown Book” are quite memorable. Ellington always recognized talent, and Coltrane seemed quite happy to be recording with a fellow genius.

01 – In a Sentimental Mood
02 – Take the Coltrane
03 – Big Nick
04 – Stevie
05 – My Little Brown Book
06 – Angelica
07 – The Feeling of Jazz

Duke Ellington – piano
John Coltrane – tenor & soprano saxophone
Jimmy Garrison, Aaron Bell – bass
Elvin Jones, Sam Woodyard – drums

Recorded September 26, 1962

Quality: eac, flac, cue, log, artwork

Ben Sidran – Mr. P’s Shuffle {GoJazz}[MFSL]

Review by Mike Holmes (epinions.com)

I’ve been listening to Ben Sidran and playing his music on my radio show for years but this is my first review of one of his albums. Sidran is truly a Renaissance man. He is an accomplished author of three books (“Black Talk”, “Talking Jazz”, and, “A Life in the Music”), he hosted a Peabody-award-winning NPR show (“Jazz Alive”) as well as VH-1’s “New Vision” series. He has an advanced degree from Sussex College.

Oh, and, he plays piano and organ, produces music, sings and composes. Born in Chicago in 1943, Sidran started doing gigs while a teenager. In the early 60’s while still in college, Ben joined a group known as the Ardell’s with a couple of fairly well known musicians (later on), Steve Miller and Boz Scaggs. He played with that group for a while but then continued his studies.

In the late 60’s, Sidran re-joined Miller and wrote the lyrics for one of Miller’s big hits “Space Cowboy.” Sidran moved on, however, and started recording on his own in the early 70’s. He excelled in jazz, modern jazz, rock and pop.

In the early 70’s, his wife grew tired of L.A. and the couple moved back to Madison, Wisconsin where Ben started played in a small club known as The Tuxedo Lounge. That club soon changed its name to Mr. P’s. After playing all over the world for the next two decades, Sidran was called by Mr. P’s owner to play a gig. He almost refused but decided to go back to his “roots”. What he found there gave him a new appreciation for music.

He and his son Leo (who plays the drums) played the gig and continued playing there off and on for a few years. Sidran enjoyed the club atmosphere so much that he wrote the song “Mr. P’s Shuffle” in honor of the original owner. In 1996, he decided to record this album in honor of the club and the man who gave him so much joy.

After listening to the CD, I could understand what Sidran was talking about in his liner notes for the album. The music on the record is a relaxed visit to old friends played with old friends. There is a cool joy with a hipness that reminds me of the old “beat” days of the 50’s and 60’s. A major part of that is due to the ability of Sidran to create the hip atmosphere but he also recruited an incredible group of musicians for the album.

01 – I’m Back
02 – Like a Boat on the Water
03 – Sentimental Journey
04 – Get Happy
05 – Jive Samba
06 – I’m Not Talking
07 – The Glory of Love
08 – Mr. P’s Shuffle
09 – Walk Right In
10 – Lover Man
11 – No Moon at All
12 – Memory Lane

Ben Sidran – piano & vocal
Richard Davis – bass
Clyde Stubblefield – drums
Leo Sidran – drums
Frank Morgan – alto saxophone
Phil Upchurch – guitar
Ricky Peterson – hammond B-3 organ
Margie Cox – background vocal
Alejo Poveda – percussion
Howard Levy – harmonica
Roscoe Mitchell – soprano saxophone

Recorded at Smart Studios, Madison, WI.
Additional recording at Creation Audio, Minneapolis, MN.
Released on 1996.

Quality: eac, flac, cue, log, artwork

Barry Harris at the Jazz Workshop {Riverside}[OJC]

Review by Scott Yanow (allmusic.com)

Pianist Barry Harris’ second recording as a leader (he led a set for Argo in 1958) finds him at the age of 30 playing in the same boppish style he would have throughout his career. Teamed up with bassist Sam Jones and drummer Louis Hayes, this live CD reissue (which adds three alternate takes to the original LP program) is an excellent example of Harris’ playing. Highlights of the enthusiastic straight-ahead set (which includes three obscure but worthy originals by the pianist) include “Is You Is or Is You Ain’t My Baby,” “Moose the Mooche” and “Woody’N You.”

01 – Is You Is or Is You Ain’t My Baby (take 2)
02 – Is You Is or Is You Ain’t My Baby (previously unissued-take 1)
03 – Curtain Call
04 – Star Eyes
05 – Moose the Mooche
06 – Lolita
07 – Morning Coffee
08 – Don’t Blame Me (take 2)
09 – Don’t Blame Me (previously unissued-take 1)
10 – Woody’n You (take 2)
11 – Woody’n You (previously unissued-take 1)

Barry Harris – piano
Sam Jones – bass
Louis Hayes – drums

Recorded live at The Jazz Workshop, San Francisco; May 15 and 16, 1960.

Quality: eac, flac, cue, log, artwork

Ben Webster – Days of Wine and Roses {JazzLife}

01 – Days of Wine and Roses
02 – Blue Light
03 – Stompy Jones
04 – Pound Horn
05 – For Max
06 – Brother John’s Blues
07 – Nancy (with the Laughing Face)
08 – Duke’s in Bed
09 – What’s I’m Gotchere
10 – My Romance
11 – Bill Coleman

Ben Webster – tenor saxophone
Arnved Meyer – trumpet
Bill Coleman – trumpet, flugelhorn
John Darville – trombone
Ole Kongsted – tenor saxophone
Niels Jorgen Steen, Fred Hunt – piano
Jim Douglas – guitar
Hendrik Hartmann, Ron Rae – bass
Hans Hymand, Lennie Hastings – drums

Recorded at Metronome Studios, Copenhagen, September 1965; and
at Olympic Studios, London, 27th April 1967

Quality: eac, flac, cue, log, artwork

Red Garland – The Nearness of You {JazzLand}[OJC]

Review by Scott Yanow (allmusic.com)

Unlike his slightly earlier recordings for Moodsville (which feature Red Garland on unaccompanied piano solos), this strictly ballad date has Garland joined (on all but the solo “Lush Life”) by bassist Larry Ridley and drummer Frank Gant. Since all eight of the standards are taken at the same medium/slow tempo, there is not much variety here, keeping the CD from being essential. But Garland’s attractive and distinctive chord voicings, plus his ability to uplift melodies while swinging at a slow speed, make this project a success. Highlights include “The Nearness of You,” “Where or When,” and Irving Berlin’s “All Alone.” Particularly effective when used as background music.

01 – Why Was I Born?
02 – The Nearness of You
03 – Where or When
04 – Long Ago and Far Away
05 – I Got it Bad (And That Ain’t Good)
06 – Don’t Worry About Me
07 – Lush Life
08 – All Alone

Red Garland – piano
Larry Ridley – bass
Frank Gant – drums

Recorded and mastered at Plaza Sound Studios, New York City; November 30, 1961

Quality: eac, flac, cue, log, artwork

Scott Hamilton & Friends – Blues, Bop & Ballads {Concord}

Review by Ken Dryden (allmusic.com)

Big-toned tenor saxophonist Scott Hamilton leads a swinging small group session that concentrates mostly on songs that didn’t receive much attention in the 1990s. “Answer Me (My Love)” is a potent ballad feature for the leader that reveals the influence of Coleman Hawkins and Ben Webster, while Hamilton also has fun with lively riff tunes like his own “Rhythm Riff #127,” and Hawkins’ “Stuffy.” Trumpeter Greg Gisbert is outstanding throughout the date, while trombonist Joel Helleny and guitarist Duke Robillard only appear on three tracks each, but make valuable contributions with their solos. This delightful CD stands up well to repeated listening, and is one of Scott Hamilton’s best recordings.

01 – I Mean You
02 – Blue Harlem
03 – Rhythm Riff #127
04 – Skylark
05 – Wabash
06 – Fish Market
07 – Answer Me (My Love)
08 – Stuffy
09 – Smile
10 – Good Bait

Scott Hamilton – tenor saxophone
Greg Gisbert – trumpet
Joel Helleny – trombone (tracks 3, 5 & 6)
Norman Simmons – piano
Dennis Irwin – bass
Chuck Riggs – drums
Duke Robillard – guitar (tracks 2, 3 & 6)

Recorded at Sony Music Studios, New York City; February 23-24, 1999

Quality: eac, flac, cue, log, artwork

Oscar Peterson – The Trio “Live from Chicago” {Verve}

Review by Scott Yanow (allmusic.com)

The Oscar Peterson Trio with bassist Ray Brown and drummer Ed Thigpen lacked the competitiveness of his earlier group with Brown and guitarist Herb Ellis, and the later daring of his solo performances, but the pianist was generally in peak form during this era. He sticks to standards on this live CD (a good example of the Trio’s playing), stretching out “Sometimes I’m Happy” creatively for over 11 minutes and uplifting such songs as “In the Wee Small Hours of the Morning,” “Chicago” and “The Night We Called It a Day.” Few surprises occur, but Peterson plays at such a consistently high level that one doesn’t mind.

01 – I’ve Never Been in Love Before
02 – In the Wee Small Hours of the Morning
03 – Chicago
04 – The Night We Called it a Day
05 – Sometimes I’m Happy
06 – Whisper Not
07 – Billy Boy

Oscar Peterson – piano
Ray Brown – bass
Ed Thigpen – drums

Recorded September-October 1961 at the London House, Chicago.

Quality: eac, flac, cue, log, artwork

Charlie Rouse Quintet – Takin’ Care of Business {Jazzland}[OJC]

Review by Scott Yanow (allmusic.com)

Charlie Rouse’s debut as a leader (not counting his earlier work co-leading Les Jazz Modes with the great French horn player Julius Watkins) was made for Jazzland and is available as an OJC CD. The distinctive tenor saxophonist, who had just started a decade-long stint as a member of the Thelonious Monk Quartet, teams up with trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Earl May, and drummer Art Taylor. Together they perform straight-ahead material including Rouse’s own uptempo “Upptankt,” the standard “They Didn’t Believe Me,” and songs by Mitchell, Kenny Drew, and Randy Weston. A fine modern mainstream jam session-flavored set.

01 – Blue Farouq
02 – “204”
03 – Upptankt
04 – Wierdo
05 – Pretty Strange
06 – They Didn’t Believe Me

Charlie Rouse – tenor sax
Blue Mitchell – trumpet
Walter Bishop – piano
Earl May – bass
Art Taylor – drums

Recorded in New York; May 11, 1960.

Quality: eac, flac, cue, log, artwork

Count Basie & Oscar Peterson – The Timekeepers {Pablo}[xrcd]

Review from cduniverse.com

The pairing of pianists Count Basie and Oscar Peterson might seem unlikely, given their stylistic differences. Basie’s notoriety resulted from his ability to say a lot with a little, while Peterson has been celebrated as a modern technical master, whose solos were full of riveting phrases, lines, and statements. Yet the duo made effective partners on this reissued 1978 session and often played against their reputations. Basie has several solos where he demonstrates impressive technique, while Peterson, often accused of overkill, shows he can utilize restraint and delicacy with as much flair as bombast and flash. ~ Ron Wynn
This classic 1978 recording pairs two stylistically dichotomous piano legends: Count Basie, the master of understatement, and Oscar Peterson, the partisan of power & embellishment. Also featured on this landmark session are drummer Louis Bellson & John Heard

01 – I’m Confessin’ (That I Love You)
02 – Soft Winds
03 – Rent Party
04 – Indiana
05 – Hey, Raymond
06 – After You’ve Gone
07 – That’s the One

Oscar Peterson – piano
Count Basie – piano
Louis Bellson – drums
John Heard – bass

Recorded at Group IV Studios, Hollywood; February 21 and 22, 1978.

Quality: eac, flac, cue, log, artwork

Sonny Rollins – Saxophone Colossus {Prestige}[xrcd]

Review by Scott Yanow (allmusic.com)

Sonny Rollins recorded many memorable sessions during 1954-1958, but Saxophone Colossus is arguably his finest all-around set. Joined by pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach, Rollins debuts and performs the definitive version of “St. Thomas,” tears into the chord changes of “Mack the Knife” (here called “Moritat”), introduces “Strode Rode,” is lyrical on “You Don’t Know What Love Is,” and constructs a solo on “Blue Seven” that practically defines his style. Essential music that, as with all of Rollins’ Prestige recordings, has also been reissued as part of a huge “complete” box set; listeners with a tight budget are advised to pick up this single disc and be amazed.

01 – St. Thomas
02 – You Don’t Know What Love Is
03 – Strode Rode
04 – Moritat
05 – Blue Seven

Sonny Rollins – tenor sax
Tommy Flanagan – piano
Doug Watkins – bass
Max Roach – drums

Recorded at Van Gelder Studios, Hackensack, New Jersey; June 22, 1956.

Quality: eac, flac, cue, log, scans

Tommy Flanagan Trio – Sea Changes {AlfaJazz}

Review by Ken Dryden (allmusic.com)

It’s easy to understand why Tommy Flanagan has been one of the most praised pianists over the ’80s and ’90s while listening to an excellent trio date such as this CD. With bassist Peter Washington and drummer Lewis Nash, he features a number of songs with oceanic themes, including a tantalizing “How Deep Is the Ocean?,” “I Cover the Waterfront,” and his own snappy title track. Flanagan also delivers a thunderous take of “Relaxin’ at Camarillo” and the smoldering, savory blues “C.C. Rider.”

01 – Sea Changes
02 – Verdandi
03 – Delarna
04 – Eclypso
05 – How Deep is the Ocean
06 – C.C. Rider
07 – Between the Devil and the Deep Blue Sea
08 – Beat’s Up
09 – I Cover the Waterfront
10 – Relaxin’ at Camarillo
11 – Dear Old Stockholm

Tommy Flanagan – piano
Peter Washington – bass
Lewis Nash – drums

Recorded on March 11 & 12, 1996 at Clinton Recording Studio A, N.Y.C.

Quality: eac, flac, cue, log, scans

Coleman Hawkins – Sirius {Pablo}[OJC]

Review by “fluffy” – amazon.com

I’ve seen this album both ripped and praised throughout the years in various music books. Back around 1979, my first Rolling Stone record guide gave it a 5 star rating (their highest rating). My copy (3rd edition) of all music guide to jazz gives it a one star rating (their lowest rating), calling it rather sad (Mr.Hawkins performances being hindered by failing health). so who is right? Well, if you remove soul from the equation, deny the spirit of a genius, and look merely at technique (a sort of “american idol” approach to music), then Mr.hawkins is no match here for the powerhouse of a young man that he was on his instrument back in the 20’s, 30’s, and 40’s. But, if you take into account the seasoned spirit of a soul who spent a lifetime acquainted with the magic and heart of his craft, then this is a beautiful, beautiful album. I have listened to this thing with a music lovers ecstasy during dozens and dozens of nights over the years, and still am in love with the sound. His gorgeous sugary tone is like a drug on my ears. This is simply one of the most moving ballad albums of jazz playing that I have heard. Forget technique. Listen. There’s a lifetime of love for jazz to be heard in Mr.Hawkins’ every breathe as it becomes one with his saxophone. Completely moving. Great stuff. Don’t let any fool hung-up on technique tell you otherwise.

01 – The Man I Love
02 – Don’t Blame Me
03 – Just a Gigolo
04 – The One I Love (Belongs to Somebody Else)
05 – Time on My Hands (You in My Arms)
06 – Sweet and Lovely
07 – Exactly Like You
08 – Street of Dreams
09 – Sugar (That Sugar Baby o’Mine)

Coleman Hawkins – tenor saxophone
Barry Harris – piano
Bob Cranshaw – bass
Eddie Locke – drums

Recorded in New York; December 20, 1966

(eac, flac, cue, log, artwork)

Bill Evans with Jeremy Steig – What’s New {Verve} “Japan”

Review by “Andrew (Denver, Colorado)” (amazon.com)

Bill Evans did not record too many collaborations with other artists outside of his own trios, probably because few could hold their own in the presence of his intensely emotional improvisations. Well known are his fine recordings with Jim Hall and the album he made with Toots Tiellemans – Affinity.
Far less so is this session with Jeremy Steig, son of the more famous cartoonist William Steig. Jeremy’s main efforts were in the Jazz Fusion field which was in vogue in the late sixties and early seventies. This recording attests to his astonishing ability in the straight ahead jazz genre. More importantly, the level of his emotional expression at least puts him in Evan’s musical ball park, and Evans,in turn, seems to be inspired by Steig’s breathy and adventurous solos.
The original album was tough to find, so this reissue is very welcome, particularly with so few jazz flautists currently active. Highly recommended.

01 – Straight No Chaser
02 – Lover Man
03 – What’s New
04 – Autumn Leaves
05 – Time Out for Chris
06 – Spartacus Love Theme
07 – So What

Jeremy Steig – flute
Bill Evans – piano
Eddie Gomez – bass
Marty Morrell – drums

Recorded at Webster Hall, N.Y.C., on Jan. 30, Feb. 3, 4, 5 and March 11, 1969

Quality: eac, flac, cue, log, artwork

Wynton Marsalis – Marsalis Standard Time “Volume 1” {Columbia}

Review by Scott Yanow (allmusic.com)

On the first of three volumes, Wynton Marsalis explores ten standards plus two of his originals with his quartet of the period (which consists of pianist Marcus Roberts, bassist Robert Hurst III, and drummer Jeff “Tain” Watts). Marsalis’ tone is quite beautiful on the well-balanced set; even the ballads have their unpredictable moments. Among the more memorable performances are his treatments of “Caravan,” “April in Paris,” “New Orleans,” “Memories of You,” and two versions of “Cherokee.”

01 – Caravan
02 – April in Paris
03 – Cherokee
04 – Goodbye
05 – New Orleans
06 – Soon All Will Know
07 – Foggy Day
08 – The Song is You
09 – Memories of You
10 – In the Afterglow
11 – Autumn Leaves
12 – Cherokee

Wynton Marsalis – trumpet
Marcus Roberts – piano
Robert Leslie Hurst III – bass
Jeff “Tain” Watts – drums

Recorded digitally at RCA Studio “A” on May 29-30, 1986
and September 24-25, 1986.

Quality: eac, flac, cue, log, artwork

Oscar Peterson and Roy Eldridge {Pablo}[OJC]

Review by Scott Yanow (allmusic.com)

Part of his five sessions that featured duets with different trumpeters, pianist Oscar Peterson’s matchup with trumpeter Roy Eldridge (reissued on CD) has its strong moments. Eldridge did not quite have the range of his earlier years, but his competitive streak had not mellowed with age. Peterson pushes Eldridge to his limit and the music is generally quite exciting. Highlights include “Little Jazz,” “Sunday,” and “Between the Devil and the Deep Blue Sea.”

01 – Little Jazz
02 – She’s Funny That Way
03 – The Way You Look Tonight
04 – Sunday
05 – Bad Hat Blues
06 – Between the Devil and the Deep Blue Sea
07 – Blues for Chu

Oscar Peterson – piano and organ
Roy Eldridge – trumpet

Recorded at M.G.M. Recording Studios, Los Angeles; December 8, 1974.

Quality: eac, flac, cue, log, artwork

Teddy Wilson – The Greatest Jazz Piano {Polydor} “Japan”

Teddy Wilson’s biography by James Nadal

Born: November 24, 1912 – Died: July 31, 1986 – Instrument: Piano

His airy, effortless style, with its emphasis on lightly accompanied right-hand melody, was a key element in the transition from swing to bebop, and many modern jazz pianists took Wilson’s approach as their starting point. His early recordings were percussive and forceful, but as he matured his technique became graceful, almost elegant. He was a gifted artist who used the full range of his instrument to his advantage. His recordings with Billie Holiday and Benny Goodman’s trio and quartet during the 1930s are considered classics.

Wilson was born in Austin, TX in 1912, his parents were both schoolteachers. They left Texas in 1918 for positions at the prestigious Tuskegee College in Talladega, AL, one of the pioneer black universities. Wilson studied music at both the Tuskegee Institute and Alabama’s Talladega College.

Moving on to Detroit and Toledo, Ohio, he started by joining up with Speed Webb and Milton Senior before heading to Chicago, where he played with the likes of Erskine Tate, Eddie Mallory, Clarence Moore, Jimmy Noone and Louis Armstrong. He traveled to New York in 1933 to join Benny Carter’s orchestra, the Chocolate Dandies. After Carter disbanded the following year to take a position as arranger with Goodman’s band Wilson worked with an all-star group led by Red Norvo in 1934 and with Willie Bryant’s band during 1934 and 1935. He met Goodman in 1935 and in 1936 was asked to join the bandleader’s trio, which also included drummer Gene Krupa. Lionel Hampton joined soon after, making it a quartet. Wilson became the first African-American publicly featured in Goodman’s line-up.

During his time with Goodman, Wilson put together several small groups for recording sessions, and began a long career as a freelance recording artist that culminated in his marvelous series of discs with Billie Holiday. Other sessions featured such artists as Lester Young, Roy

Eldridge, Lena Horne, Ella Fitzgerald, Helen Ward, and Harry James. Wilson left Goodman in 1939 to form his own big band, which included such top musicians as Doc Cheatham, Ben Webster, Rudy Powell, and Hal Baker. Thelma Carpenter was vocalist. Wilson’s subtle style failed to win over audiences, however, who often complained that his orchestra sounded ”too white.” He disbanded the group after only a year and formed a sextet that played regularly at the Cafe Society in New York from 1940 to 1946.

After 1946 Wilson worked mostly as a soloist or in a trio. In 1946 he became a staff musician for CBS radio and operated his own music school, and produced a series of recordings, the “Teddy Wilson School for Pianists,” (reissued on Mosaic) to demonstrate various elements of jazz piano.

He taught at Julliard through the early 1950s, becoming one of the first jazz musicians to do so, and stayed on the staff for seven years. His recording partnerships of the 1950s included significant albums with Lester Young and Benny Carter (both for Verve) in which Wilson’s economical style was a perfect setting for each saxophonist. He made a series of recordings for Columbia in the mid-50s, and by the ‘60s had expanded his scope to world wide appearances.. He was part of the mother of all jazz tours, Benny Goodman’s 1962 State Department tour of Russia. He performed with international musicians, developing a close relationship with the Dutch Swing College Band, with whom he made four tours. Wilsons discography for the 1970s includes recording sessions in Copenhagen, Tokyo, Munich, Nice, and London. He was truly an international jazz star. He continued to work right up to the end, making appearances with Goodman, Hampton, Krupa, Benny Carter, Red Norvo and other all-star survivors of the Swing Era, and he also worked extensively with a trio including his sons-Theodore on bass and Steven on drums.

Teddy Wilson passed away in 1986; he maintained a phenomenally consistent standard until the end of his life, because of his influence and longevity; he is regarded by many critics as a significant pianist of the swing era. His extensive catalog of recordings as a sideman and leader, and his distinguished reputation amongst jazz aficionados and musicians alike, are his enduring testament.

01 – Sophisticated Lady / Satin Doll
02 – Stompin’ at the Savoy
03 – Lullaby of Birdland
04 – Moonglow
05 – Mean to Me
06 – I Can’t Get Started
07 – I’m Thru with Love
08 – Cheek to Cheek
09 – My Silent Love
10 – Body and Soul
11 – Shiny Stockings
12 – Lush Life – Take the “A” Train
13 – Tea for Two
14 – Someone to Watch Over Me
15 – As Time Goes By

Teddy Wilson – piano

Recorded on 7-8 January, 1983 at Yamaha Nemu-On Studio

Quality: eac, flac, cue, log, artwork

Ike Quebec – Blue and Sentimental {Blue Note} “Japan”

Review by Steve Huey (allmusic.com)

Ike Quebec’s 1961-1962 comeback albums for Blue Note were all pretty rewarding, but Blue and Sentimental is his signature statement of the bunch, a superbly sensuous blend of lusty blues swagger and achingly romantic ballads. True, there’s no shortage of that on Quebec’s other Blue Note dates, but Blue and Sentimental is the most exquisitely perfected. Quebec was a master of mood and atmosphere, and the well-paced program here sustains his smoky, late-night magic with the greatest consistency of tone. Part of the reason is that Quebec’s caressing tenor sound is given a sparer backing than usual, with no pianist among the quartet of guitarist Grant Green, bassist Paul Chambers, and drummer Philly Joe Jones. It’s no surprise that Green solos with tremendous taste and elegance (the two also teamed up on Green’s similarly excellent Born to Be Blue), and there are plenty of open spaces in the ensemble for Quebec to shine through. His rendition of the Count Basie-associated title cut is a classic, and the other standard on the original LP, “Don’t Take Your Love From Me,” is in a similarly melancholy vein. Green contributes a classic-style blues in “Blues for Charlie,” and Quebec’s two originals, “Minor Impulse” and “Like,” have more complex chord changes but swing low and easy. Through it all, Quebec remains the quintessential seducer, striking just the right balance between sophistication and earthiness, confidence and vulnerability, joy and longing. It’s enough to make Blue and Sentimental a quiet, sorely underrated masterpiece.

01 – Blue and Sentimental
02 – Minor Impulse
03 – Don’t Take Your Love from Me
04 – Blues for Charlie
05 – Like
06 – Count Every Star

Ike Quebec – tenor sax, piano
Grant Green – guitar
Sonny Clark – piano (6)
Paul Chambers – bass (1-5)
Sam Jones – bass (6)
Philly Joe Jones – drums (1-5)
Louis Hayes – drums (6)

Recorded December 16 and 23, 1961.

Quality: eac, flac, cue, log, artwork

Oscar Peterson Trio – We Get Requests {Verve}[K2HD]

Review by Stuart Broomer (amazon.com)

This 1964 studio session features the Peterson trio with bassist Ray Brown and Ed Thigpen, a group that had been together for five years by then and performed like a well-oiled machine. The repertoire is mostly pop songs of the day, including bossa nova tunes and film themes, and the treatments are fairly brief, with emphasis placed squarely on the melodies. Even in their lightest moments, though, the group demonstrates some of the qualities that made it among the most influential piano trios in jazz, a group that could generate tremendous rhythmic energy and a sense of developing musical detail. For all his legendary force, Peterson possesses a subtle rhythmic sense, and here he infuses even “People” with an undercurrent of swing. This is undemanding, tuneful music best suited for casual listening, but it still sparkles with the trio’s customary élan.

01 – You Look Good to Me
02 – Time and Again
03 – My One and Only Love
04 – Corcovado (Quiet Night of Quiet Stars)
05 – The Day of Wine and Roses
06 – People
07 – Have You met Miss Jones?
08 – The Girl from Ipanema
09 – D. & E.
10 – Goodbye J. D.

Oscar Peterson – piano
Ray Brown – bass
Ed Thigpen – drums

Recording Dates:
Batch 1: October 19, 1964 for tracks 4, 7 and 8;
Batch 2: October 20, 1964 for tracks 1, 2, 3, 5, 6 and 9
Batch 3: November 19 or 20, 1964 for track 10

Quality: eac, flac, cue, log, artwork

Ben Webster – See You at The Fair {impulse!} “Analogue Productions”

Review by Scott Yanow (allmusic.com)

Ben Webster’s final American recording was one of his greatest. At 55, the tenor saxophonist was still very much in his prime but considered out of style in the U.S. He would soon permanently move to Europe where he was better appreciated. This CD has the nine selections originally included on the LP of the same name, a quartet set with either Hank Jones or Roger Kellaway on piano, bassist Richard Davis, and drummer Osie Johnson. Webster’s tone has rarely sounded more beautiful than on “Someone to Watch Over Me” and “Our Love Is Here to Stay.” In addition, one song from the same session (but originally released on a sampler) and two tunes featuring Webster on an Oliver Nelson date (More Blues and the Abstract Truth) wrap up this definitive CD.

01 – See You at The Fair
02 – Over the Rainbow
03 – Our Love ‘s Here to Stay
04 – In a Mellow Tone
05 – Lullaby of Jazzland
06 – Stardust
07 – Fall of Love
08 – While We’re Dancing
09 – Someone to Watch Over Me

Ben Webster – tenor sax
Hank Jones – piano
Roger Kellaway – piano and harpsichord
Richard Davis – bass
Osie Johnson – drums

Recorded March 11 and 25, 1964.

Quality: eac, flac, cue, log, artwork

Maceo Parker – Roots Revisited {Verve}

Review by Scott Yanow (allmusic.com)

Altoist Maceo Parker has spent most of his career in R&B funk bands, most notably those led by James Brown, George Clinton, and Bootsy Collins. This CD gave him a chance to stretch out as a leader, and his soulful horn immediately brings to mind Hank Crawford and (to a lesser extent) Lou Donaldson. With a strong backup group that includes Pee Wee Ellis on tenor, trombonist Fred Wesley, and Don Pullen on organ, Parker enthusiastically plays over infectious grooves with just one funky departure (“In Time”). Roots Revisited is a throwback to the 1960s soul-jazz style and Maceo Parker gives one the impression that, if called upon, he could hold his own on a bebop date.

01 – Them That Got
02 – Children’s World
03 – Better Get Hit in Yo’ Soul
04 – People Get Ready
05 – Up and Down East Street (for Ulysee Hardy)
06 – Over the Rainbow
07 – Jumpin’ the Blues
08 – In Time

Maceo Parker – alto saxophone, (piano, organ “In Time”).
Fred Wesley – trombone
Pee Wee Ellis – tenor saxophone
Vince Henry – alto saxophone (“Them That Got”).
Don Pullen – organ (except “In Time”)
Rodney Jones – guitar
Bootsy Collins – bass guitars, guitar (“In Time”).
Bill Stewart – drums

Digitally recorded at A&R Studios, NYC; additional recording at
Ligosa Suond, Cincinnatti, OH. Released on 1990.

Quality: eac, flac, cue, log, artwork