Tina Brooks – True Blue {Blue Note}[xrcd]


Review by Scott Yanow (allmusic.com)

Although a four-LP Mosaic box set purportedly includes every recording led by the obscure but talented tenor saxophonist Tina Brooks, this 1994 CD has previously unreleased alternate takes of “True Blue” and “Good Old Soul” that Mosaic overlooked. Brooks is teamed with the young trumpeter Freddie Hubbard (on one of his earliest sessions), pianist Duke Jordan, bassist Sam Jones, and drummer Art Taylor for a set dominated by Brooks’ originals. None of the themes may be all that memorable (“Nothing Ever Changes My Love for You” comes the closest), but the hard bop solos are consistently excellent.

Tracks:
01 – Good Old Soul
02 – Up Tight’s Creek
03 – Theme for Doris
04 – True Blue
05 – Miss Hazel
06 – Nothing Ever Changes My Love for You

Personnel:
Freddie Hubbard – trumpet
Tina Brooks – tenor sax
Duke Jordan – piano
Sam Jones – bass
Art Taylor – drums

Recorded June 25, 1960; at Rudy Van Gelder Studio, Englewood Cliffs, NJ.
Year: 2009, Style: Hard Bop

Quality: eac, flac, cue, log, artwork

Advertisements

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.”

Tracks:
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)

Personnel:
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

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.

Tracks:
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

Personnel:
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 – Blues Etude {PolyGram}


Review by Scott Yanow (allmusic.com)

This CD reissue finds pianist Oscar Peterson at a transitional point in his career. Louis Hayes was the new drummer in his trio and, although veteran Ray Brown is on bass during the earlier of the two sessions, by 1966 he would depart after 15 years and be replaced by Sam Jones. However, the basic sound of the Oscar Peterson Trio remained unchanged (Peterson was the dominant voice anyway) and the personality of the group remained intact. Peterson contributed three originals (including the hard-swinging title cut) to this program and also sounds typically fine on “Let’s Fall in Love,” “The Shadow of Your Smile,” “If I Were a Bell,” and a definitive version of “Stella by Starlight.”

Tracks:
01 – Blues Etude
02 – Shelley’s World
03 – Let’s Fall in Love
04 – The Shadow of Your Smile
05 – If I Were a Bell
06 – Stella by Starlight
07 – Bossa Beguine
08 – L’Impossible
09 – I Know You Oh So Well

Personnel:
Oscar Peterson – piano
Sam Jones, Ray Brown – bass
Louis Hayes – drums

Recorded on December 3, 1965 and May 4, 1966

Quality: eac, flac, cue, log, artwork

Cannonball Adderley – Somethin’ Else {Blue Note} “Analogue Productions”


Review by Steven McDonald (allmusic.com)

It isn’t too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue — aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, “”Alison’s Uncle,”” closes out Somethin’ Else on a high note, changing the flow of energy in an interesting way (purists can still finish up on a quieter note, as with the original, by programming “”Dancing in the Dark”” as the final track). In many ways it’s a surprise that this track was left off originally — it’s an excellent piece, with Adderley and Davis trading licks and solos while Jones and Blakey keep pace. Blakey also takes some terrific solos. The remastering job is the usual superb MFSL effort, producing clear sound with almost no background noise. Due to the original recording (made in 1958), Davis’ trumpet sometimes seems a little shrill and metallic, but it’s not an overwhelming problem — certainly not when you consider Davis’ style. Altogether, an excellent addition to any jazz collection.

Tracks:
01 – Autumn Leaves
02 – Love for Sale
03 – Somethin’ Else
04 – One for Daddy-O
05 – Dancing in the Dark
06 – Alison’s Uncle (aka Bangoon)

Personnel:
Miles Davis – trumpet
Cannonball Adderley – alto sax
Hank Jones – piano
Sam Jones – bass
Art Blakey – drums

Originally released in 1958 by Blue Note Records as BST-81595.

Quality: eac, flac, cue, log, artwork

Red Garland Trio – Bright and Breezy {Jazzland}[OJC]


Review by Scott Yanow (allmusic.com)

During 1961-1962, following a long series of recordings for Prestige, pianist Red Garland recorded four LPs for the Jazzland label. His style was unchanged from a few years earlier, and this trio set with bassist Sam Jones and drummer Charlie Persip (reissued on CD on the Original Jazz Classics label) is very much up to par. Highlights include Garland’s interpretations of “I Ain’t Got Nobody,” “Blues in the Closet,” and “Lil’ Darlin’.” An enjoyable straight-ahead session.

Tracks:
01 – On Green Dolphin Street
02 – I Ain’t Got Nobody
03 – You’ll Never Know
04 – Blues in the Closet
05 – What’s New
06 – Lil’ Darlin’
07 – What is There to Say?
08 – So Sorry Please

Personnel:
Red Garland – piano
Sam Jones – bass
Charlie Persip – drums

Recorded at Plaza Sound Studios, New York City; July 19, 1961

Quality: eac, flac, cue, log, artwork

Grant Green – Born to Be Blue {Blue Note}


Review by Alex Henderson (allmusic.com)

Although Grant Green provided his share of groove-oriented soul-jazz and modal post-bop, his roots were hard bop, and it is in a bop-oriented setting that the guitarist excels on Born to Be Blue. Most of the material on this five-star album was recorded at Rudy Van Gelder’s New Jersey studio on December 11, 1961, when Green was joined by tenor titan Ike Quebec, pianist Sonny Clark, bassist Sam Jones, and drummer Louis Hayes. Tragically, Quebec was near the end of his life — the distinctive saxman died of lung cancer at the age of 44 on January 16, 1963 — but there is no evidence of Quebec’s declining health on Born to Be Blue. He was playing as authoritatively as ever well into 1962, and the saxman is in fine form on hard-swinging interpretations of “Someday My Prince Will Come” and Al Jolson’s “Back in Your Own Back Yard.” It’s interesting to hear Quebec playing bop, for his big, breathy tone was right out of swing and was greatly influenced by Coleman Hawkins and Ben Webster. Although Quebec and Green (who was 14 years younger) had very different musical backgrounds, they were always quite compatible musically. They clearly enjoyed a strong rapport on the uptempo selections as well as ballads like “My One and Only Love” and Mel Torme’s “Born to Be Blue.” Originally a vinyl LP, this album was reissued on CD in 1989, when Blue Note added an alternate take of the title song and a previously unreleased version of Charlie Parker’s “Cool Blues.”

Tracks:
01 – Someday My Prince Will Come
02 – Born to Be Blue
03 – Born to Be Blue (alternate take)
04 – If I Should Lose You
05 – Back in Your Own Back Yard
06 – My One and Only Love
07 – Count Every Star
08 – Cool Blues
09 – Outer Space

Personnel:
Grant Green – guitar
Ike Quebec – tenor sax
Sonny Clark – piano
Sam Jones – bass
Louis Hayes – drums

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey
on December 11, 1961 and March 1, 1962.

Quality: eac, flac, cue, log, artwork