Listening Room – “Inside Straight”

Cannonball Adderley Quintet – “Inside Straight”

Cannonball Adderley Quintet – “Inner Journey”

Cannonball Adderley Quintet – “Snakin’ The Grass”

From “Inside Straight” : 1973 : Fantasy F9435

This 1973 quintet session (actually a sextet with King Errison on percussion) from Cannonball Adderley features a stellar group of talented players who all fall easily into the groove of the funky soul jazz that was Adderley’s sound in this last phase of his career.  Hal Galper in particular contributes heavily to the album with three compositions (Inner Journey, Snakin’ The Grass, Second Son) not to mention his outstanding electric piano playing throughout.  The album was recorded live at Fantasy Studios, where Studio A was converted into a makeshift “nightclub”.  This was a somewhat new concept for jazz recording at the time, but the resulting album is great, as the players are clearly feeding off the energy of the small crowd in attendance.

Players:
Cannonball Adderley – Alto Sax
Nat Adderley – Cornet
Hal Galper – Electric Piano
Walter Booker – Bass
Roy McCurdy – Drums
King Errison – Percussion

Listening Room – “Coltrane Playlist #2″

John Coltrane Playlist #2

Syeeda’s Song Flute from “Giant Steps” : 1959 : Atlantic LP 1311
Bye Bye Blackbird
from “‘Round About Midnight” : 1955: Columbia CL 949
Trane’s Slow Blues
from “Lush Life” : 1957 : Prestige PRLP 7188
Super Jet
from “Mating Call” : 1956 : Prestige PRLP 7070
Impressions
from “Complete 1961 Village Vanguard Recordings” : 1961 : Impulse 4-232

John Coltrane – “Syeeda’s Song Flute”

Miles Davis – “Bye Bye Blackbird”

John Coltrane – “Trane’s Slow Blues”

Tadd Dameron / John Coltrane – “Super Jet”

John Coltrane – “Impressions”

Listening Room – “Hank & Frank” (R.I.P. Hank Jones)

Hank Jones & Frank Wess – “All Or Nothing At All”

Hank Jones & Frank Wess – “A Hankerin’”

Hank Jones & Frank Wess – “You Made A Good Move”

From “Hank and Frank” : 2006 : Lineage Records

The term “jazz legend” gets tossed around pretty loosely these days, but there is little doubt that the great Hank Jones is deserving of the title.  He was named an NEA Jazz Master in 1989 (full list here), received the National Medal of the Arts in 2008 and was honored with a lifetime achievement Grammy award in 2009.  Unlike his more high profile brothers (trumpeter Thad and drummer Elvin), Hank Jones played the role of sideman to perfection for most of his career.  It was not until much later in life that he began to make a name for himself as a successful headliner.  The NY Times reported that he was planning a tour of Europe when he passed away on March 17th at the age of 91.

Hank Jones and the horn player Frank Wess first played together in the 1950′s and reunited in 2006 for the excellent “Hank and Frank” recording.  The album features a stellar lineup of players and stands as both an excellent introduction and a fine tribute to the skills of one of jazz’s great pianists.

For more on Hank Jones, check out Jazz Times excellent feature article on him from January of 2009.

Players:
Hank Jones – Piano
Frank Wess – Tenor and Flute
Ilya Lushtak – Guitar
John Webber – Bass
Mickey Roker – Drums

Listening Room – “Roots & Herbs”

Art Blakey & The Jazz Messengers – “Look At The Birdie”

Art Blakey & The Jazz Messengers – “Master Mind”

Art Blakey & The Jazz Messengers – “Roots & Herbs”

From “Roots & Herbs” : 1961 : Blue Note BST 84347

Recorded in 1961, but not released until 1969, “Roots & Herbs” features one of the great editions of the Jazz Messengers.  This group recorded extensively for Blue Note in 1960-1961 (there is an entire Mosaic box set devoted just to this group, out-of-print of course!) and all of their output was excellent.  This shelved album is no exception, although it is unique in that it features all Wayne Shorter compositions, which gives a nice look into the young mind of an artist who would soon go on to become one of jazz’s great modern composers.

Players:
Lee Morgan – Trumpet
Wayne Shorter – Saxophone
Bobby Timmons – Piano
Walter Davis, Jr. – Piano
Jymie Merritt – Bass
Art Blakey – Drums

Listening Room – “Sounds of Africa”

AhmedAbdul-Malik

Ahmed Abdul-Malik – “Out Of Nowhere”

Ahmed Abdul-Malik – “African Bossa Nova”

Ahmed Abdul-Malik – “Communication”

From “Sounds of Africa” : 1962 : New Jazz NJLP 8282

“Sounds of Africa” is a funky and soulful affair that adds African rhythms to what is essentially a hard bop sound.  Ahmed Abdul-Malik’s bass is front and center on most of the album and he even plays the oud on a few of the tracks (he makes a  brief appearance on that instrument as part of Coltrane’s band during their legendary 1961 stint at the Village Vanguard).  Abdul-Malik will always be best known for his work with Thelonious Monk in the late 1950′s (“Misterioso, “Thelonious in Action”, “Live at the Five Spot Discovery!”), but he also has a nice set of solo albums from the early 60′s on the New Jazz label that showcase his compositional skills and superb chops as a leader of his own groups.

Players:

On Out of Nowhere:

Tommy Turrentine (tp)
Bilal Abdurrahman (cl, per)
Eric Dixon (ts)
Calo Scott (cello)
Ahmed Abdul-Malik (b)
Andrew Cyrille (d)

On African Bossa Nova & Communication:

Richard Williams (tp)
Rupert Alleyne (fl)
Bilal Abdurrahman (cl, darubeka)
Edwin Steede (as)
Taft Chandler (ts)
Calo Scott (cello, vln)
Ahmed Abdul-Malik (b, oud)
Rudy Collins (d)
Chief Bay (African d)
Montego Joe (cga, bgo)

Listening Room – “Farmer’s Market”

Farmer's Market

Art Farmer – Ad-dis-un

Art Farmer – By Myself

Art Farmer – Walkin’ With Hank

From “Farmer’s Market” : 1956 : New Jazz NJLP 8203

“Farmer’s Market” teams up a group of young players who would all go on to have influential careers in jazz.  While Farmer and Mobley are clearly the headliners here, Kenny Drew’s piano playing is the true standout of the session.  Ad-dis-sun was written by Drew and is a swingin’ example of the cool jazz sound.  Mobley sits out on All By Myself which features some sublime muted trumpet playing by Farmer.  Walkin’ With Hank is a Mobley composition that clearly lays out the classic Blue Note hard bop sound that he and Lee Morgan would work to perfection only a few years later.

Players:
Art Farmer – Trumpet
Hank Mobley – Tenor Sax
Kenny Drew – Piano
Addison Farmer – Bass
Elvin Jones – Drums

Listening Room – “Nova” (R.I.P. Steve Reid)

Steve Reid – Lions of Judah

Steve Reid – Long Time Back

From “Nova” : 1976 : Mustevic Sound MS2001

The great jazz drummer Steve Reid passed away April 12th at the age of 66.  He had recorded with everyone from Miles Davis and James Brown to Fela Kuti and Sun Ra.  His most famous drumming gig was probably on Dancing in the Streets with Martha Reeves & The Vandellas.  Soon after that recording he became the drummer for the house band at the famed Apollo Theatre, which at the time was led by Quincy Jones.  In the 1960′s and 70′s he recorded some great jazz records with the likes of Freddie Hubbard, Jackie McLean and Horace Silver.

His album “Nova” was released on his own independent Mustevic Sound label and features a group of players billed as “The Legendary Jazz Brotherhood” so you know they can play.  It is an amazing mix of the avant-garde, funk and soul-jazz and is a wonderful listen for fans of just about any genre of modern jazz.

Jazz Times published a great profile on Steve Reid a couple years back that can be found here.

Players:
Joe Rigby – Saxophones
Ahmed Abdullah – Trumpet
Les Walker – Organ, Piano
Richard Williams – Bass
Steve Reid – Drums

Listening Room – “Bill Frisell, Ron Carter, Paul Motian”

Frisell, Carter, Motian

Frisell/Carter/Motian – “Eighty-One”

Frisell/Carter/Motian – “Raise Four”

Frisell/Carter/Motian – “I’m So Lonesome, I Could Cry”

From “Bill Frisell, Ron Carter, Paul Motian” : 2006 : Nonesuch 79897

A meeting of the minds and sounds of three jazz pioneers – two are legends from the classic heyday of jazz, one is a leader in exploring new regions for modern day jazz.  Bill Frisell’s guitar is front and center on the album, but the interplay between the three would have you believe they have been playing together for years.  The song selection is great, as the album starts off with Ron Carter’s composition with Miles Davis Eighty One and continues with some originals by the band members as well as some perfectly chosen covers (Monk’s Raise Four and Hank Williams’ I’m So Lonesome I Could Cry).  A nice little gem of an album that deserves to be more widely heard.

Players:
Bill Frisell – Guiter
Ron Carter – Bass
Paul Motian – Drums

Listening Room – “Newport Rebels”

Newport Rebels

Newport Rebels – Mysterious Blues

Newport Rebels – “Cliff Walk”

From “Newport Rebels” : 1960 : Candid CJM 8022

The background story on this release is that in 1960 Charles Mingus organized an alternative festival to the Newport Jazz Festival and recruited some like-minded players to join him, thus the title “Newport Rebels”.  The original album was credited to the Jazz Artists Guild, although I believe most of the subsequent releases have been released under Mingus’ name even though he doesn’t appear on all the tracks.  The opening track Mysterious Blues is the real selling point of the album, as it features Eric Dolphy and Jimmy Knepper sitting in with the Mingus band.  Equally as good is the track Cliff Walk which features Max Roach’s quintet from the time with Booker Little that has Jo Jones joining the group on the drums.  Somewhat of an oddity in both Mingus’ and Roach’s discography, but worth hearing if only for the great music within.

Players:

On “Mysterious Blues”:

Roy Eldridge – Trumpet
Jimmy Knepper – Trombone
Eric Dolphy – Alto Sax
Tommy Flanagan – Piano
Charles Mingus – Bass
Jo Jones – Drums

On “Cliff Walk”:

Booker Little – Trumpet
Julian Priester – Trombone
Walter Benton – Tenor Sax
Peck Morrison – Bass
Jo Jones – Drums
Max Roach – Drums

Listening Room – “The Time Is Right”

The Time Is Right

Woody Shaw – “Time Is Right”

Woody Shaw – “You And The Night And The Music”

From “The Time Is Right” : 1983 : Red 123168-2

This 1983 album was recorded live in Italy and features one of the strongest bands that Woody Shaw would put together in the final phase of his amazing career.  The album has four long tracks (three clock in at over 12 minutes and the other is more than 10 minutes long) and allows all the players to really stretch out and show their chops.  Why Shaw has not achieved legendary status outside of the jazz world, along with the fact that many of his greatest albums (including this one) remain out of print, is anyone’s guess.  This is advanced hard-bop jazz played at its highest level.

Players:
Woody Shaw – Trumpet
Steve Turre – Trombone
Mulgrew Miller – Piano
James Stafford – Bass
Tony Reedus – Bass