Clifford Jordan - Blowing in from Chicago (1957)

BLOWING IN FROM CHICAGO features tenor saxophonist John Gilmore as a co-leader. After this 1957 session, he spent the rest of his career in Sun Ra's band, hardly ever making any albums under his own name. This adversely affected Gilmore's legacy, since his name has largely been overlooked by younger jazz audiences. However, Gilmore's performance here is first-rate, and is matched by fellow tenor sax player Clifford Jordan. Throughout the record, it's apparent that this pairing of like minds is ideal.
Drummer Art Blakey also asserts himself on this album, especially on the highly rhythmic "Billie's Bounce," a Charlie Parker tune he popularized with the Jazz Messengers. The Latin-flavored Jordan original "Bo-Till" is one of BLOWING IN FROM CHICAGO'S highlights, as is his funky blues number "Evil Eye." This is classic hard bop played by some of its most skillful practitioners.
Clifford Jordan's first date as a leader actually found him sharing a heated jam session with fellow tenor John Gilmore. Backed by pianist Horace Silver, bassist Curly Russell, and drummer Art Blakey, the two saxophonists square off mostly on obscurities (other than Gigi Gryce's "Blue Lights" and "Billie's Bounce"). This was one of Gilmore's few sessions outside of Sun Ra's orbit and, if anything, he slightly overshadows the cooler-toned Jordan. Recommended.

by Scott Yanow in All Music Guide

Styles:
Hard-Bop
Post-Bop

Tracks:
01 - Status Quo (5:34)
02 - Bo-Till (5:54)
03 - Blue Lights (6:35)
04 - Billie's Bounce (9:32)
05 - Evil Eye (5:12)
06 - Everywhere (5:42)
07 - Let It Stand (7:42)

Line-up:
Clifford Jordan - Tenor Sax
Curly Russell - Bass
Art Blakey - Drums
Horace Silver - Piano
John Gilmore - Tenor Sax

Art Blakey & The Jazz Messengers - A Night in Tunisia (1960)

The lengthy title track on this CD easily overshadows the rest of the program for it is one of the most exciting versions ever recorded of Dizzy Gillespie's "A Night in Tunisia." Trumpeter Lee Morgan (then only in his early 20s), tenor saxophonist Wayne Shorter, pianist Bobby Timmons and bassist Jymie Merritt formed one of the strongest of the many versions of Art Blakey & the Jazz Messengers and are actually in fine form during the remainder of the satisfying (if anticlimactic) set.

by Scott Yanow in All Music Guide

Style:
Hard-Bop

Tracks:
01 - A Night in Tunisia (11:11)
02 - Sincerely Diana (6:47)
03 - So Tired (6:36)
04 - Yama (6:20)
05 - Kozo's Waltz (6:45)
06 - When Your Lover Has Gone (6:43)
07 - Sincerely Diana" (alternative take) (6:51)

Line-up:
Art Blakey — drums
Lee Morgan — trumpet
Wayne Shorter — tenor saxophone
Bobby Timmons — piano
Jymie Merritt — bass

Art Blakey & The Jazz Messengers - Moanin' (1958)

Moanin' includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson's classy, slowed "Along Came Betty" and the static, militaristic "Blues March" will always have a home in the repertoire of every student or professional jazz band. "Are You Real?" has the most subtle of melody lines, and "Drum Thunder Suite" has Blakey's quick blasting tom-tom-based rudiments reigning on high as the horns sigh, leading to hard bop. "Come Rain or Come Shine" is the piece that commands the most attention, a highly modified, lilting arrangement where the accompanying staggered, staccato rhythms contrast the light-hearted refrains. Certainly a complete and wholly satisfying album, Moanin' ranks with the very best of Blakey and what modern jazz offered in the late '50s and beyond.

by Michael G. Nastos in All Music Guide

Styles:
Hard-Bop

Tracks:
01 - Warm-Up and Dialogue Between Lee and Rudy (00:35)
02 - Moanin' (09:30)
03 - Are You Real (04:47)
04 - Along Came Betty (06:08)
05 - The Drum Thunder Suite: First Theme: Drum Thunder/Second Theme: Cry a Blue (07:30)
06 - Blues March (06:13)
07 - Come Rain or Come Shine (05:45)

Line-up:
Lee Morgan — trumpet
Benny Golson — tenor saxophone
Bobby Timmons — piano
Jymie Merritt — bass
Art Blakey — drums

Jimmy Smith - The Sermon! (1958)

The seven sides on The Sermon! (1958) come from a pair of studio dates, the first of which was held August 25, 1957 and includes Jimmy Smith (organ), Lee Morgan (trumpet), George Coleman (alto sax), Curtis Fuller (trombone), Eddie McFadden (guitar), Kenny Burrell (guitar) and Donald Bailey (drums). This was followed by a second exactly six months (to the day) later on February 25, 1958. Along with Smith, present and accounted for during the session were Lou Donaldson (alto sax) replacing Coleman in addition to contributions from Tina Brooks (tenor sax) and the ubiquitous Art Blakey (drums). From the '57 confab are the popular music standards "S'Wonderful" and "Blue Room". The former is given an unhurried mid-tempo workout as Morgan banters sublime licks with McFadden. Fuller's full round tones effortlessly manoeuvre "Blue Room" with the intimate trio of Bailey and Smith in support. The real essence can be heard in the variety of styles utilized in the latter gathering. An emotive "Lover Man" is punctuated by Donaldson's fluid leads behind Smith's heartfelt changes. This is sharply distinguished by the longer jams featuring Burrell, Blakey and mighty impressive blows throughout from Morgan and Brooks. They ride hard on the Bird classics "Confirmation" and an intense "Au Privave". Brooks' solos are much of the reason why each excels with such bop finesse and are best experienced rather than simply read about. "Flamingo" is a sumptuous ballad that allows Morgan and Burrell to trade some laid back lines within the context of an unencumbered rhythm section. Whether upgrading the mid ‘80s CD or discovering the platter for the first time, The Sermon! is a prime example of Smith and company's myriad of talents.
by Lindsay Planer at All Music Guide

Style:
Hard Bop
Soul Jazz

Tracks:
01 The Sermon
02 J.O.S.
03 Flamingo

Line-up:
Jimmy Smith - organ
Lee Morgan - trumpet
Lou Donaldson - alto saxophone
George Coleman - alto saxophone
Tina Brooks - tenor saxophone
Kenny Burrell - guitar
Eddie McFadden - guitar
Art Blakey - drums
Donald Bailey - drums

Sonny Rollins - with the Modern Jazz Quartet (1953)

Included here are some of Sonny Rollins' earliest sessions as a bandleader. These are among the fresh and vibrant baker's dozen of selections on Sonny Rollins With the Modern Jazz Quartet (1953). The title is a bit misleading though, since the MJQ — with John Lewis (piano), Milt Jackson (vibes), Percy Heath (bass), and Kenny Clarke (drums) — is only accounted for during the first four sides. There is a playful and energetic tone that ricochets from Jackson's fluid vibes, landing firmly in Rollins' musical court. One prime example of this interaction is heard throughout the solos on the opening track, "Stopper." Similarly, "Almost Like Falling in Love" bops, weaves, and swings throughout, with some expressive contributions via Lewis, effectively linking Rollins' and Jackson's solos. "No Moe," which stands as one of the best originals on the disc, also bears their undeniable connection. Another not-to-be-missed reading is the sultry "In a Sentimental Mood." Here, Rollins spirals mature and ethereal lines against Jackson's resonant intonation and shimmer. If just for these tunes, Sonny Rollins With the Modern Jazz Quartet is a vital component in any jazz enthusiasts' collection. The rest of the disc is performed by Rollins and a quartet that also includes the talents of Kenny Drew (piano), the MJQ's Percy Heath (bass), and the main Jazz Messenger, Art Blakey (drums). On the original tune "Scoops," Blakey's hardball antics provide well-placed sonic interjections, punctuating Rollins' highly infectious melodic sense. While on the subject of catchy tunes, all ears should be directed to the biblically derived title "Shadrack," which had been a signature piece for Louis Armstrong. This early incarnation of the Sonny Rollins Quartet has rarely sounded as cohesive, as they collectively percolate with their definitive execution. Of particular note is the inclusion of Miles Davis' "I Know." This extension of Charlie Parker's "Confirmation" features Davis on piano accompanying Rollins with solid chord progressions, allowing the burgeoning player to lead his first-ever quartet with Heath and Roy Haynes (drums).

by Lindsay Planer at All Music Guide.

Styles:
Bop

Tracks:
01 The Stopper
02 Almost Like Being in Love
03 No Moe
04 In a Sentimental Mood
05 Scoops
06 With a Song in My Heart
07 Newk's Fadeaway
08 Time on My Hands
09 This Love of Mine
10 Shadrack
11 On a Slow Boat to China
12 Mambo Bounce
13 I Know

Line-up:
Sonny Rollins – tenor saxophone
John Lewis - piano (tracks 1-4)
Milt Jackson - vibes (tracks 1-4)
Percy Heath - bass
Kenny Clarke - drums (tracks 1-4)
Art Blakey - drums (tracks 5-12)
Miles Davis - piano (track 13)
Roy Haynes - drums (track 13)

Cannonball Adderley - Somethin' Else (1958)

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.

by Steven McDonald at All Music Guide.

Styles:
Hard Bop

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

Line-up:
Cannonball Adderley - alto saxophone
Miles Davis - trumpet
Art Blakey - drums
Hank Jones - piano
Sam Jones - bass