Tuesday, December 20, 2011

Wynton Kelly Trio/Sextet - Kelly Blue (1960)


Originally cut for Riverside, this set mostly features the influential pianist Wynton Kelly in a trio with his fellow rhythm section mates from the Miles Davis bands, bassist Paul Chambers and drummer Jimmy Cobb. "Kelly Blue" and "Keep It Moving" add cornetist Nat Adderley, flutist Bobby Jaspar and the tenor of Benny Golson to the band for some variety. The CD reissue augments the program with a previously unreleased "Do Nothin' Till You Hear from Me" and the alternate take of "Keep It Moving." Kelly was renowned as an accompanist, but as he shows on a set including three of his originals and four familiar standards (including "Softly, As in a Morning Sunrise" and "Willow Weep for Me"), he was also a strong bop-based soloist too. A fine example of his talents.
Review by Scott Yanow
http://www.allmusic.com/album/kelly-blue-r142046

1. Kelly Blue
2. Softly, As In The Morning Sunrise
3. Do Nothing Until You Hear From Me
4. On Green Dolphin Street
5. Willow Weep For Me
6. Keep It Moving (take 4)
7. Keep It Moving (take 3) Bonus track
8. Old Clothes

Wynton Kelly (p) Nat Adderley (tp) Benny Golson (ts) Bobby Jaspar (fl) 
Paul Chambers (b)
Jimmy Cobb (d)

Saturday, December 10, 2011

Mal Waldron Mal 4 (1958)



It seems strange that this, pianist Mal Waldron's seventh session as a leader, was his first with a group as small as his trio. With the assistance of bassist Addison Farmer and drummer Kenny Dennis, Waldron performs four standards and three of his moody originals. His sometimes-brooding style was already quite recognizable and his inventive use of repetition was quite impressive. This recording gives listeners a definitive look at the early style of Mal Waldron. 
Review Scott Yanow
http://www.allmusic.com/album/mal-4-trio-r149614

1. Splidium Dow
2. Like Someone In Love 
3. Get Happy
4. J.M.'s Dream Doll
5. Too Close For Comfort
6. By Myself
7. Love Span

Mal Waldron (p) Addison Farmer (b) Kenny Dennis (d)

Saturday, December 3, 2011

Art Tatum and Ben Webster The Album (1956)


1. All The Things You Are
2. Gone With The Wind
3. Have You Met Miss Jones
4. Day And Night
5. Where Or When
6. My Ideal
7. My One And Only Love
8. All The Things You Are (solo take)
9. Gone With The Wind (solo take)
10. Have You Met Miss Jones (solo take)
11. Day And Night (solo take)
12. Where Or When (solo take)

Ben Webster (ts) Art Tatum (p) Red Callender (b) Bill Douglass (d)

Tuesday, November 22, 2011

Bill Evans Loose Blues (1962)



This long-lost session, not released initially until 1982, features pianist Bill Evans, tenor saxophonist Zoot Sims, guitarist Jim Hall, bassist Ron Carter, and drummer Philly Joe Jones interpreting seven of the pianist's recent originals. Due to some difficulties during the recording process (none of the sidemen were familiar with the often complex numbers), the results were originally shelved and lost for a couple of decades. This CD reissue shows that the music was actually much better than originally thought. While "Time Remembered," "Funkallero," and "My Bells" would become Evans standards, it is quite interesting to hear such forgotten obscurities as "Loose Bloose" (heard in two versions), "There Came You," "Fun Ride," and "Fudgesickle Built for Four"; a couple of the songs could stand to be revived. It is a pity that Evans and Sims (a logical combination) never did record together again. 
Review by Scott Yanow
http://www.allmusic.com/album/loose-blues-r159313

1. Loose Blues
2. Loose Blues (altern. take)
3. Time Remebered
4. Funkallero
5. My Bells
6. There Came You
7. Fudgesikle Built For Four
8. Fun Ride




Monday, November 21, 2011

Curtis Amy Mosaic Select: The Complete Pacific Jazz Recordings (1960-1963)


Of all the volumes in the Mosaic Select series -- as of this writing there are eight -- none is more welcome or unexpected than this set by the late saxophonist, composer, and arranger, Curtis Amy. What these three CDs contain are Amy's entire six-album output for the Pacific Jazz label which includes his masterpiece, Katanga!. Amy's star continued to shine in different contexts after he left the label, as a tough tenor with Gerald Wilson and Ray Charles, as a soloist on the Doors' Soft Parade and L.A. Woman albums, and of course, as an arranger and bandleader in R&B singer Merry Clayton's group (the pair were married).

But it is the material here which cements Amy's place in the jazz pantheon. Amy hailed from Houston, and is very much a part of the rich and varied Texas tenor tradition. He migrated to Los Angeles to work, and fronted numerous soul-jazz bands there before recording these six albums for Pacific Jazz. The titles include the Blues Message and Meetin' Here (co-led with organist Paul Bryant), Groovin' Blue (co-led with drummer Frank Butler), and Way Down, Tippin' on Through, and Katanga! (the latter three as a solo leader), all of them issued between 1960 and 1963. The first three albums in this set offer the view of Amy as a bluesed-out soul wailer in a scene dominated by the latter heyday of cool jazzers and West Coast hard boppers. The players on these three recordings offered a glimpse into the deep R&B roots of the Sunset Strip jazz club scene: along with Bryant and Butler, trombonist Roy Brewster, drummer Jimmy Miller, Bobby Hutcherson on vibes, and bassists Jimmy Bond and Clarence Jones played on these sessions, all of them stalwarts on that steaming but criminally undocumented scene. The fourth album in the set, Way Down, features some new faces, most notably Marcus Belgrave before his stint with Charles Mingus, and vibist Roy Ayers before he went solo. Other players on the date include bassist George Morrow, and pianist Victor Feldman. Tippin' on Through is a Live at the Lighthouse date, and Amy pulled out all the stops with Larance Marable, Brewster, Bobby Whitlock, and pianist John Houston. On all of these sessions, Amy is deeply rooted in the rhythm and blues and soul traditions of the Texas tenors. His combo work is restricted rhythmically perhaps, but it is harmonically brilliant in the way it stretches these forms to the breaking point at the front line, and the pieces on the live set dovetail and turn back on themselves -- dig the large modal frames Houston lays down under Ayers' vibes: Ayers then extrapolates them for the horns to jump off from. Texturally too, the way solos are layered and dovetail and turn back on themselves dynamically is quite remarkable, in that many of the New York soul-jazz dates didn't get to this place until 1966 or so. Finally, Amy was already deeply under the sway of Coltrane on Tippin' on Through: his own solos take the modal approach, and wind around one or two phrases and blow them from the inside out, exploding into torrents of sound without moving away from the blues.

Katanga! is a case in point all by itself. It remains a jazz classic for its wondrously extrapolated and striated harmonics, its knotty sense of interval, and Amy's melodic sophistication, which was deeply saturated with Latin and African scalar considerations. This set also features the trumpet playing of the little-known and under-recorded Dupree Bolton, the elegant funk of guitarist Ray Crawford, and features Amy on soprano, an instrument that he mastered and became an original voice on, despite the fact that he had played it for such a brief time previous to this session. Here, despite the elongated compositional structures, the blues are never out of the limelight entirely. The title track, written by Dupree Bolton, and "Lonely Woman" (Amy's version, not Ornette Coleman's) are the highlights here, but there isn't a weak millisecond on this slab. In all, this collection is its own revelation -- not only of Amy's overlooked artistry, but of the city of L.A. teeming with fresh sounds and approaches before the steamroller of rock and roll overshadowed it.
Review Thom Jurek - allmusic.com 






Disc 1

1. Searching
2. Going Down, Catch Me A Woman
3. The Blues Message
4. Come Rain Or Come Shine
5. This Is The Blues
6. Meetin' Here
7. Early In The Morning
8. If I Were A Bell
9. One More Hamhock Please
10. Angel Eyes
11. Just Friends

Disc 2

1.Gone Into It
2. Annsome
3. Bobblin'
4. Groovin' Blues
5. Beautiful You
6. Way Down
7. Liberia
8. 24 Hours Blues
9. Lisa
10. A Soulful Bee, A Soulful Rose
11. All My Life
12. Bells and Horns

Disc 3

1. Tippin' On Through
2. Funk In The Evening
3. For Ayers Only
4. In Your Own Sweet Way
5. Summertime
6. Set Call
7. Katanga
8. Lonely Woman
9. Native Land
10. Amyable
11. You Don't Know What Love Is
12. A Shade Of Brown
13. Very Frank

Saturday, November 19, 2011

Hampton Hawes Quartet All Night Sessions Vol. 3 (1956)



Vol. 3 of the Hampton Hawes Quartet's All Night Session contains three spontaneously improvised variations on the blues, one very cool extended rendition of Duke Ellington's "Do Nothin' 'Till You Hear from Me" and a strikingly handsome treatment of Harold Arlen's "Between the Devil and the Deep Blue Sea." The briskly paced "Blues #4" is especially progressive and exciting. Apparently "Blues of a Sort" was a warm-up performance, as voices are audible (discussing a football game!) in the background during the bass solo. For this one-take marathon late-night session of November 12 and 13, 1956, Hawes chose to share the studio with guitarist Jim Hall, bassist Red Mitchell and drummer Eldridge "Bruz" Freeman, who had replaced Chuck Thompson following that musician's sudden inability to continue touring with the group earlier that year. "We gave Chuck what money we could and left him sitting on a hospital cot in a white bathrobe." This grim image, like much of Hawes' autobiography Raise Up Off Me, paints a stark picture of the narcotics epidemic among jazz musicians during the '50s. Although this was the first peak of his career, Hawes later admitted that "during the fall of 1956 I was messing up consistently -- showing late on gigs or missing them altogether." He had lots of offers for work, including the possibility of providing music for a film soundtrack: "Wanted to do it, would have paid good, but at the time I didn't even have the bread to get high enough to get to the studio to see what they had in mind." One of the great incongruities of bop is the fact that Charlie Parker and the musicians who were most directly influenced by him were able to be so creative and prolific while grappling with addictions that confounded, immobilized, and eventually slew them. All of these insights quietly swarm beneath the surface of what added up to more than two hours of exceptionally fine quartet jazz.
Review by Arwulf Arwulf
http://www.allmusic.com/album/all-night-session-vol-3-r154503/review


1. Do Nothing Until You Hear From Me
2. Blues # 3
3. Between The Devil And The Sea
4. Blues # 4
5. Blues Of A Sort

Hampton Hawes (p) Jim Hall (g) Red Mitchell (b) Eldridge Freeman (d)

Hampton Hawes Quartet All Night Sessions Vol. 2 (1956)


This is the second of three albums that came about as the result of an all-night recording session that took place in Los Angeles on November 12 and 13, 1956. Although Hampton Hawes spontaneously created five original tunes at this extraordinarily inspired date, everything on Vol. 2 comes directly out of the standard bop musician's working repertoire. The quartet, with bassist Red Mitchell, guitarist Jim Hall, and drummer Eldridge "Bruz" Freeman, collectively improvise their way through four attractive standards ("I Should Care" turned out to be the only slow ballad of the entire session) and three of Dizzy Gillespie's most refreshing creations. In 1958 Hawes was quoted as saying "It's hard to put into words how good it feels to play jazz when it's really swinging...I've reached a point where the music fills you up so much emotionally that you feel like shouting hallelujah -- like people do in church when they're converted to God. That's the way I was feeling the night we recorded All Night Session!"
Review by Arwulf Arwulf
http://www.allmusic.com/album/all-night-session-vol-2-r140368


1. I'll Remember April
2. I Should Care
3. Woody 'n You
4. Two Bass Hit
5. Will You Still Be Mine
6. April In Paris
7. Blue 'n Boogie

Hampton Hawes (p) Jim Hall (g) Red Mitchell (b) Eldridge Freeman (d)

Hampton Hawes Quartet All Night Sessions Vol. 1 (1956)


On the night of November 12 and into the morning of November 13, 1956, a quartet led by pianist Hampton Hawes recorded enough material to fill three long-playing phonograph record albums. This studio session contained many elements associated with a live gig: the work took place during regular nightclub performing hours, the improvisations were mostly extended, and there were no alternate takes. A remarkable freshness and spontaneity prevailed throughout the session. Although controversy continues regarding the original sequence of titles, Duke Jordan's "Jordu" and Dizzy Gillespie's "Groovin' High" are superb openers for this first of three volumes. In addition to an invigorating run down "Broadway," Hawes improvised two original themes: "Takin' Care" and a bluesy walk entitled "Hampton's Pulpit" that stretched out for more than 11 minutes, making it the longest track of the entire all-night session. Collaborating with the pianist on this historic date were guitarist Jim Hall, bassist Red Mitchell, and drummer Eldridge "Bruz" Freeman. The interplay between these four men is marvellous, particularly when heard with headphones or through a sound system allowing for a full appreciation of the stereophonic balance achieved by the recording engineers.
Review by Arwulf Arwulf

http://www.allmusic.com/album/all-night-session-vol-1-r154501/review


1. Jordu
2. Groovin' High
3. Takin' Care
4. Broadway
5. Hampton's Pulpit

Hampton Hawes (p) Jim Hall (g) Red Mitchell (b) Eldridge Freeman (d)

Tuesday, November 15, 2011

Hampton Hawes The Green Leaves of Summer (1964)


Pianist Hampton Hawes' first recording after serving five years in prison finds Hawes evolving a bit from a Bud Powell-influenced bop pianist to one familiar with more modern trends in jazz. Reissued on CD, this trio date finds Hawes interacting closely with bassist Monk Montgomery and drummer Steve Ellington (making his recording debut). Hawes had lost nothing of his swinging style while in prison, as can be heard on such numbers as "Vierd Blues," "St. Thomas" and "Secret Love," and he was just starting to hint at moving beyond bop. Recommended.
Scott Yanow
http://www.allmusic.com/album/the-green-leaves-of-summer-r140365 

1. Veird Blues
2. The Green Leaves Of Summer
3. Ill Wind
4. St. Thomas
5. Secret Love
6. Blue Skies
7. The More I See You
8. G.K. Blues

Hampton Hawes (p) Monk Montgomery (b) Steve Ellington (d)

Sunday, November 13, 2011

Jackie McLean & Co Introducing Ray Draper (1957)


Although altoist Jackie McLean's Prestige recordings of the 1950s are not as significant as his Blue Notes from the '60s, he did record quite a bit of enjoyable hard bop material during this era. This CD is unusual for, in addition to a conventional quintet (with trumpeter Bill Hardman, pianist Mal Waldron, bassist Doug Watkins and drummer Art Taylor), the young tuba player Ray Draper is heard on three of the five group originals. Draper played his instrument as part of the frontline rather than in the rhythm section and, even if he was not on the level of McLean and Hardman, he gives some needed color to this set. Waldron, who contributed two of the five selections (the others are by McLean, Watkins or Draper) really sets the melancholy mood for much of the music and is an important force behind the scenes. An interesting CD.
Scott Yanow
http://www.allmusic.com/album/jackie-mclean-and-co-r143545 

1.Flickers
2. Help
3. Minor Dream
4. Beau Jack
5. Mirage

Jackie McLean (as) Bill Hardman (tp) Ray Draper (tuba) Mal Waldron (p) 
Dough Watkins (b) Art Taylor (d)


Sunday, November 6, 2011

Junior Mance Happy Time (1962)

Pianist Junior Mance was in excellent company on this inspired 1962 session with bassist Ron Carter and drummer Mickey Roker. Its unfortunate this trio only recorded together on this one date as their unity propels the blues, gospel, and bebop ideas Mance consistently feeds them. The program is highlighted by three Mance originals "Out South," "Taggie's Tune," and the torrid joy of the opening theme "Happy Time," along with versions of "Jitterbug Waltz," "Tin Tin Deo," and Mance at his soulful bluesy best on Clark Terry's "The Simple Waltz." 
Review by Al Campbell

http://www.allmusic.com/album/happy-time-r143064


1. Happy Time
2. Jitterbug Waltz
3. Out South
4. Tin Tin Deo
5. For Dancers Only
6.Taggie's Tune
7. Azure Te
8. The Simple Waltz

Junior Mance (p) Ron Carter (b) Mickey Rocker (d)

Saturday, November 5, 2011

Buddy De Franco Qu4rtet with Sonny Clark Complete Recordings (1954)

Disc 1
1. Jack The Fielstalker
2. Cable Car
3. I Wish I Knew
4. If I Should Lose You
5. Lover Man
6. Tenderly
7. Deep Purple
8. Monogram
9. Yesterdays
10. Blues In The Closet
11. Mine
12. You Go To My Head
13. Gerry's Tune
14. Now's The Time
15. Titoro

Disc 2
1. Autumn Leaves
2. Titoro
3. The Bright One
5. Sonny's Idea
6. Laura
7. Everything Happen To Me
8. I'll Remember April
9. Willow Weep For Me
10. Minor Incident
11. Foggy Day
12. What Can I say Dear
13. Moe



Buddy De Franco (cl) Sonny Clark (p) Gene Wright (b) Bobby White (d)

Sunday, October 30, 2011

Joe Bataan Call My Name (2004)


Joe Bataan is alive and well – and to our ears, the king of Latin Soul is sounding better than he has in decades! This tasty little set really takes us back to Joe's classic work for Fania – but it's also got a slightly different twist – one that shows a new younger appreciation of the funk side of Joe's work that wasn't always able to come to the forefront in earlier years. Joe recorded the album at the Daptone Studios in New York – so the sound of the set is spot-on all the way through – perfectly recorded to bring out the soul in Joe's music, and handled with some great touches that make the instrumentation as wonderful as Joe's classic-styled vocals! And even more than that, there's also a heck of great new songs on the set – tunes that follow very strongly in the spirit of Joe's older classics, but which have a freshness that makes the album a totally essential part of Joe's catalog.
Dusty Grooves America Inc.

1. Call My Name
2. Chick-A-Boom
3. I'm The Fool (parts 1 & 2)
4. Cycles Of You
5. Secret Girl, My Superfraud
6. Ernestine
7. Chevere Que Chevere
8, Keep The Change

Friday, October 28, 2011

Jack Kerouac Blues and Haikus (1959)

In the spring of 1958, just a few weeks after cutting Poetry for the Beat Generation, producer Bob Thiele suggested making a second album -- quite a daring notion, considering that the first album would prove so controversial that it wouldn't reach the public for a year -- and Jack Kerouac agreed. Instead of pianist Steve Allen, however, Kerouac insisted that he be accompanied this time by two good friends, tenor saxmen Al Cohn and Zoot Sims. With Cohn doubling on piano, the resulting Blues and Haikus is a stunning duet between speaker and saxmen, working spontaneously in this peculiar mix of jazz and voice, in which the saxmen do get their solo spots around Kerouac's work. There's much more of a sense on this album of a conscious interaction here between Kerouac and his accompanists, and the album is more arch but also more intense and more imposing than its predecessor.
Review by Bruce Elder

http://www.allmusic.com/album/blues-and-haikus-r702179



1. American Haiduk
2. Hard Hearted Old Farmer
3. The last Hotel & Some Of Dharma
4. Poems from The unpublished "Book Of Blues"
5. Old Western Movies
6. Conclusion Of The Railroad Earth

Jack Kerouac (v)  Al Cohn (ts, p) Zoot Sims (ts)

FLAC

Wednesday, October 19, 2011

Kenny Drew Trio (1956)



Kenny Drew, with the assistance of bassist Paul Chambers (whose bowed solos are always welcome) and drummer Philly Joe Jones, explores six standards and two of his originals. Although Drew would have to move to Europe in the early '60s in order to get the recognition he deserved, it is obvious (in hindsight) from this enjoyable date that he was already a major improviser.
Review by Scott Yanow
http://www.allmusic.com/album/the-kenny-drew-trio-r68916

1. Caravan
2. Come Rain Or Come Shine
3. Ruby, My Dear
4. Weird-O
5. Take A Chance On Love
6. When You Wish Upon A Star
7. Blues For Nica
8. It's Only A Paper Moon

Kenny Drew (p) Paul Chambers (b) Philly Joe Jones (d)

The Billy Taylor Trio with Candido (1954)




Having already dedicated half of 1953's Cross Section to numbers with Machito's band, it was no surprise that Bill Taylor's 1954 follow-up, Trio with Candido, would feature more Latin touches -- this time with star Cuban conga player Candido. In line with fellow jazz pianists George Shearing and Red Garland, Taylor doesn't incorporate the Cuban clavé beat so much as he includes the percussion for accentuation. In spite of this, Candido offers up some provocative solos, especially on the fast-paced Taylor original "A Live One," which features the pianist and percussionist trading an energetic set of fours. Medium to slow-tempo Taylor originals, though, dominate the program, including "Bit of Bedlam," where the chaos is decidedly cool. Throughout the album, Taylor uses his fleet, Teddy Wilson-informed solo chops to pleasant effect, even stretching out a bit on "Mambo Inn" to complement Candido's own lengthy workout.
Review by Stephen Cook
http://www.allmusic.com/album/the-billy-taylor-trio-with-candido-r148606

1. Mambo Inn
2. Bit of Bedlam
3.Declivity
4. Love For Sale
5. A Live One
5. Different Bell

Billy Taylor (p) Earl May (b) Charlie Smith (d) Candido (Conga)

Tuesday, October 18, 2011

James Booker New Orleans Piano Wizard: Live! (1977)

Why so much of what pianist/vocalist James Booker recorded in the 1970s didn't surface until the '90s is a mystery, but that's secondary compared to the greatness routinely presented on this CD. It contains nine Booker selections that he performed at the 1977 Boogie Woogie and Ragtime Piano Contest held in Zurich. His relentless, driving style, ability to switch from a hard-hitting tune to a light, soft one without skipping a beat, and wild mix of sizzling keyboard licks and bemused, manic vocals are uniformly impressive. It's a bit short for a CD at 37 minutes, but it has so much flamboyant music and singing that it shouldn't be missed. By Ron Wynn
http://www.allmusic.com/album/new-orleans-piano-wizard-live-r122741

1. On The Sunny Side Of The Street
2. Black Night
3. Keep on Gwine
4. Come Rain Or Come Shine
5. Something Stupid
6. Please Send Me someone To Love
7. Tell Me How You Feel
8. Let Them Talk
9. Come In My House

James Booker (p)

Yo! Hot Latin Funk From El Barrio (2002)


Wonderful Harmless Records compilation long out of print. Fourteen killer tracks from the 1970’s NYC latin funk scene masterfully put together.  It is going to be a battle to pick out the best tunes: the hilarious Cisco Kid cover by La Crema de New York, the groovy middle section of Jimmy’s Yroco or the slick arrangements of Bobby’s Yo! Well, when it hits the deck, it’s a dancefloor filler guaranteed! Enjoy!

1. Yroco - Jimmy Sabater
2. I'm Satisfied  - Joe Bataan
3. Sing a Simple Song – Mongo Santamaria
4. 110th St. and 5th Ave. – Tito Puente
5. La Verdad (The Truth) – Cortijo & his Machine
6. The Cisco Kid – La Crema de New York
7. You Need Help – Monguito Santamaria
8. Yo – Bobby Valentin
9. Somebody's Son – Eddie Palmieri
10. Return to Spanish Harlem – Tony Middleton & Bobby Matos
11. Besito Con Mozancha – Pete Rodriguez y Su Conjunto
12. Lay an Oz on Me Baby – The Latin Blues Band ft. Luis Aviles
13. The New Breed – Luis Ramirez
14. Ponte Duro – Roberto Roena

Saturday, October 15, 2011

Hank Jones Here's Love (1963)

1. Here's Love
2. My Wish
3. You Don't Know What Love Is
4. Dear Mister Santa Claus
5. That Man Over There
6. Arm In Arm
7. The Big Clown Ballon
8. Love, Come Take Me Again
9. Pine Cones and Holly Berries
10. My State, My Kansas, My Home

Hank Jones (p) Kenny Burrell (g) Milt Hinton (b) Elvin Jones (d)

George Wallington Trio and Septet (1949-1951)


George Wallington's technique was huge. When he played, especially with a trio, he filled the space around him with tons of piano. He and his instrument were front and center. But over and above the sheer virtuosity was Wallington's profound joy in playing. Across the ten trio tracks on this Savoy CD, Wallington shares that joy with the listener, not only with his playing but with writing that brims over with melody and invention. Best known as the writer of Godchild, immortalized on Miles Davis's Birth of the Cool, on these tracks he contributes eight top-flight originals in a more purely bop vein. Among the standout tracks is the standard "I'll Remember April" done as a rhumba that quickly shifts into a double-time test for bassist Curley Russel and drummer Max Roach. "Fine and Dandy," another standard, is an extraordinary feature for Roach's brushwork, both in his playing behind the pianist and in a short, remarkable solo break. Two sextet tracks from 1949 show a more self-effacing Wallington, as he blends behind horn players Gerry Mulligan, Brew Moore, and Kai Winding on "Igloo" and on his own "Knockout," which has a wonderful scat vocal from Buddy Stewart. It's the trio tracks, though, where Wallington's genius shines, with some of the finest piano that bebop has to offer.
By Jim Todd
http://www.allmusic.com/album/the-george-wallington-trio-savoy-r167591/review

1. Twin 
2. Polka Dot
3. I'll Remember April
4. High Score
5. Hyacinth
6. Joey Bell
7. I Didn't Know What Time It Was
8. Fine And Dandy
9. Knockout 
10. Igloo
11. Fairyland
12. Racing

George Wallington (p) Curly Russel (b) Charlie Perry (d) Max Roach (d) 
Jerry Lloyd (tp) Brew Moore (ts) Kai Winding (tb) 
Gerry Mulligan (bars) Buddy Stewart (voc)