New reup!

Link for Lou Blackburn's Complete Imperial Sessions have been replaced, as requested. You'll find it in the original comment! Enjoy!

Mosaic Box Sets New links!

Links for Curtis Amy and Bennie Green wonderful Mosaic Box Sets have been replaced wih fresh ones. You'll find them in the original comments! Be sure to get them while they last!

Joe Gordon - Looking Good! (1961)

Joe Gordon did not live long, only making it to 35. His second of two recordings as a leader (originally released by Contemporary) finds him on the verge of leading his own group. Gordon wrote all eight of the selections and is joined by adventurous but obscure altoist Jimmy Woods, pianist Dick Whittington, bassist Jimmy Bond, and drummer Milt Turner. Although the solos are generally more memorable than the tunes, this is an excellent effort that hints at what might have been had Joe Gordon lived.

Yusef Lateef - The Centaur and the Phoenix (1961)

From his first explosion of recordings in the mid-'50s, Yusef Lateef was a player who was always gently stretching the boundaries of his music to absorb techniques, new rhythms, and new influences from Africa, the Middle East and Asia. The Centaur and the Phoenix, however, takes the risks and the innovations that Lateef was known for, and expands them in a number of different directions all at once, leading to an album that bursts with new ideas and textures, while remaining accessible, and above all, beautiful. Lateef seems eager here to take the next step musically by breaking the mold of his previous albums. While he is a gifted composer, only a third of the songs featured here are his work: the rhythm-driven flute showcase "Apathy," the gentle, nocturnal tribute to his daughter "Iqbal" and the tone poem "The Philanthropist." The best of the rest come from Kenny Barron, who was only 17 at the time, and Charles Mills, a contemporary classical composer who drew the album's self-titled highlight from two of his symphonies, the first paying tribute to Crazy Horse and the other to Charlie Parker. Providing the structure and textures needed for these intricate compositions was Lateef's largest ensemble to date. Accustomed to working in a small-group format, he makes managing a band of nine sidemen seem easy. Several Lateef regulars are here, including Barry Harris, Richard Williams, and Ernie Farrow, but the inclusion of forward-thinking musicians like Joe Zawinul also help take this album to a higher level. The greatest miracle of this recording, however, is the balance that Lateef achieves with this large group -- they are always an asset, never a distraction, and even as they come on strong and powerful on songs like "Apathy," or Barron's arrangement of "Ev'ry Day (I Fall in Love)" he remains in charge, somehow making his delicate flute (or oboe, tenor sax or argol) rise above it all, spilling out brightness, grace and joy.

Review byStacia Proefrock

http://www.allmusic.com/album/the-centaur-and-the-phoenix-mw0000085902

Fresh new links...again!

Just posted fresh new links for anyone interested in these two great albums! Please let us know about any other dead links and i will try to re-post them as soon as i possibly can!

Thanks Genre Slur for letting me know!

* Ben Webster & Joe Zawinul - Soulmates
* Bobby Timmons - This is here!

Links in respective comments...

Enjoy!

New links

Hi there, 
i've re-posted the following couple of new link as requested in relative comments.

* Eddie Costa -The House of Blue Lights
* Cal Tjader & Eddie Palmieri - Bamboleate 

Ben Webster and Joe Zawinul . Soulmates (1963)

What initially seems like an unlikely pairing for this session delivers on its unique pedigree with performances that do full justice to tenor legend Ben Webster and to the then up and coming pianist Joe Zawinul. Recorded in 1963 while the pianist was a member of the Cannonball Adderley Sextet, the session came about as a result of Webster's and Zawinul's sharing a New York apartment for several months. It's actually billed as Zawinul's first session as leader and Webster's last in the U.S. before his move to Europe. The tunes generally keep to mid-tempos, a pace that affords Webster the opportunity to wield the gentler side of his legendary sound. His rich, nuanced tone and magnificent phrasing are superbly in evidence. Listeners only familiar with Zawinul's soul-jazz side with Adderley and later his pioneering synthesizer work with Weather Report may be surprised at his eloquent playing here in a classic style right out of Tommy Flanagan or Red Garland. The presence of Thad Jones -- a legend in his own right -- on cornet for four tacks is a bonus. With a rhythm section rounded out by the slightly lesser legends of drummer Philly Joe Jones and bassist Sam Jones, alternating with Richard Davis, there isn't one false step on this set. It may tend to the mellower side of things, but that simply means there's more opportunity to luxuriate in Webster's peerless sound. 

Review by Jim Todd

http://www.allmusic.com/album/soulmates-mw0000674693

Eddie Costa - The House of Blue Lights (1959)

Eddie Costa was probably better known for his work as a vibraphonist than as a pianist during his all too brief career, which ended suddenly after a fatal car crash in 1962. He sticks exclusively to piano on his final album as a leader, joined by bassist Wendell Marshall and drummer Paul Motian. His interpretation of Gigi Gryce's "The House of Blue Lights" has a dark tone overall, very percussive at times and often incorporating fast runs. Likewise, his take of "My Funny Valentine" is rather moody, as if a breakup between lovers is imminent. "Diane" finally lightens the mood with some mid-tempo breezy bop. Costa's two originals include the upbeat cooker "Annabelle" and the rambling, almost avant-gardish "What's It to Ya." Marshall and Motian provide great support for Costa throughout these experimental sessions. It is a pity that Eddie Costa died at such a young age before he had an opportunity to expand upon the work heard in this valuable date.
Reviewed by Kenny Dryden
http://www.allmusic.com/album/the-house-of-blue-lights-mw0000699431

New link in comments. Any probs, please let me know. Thank you!

Sonny Clark - Dial "S" for Sonny (1957)

Dial "S" for Sonny, Sonny Clark's first session for Blue Note Records and his first session as a leader, is a terrific set of laidback bop, highlighted by Clark's liquid, swinging solos. Clark leads a first-rate group -- Art Farmer (trumpet), Curtis Fuller (trombone), Hank Mobley (tenor sax), Wilbur Ware (bass), Louis Hayes (drums) -- through four originals and two standards, balancing the selections between swinging bop and reflective ballads. There are traces of Bud Powell in Clark's style, but he's beginning to come into his own, developing a style that's alternately edgy and charmingly relaxed. Mobley, Farmer and Fuller have their moments, but Clark steals the show in this set of fine, straight-ahead bop.

by Stephen Thomas Erlewine

http://www.allmusic.com/album/dial-quot-s-quot-for-sonny-mw0000267905

Dave Pike - Manhattan Latin: The Sensuous Rhythms of Spanish Harlem (1964)

Manhattan Latin captures Dave Pike in flux between the straight-ahead approach of his earlier sessions and the psychedelic pop-jazz of his efforts for MPS: a playful yet methodical immersion into pure, sunkissed groove, its artful assimilation of global rhythms and textures anticipates the direction of Pike's most memorable work. Recorded with an impressive lineup including flautist Hubert Laws, drummer Willie Bobo and then-unknown pianist Chick Corea, the album largely eschews familiar Latin standards in favor of Pike originals. What's impressive is that the end result seems completely organic, living up to the album's title in terms of both sophistication and flavor. Phenomenal cover, too. 

By Jason Ankeny
http://www.allmusic.com/album/manhattan-latin-mw0000738396

Bill Smith Quartet - Folk Jazz (1961)

A record that could only have been made in the late '50s, 1959's Folk Jazz is a meeting of the two great collegiate crazes of the period, post-bebop modern jazz and traditional folk music. Clarinetist Bill Smith and a low-key piano-less trio ? Jim Hall on guitar, Monty Budwig on bass and the great Shelly Manne on drums ? take 10 songs from the folk tradition, strip them down to the bare essentials of melody and chord progressions and turn them into a Kind of Blue-like experiment in cool-toned modal jazz. Familiar standards like "Black Is the Color of My True Love's Hair" (which opens with an extended unaccompanied solo by Smith that's a marvel of economy) are presented in entirely new and fresh settings. Perhaps the best of the lot is an extended meditation on the spiritual "Go Down Moses" that turns the song from a gospel shout to an intimate whisper. The 2003 CD reissue adds two tracks, alternate takes of "Reuben, Reuben" and "Nobody Knows the Trouble I've Seen."
By Stewart Mason
http://www.allmusic.com/album/folk-jazz-mw0000027934

Cal Tjader & Eddie Palmieri - Bamboleate (1967)

The second album pairing Palmieri and Tjader, Bamboleate moves beyond El Sonido Nuevo into the respective territories of each artist. "Bamboleate" is the Latin cooker ones expects from Palmieri but did not find on the more subdued El Sonido Nuevo. "Semejanza" is an equally affecting jazz lilt led by Tjader. Framed by a melody that could have come straight off the Vince Guaraldi Trio's Charlie Brown Christmas album, it has an equally indelible, locomotive rhythm. Tjader's samba, "Samba De Los Suenho," is a welcome departure from the relative rigidity of El Sonido Nuevo. Also vital are the vocal tracks (Palmieri's); the blatant channel-switching in "Guajira Candela" is an abuse of stereo separation, however. (Use a second voice or instrument for that.) "Pancho's Seis Por Ocho" is typical of the deep, mid-tempo, Afro rhythm of Bamboleate and El Sonido Nuevo. Trombonist Mark Weinstein contributes the closing "Ven Y Recibelo (Come an' Get It)," a mod/soul cooker on a par with the best of Verve all-stars Tjader, Ogerman, Winding, and Schifrin. Finally, the album was reissued in 1977 as Tico LPS-88806 and distributed by Fania; the reissue at least features illustrations of Tjader and Palmieri by Jose Vargas.

Review - Tony Wilds

http://www.allmusic.com/album/bambol%C3%A9ate-mw0000273328

Art Farmer & Benny Golson - Meet the Jazztet (1960)

Although this CD has the same program as the original LP, it gets the highest rating because it is a hard bop classic. Not only does it include superior solos from trumpeter Art Farmer, trombonist Curtis Fuller, tenor saxophonist Benny Golson, and pianist McCoy Tyner (who was making his recording debut) along with fine backup from bassist Addison Farmer and drummer Lex Humphries, but it features the writing of Golson. Highlights include the original version of "Killer Joe" along with early renditions of "I Remember Clifford" and "Blues March." This was Fuller and Tyner's only recording with the original Jazztet, and all ten selections (which also include "Serenata," "It Ain't Necessarily So," "It's All Right With Me," and "Easy Living") are quite memorable.

Scott Yanow

http://www.allmusic.com/album/meet-the-jazztet-r138558

1. Serenata

2. It Ain't Necessarely So

3, Avalon

4. I Remember Clifford

5. Blues March

6. It's All Right With Me

7. Park Avenue Petite

8. Mox Nix

9. Easy Living

10. Killer Joe

Art Farmer (tp), Benny Golson (ts), Curtis Fuller (tb), McCoy Tyner (p), 

Addison Farmer (b), Lex Humphries (d)

This Here Is Bobby Timmons - Bobby Timmons Trio (1960)

1. This Here

2. Moanin'

3. Lush Life

4. The Party's Over

5. Prelude to A Kiss

6. Dat Dare

7. My Funny Valentine

8. Come Rain Or Come Shine

9. Joy Ride

Bobby Timmons (p), Sam Jones (b) Jimmy Cobb (d)

Bennie Green Mosaic Select Complete Blue Note Recordings 1958 - 1962

Trombonist Bennie Green's Blue Note albums were almost completely overlooked until this Mosaic Select compilation appeared in 2003. The first session, originally issued as Back on the Scene, features Charlie Rouse joining Green in the front line. Green's up-tempo "Bennie Plays the Blues" is the best blowing vehicle, while he and Rouse both contribute lyrical solos in Melba Liston's "Melba's Mood." Pianist Gildo Mahones wrote three of the six tracks recorded for Walkin' & Talkin', with Eddy Williams taking Rouse's place. The overall session isn't up to Green's Blue Note debut, but his snappy blues "Walkin' and Talkin'" contains some of his hottest playing within this boxed set. Williams is also on hand for the ten selections first released in Japan as The 45 Sessions with pianist Sonny Clark, bassist Paul Chambers, and drummer Jerry Segal. The solos are consistently hot and the quintet never wraps things in a perfunctory manner as one would expect with recordings made for jukeboxes. All of the instrumentals rate high praise, especially the loping "On the Street Where You Live" and the leader's "Ain't Nothin' But the Blues." The addition of singer Babs Gonzales on the last three cuts mar some otherwise excellent performances. Tenor saxophonists Gene Ammons and Billy Root are on hand for the session which produced Soul Stirrin'. While the material on this date is uneven, Green's interpretation of "That's All" is very satisfying. Unfortunately, Gonzales appears for two more numbers. The last five songs come from a date led by tenor saxophonist Ike Quebec (eventually issued as Congo Lament), adding Stanley Turrentine, Milt Hinton, and Art Blakey to join Green and Clark. Green's exotic "Congo Lament" and Turrentine's upbeat "Cue's Pill" are impressive.
Review: Ken Dryden
http://www.allmusic.com/album/mosaic-select-bennie-green-r641454 

Disc One

1. I Love You (A)  6:02 (Cole Porter)

2. Melba’s Mood (A)  5:33 (Melba Liston)

3. Just Friends (A)  6:59 (S. Lewis-J. Klenner)

4. You’re Mine You (A)  5:15 (J. Green-E. Heyman)

5. Bennie Plays The Blues (A)  8:24 (Bennie Green)

6. Green Street (A)  5:08 (Melba Liston)

7. The Shouter (D)  4:57 (Gildo Mahones)

8. Green Leaves (D)  5:43 (Gildo Mahones)

9. This Love Of Mine (D)  6:45 (Parker-Sanicola-Sinatra)

10. Walkin’ And Talkin’ (D)  8:57 (Bennie Green)

11. All I Do Is Dream Of You (D)  5:32 (A. Freed-N.H. Brown)

12. Hoppin’ Johns (D)  5:29 (Gildo Mahones)

Disc Two

1. It’s Groovy (C)  3:41 (unknown)

2. On The Street Where You Live (C)  5:50 (A. Lerner-F. Loewe)

3. Can’t We Be Friends (C)  5:32 (P.James-K.Swift)

4. Ain’t Nothin’ But The Blues (C)  5:13 (Bennie Green)

5. Bye Bye Blackbird (C)  5:24 (R. Henderson-M. Dixon)

6. Minor Revelation (C)  5:17 (Harold Ousley)

7. Why Do I Love You (C)  5:58 (J. Kern-O. Hammerstein)

8. Encore (stereo LP take) (C)  4:16 (Babs Gonzales)

9. Encore (mono 45 take) (C)  4:29 (Babs Gonzales)

10. Soul Stirrin' (mono take) (B)  6:44 (Babs Gonzales)

Disc Three

1. Soul Stirrin’ (B)  6:49 (Babs Gonzales)

2. We Wanna Cook (B)  6:38 (Bennie Green)

3. That’s All (B)  6:25 (B. Haymes-A. Brandt)

4. Lullaby Of The Doomed (B)  6:00 (Babs Gonzales)

5. B.G. Mambo (B)  8:15 (Bennie Green)

6. Black Pearl (B)  5:45 (Billy Graham)

7. See See Rider (E)  8:59 (Ma Rainey)

8. Congo Lament (E)  6:50 (Bennie Green)

9. Que's Pill (E)  5:37 (Stanley Turrrentine)

10. B.G.'s Groove Two (E)  6:12 (Bennie Green)

11. I. Q. Shuffle (E)  9:43  (Ike Quebec)

Bennie Green, Charlie Rouse, Gildo Mahones, Eddie Williams, Sonny Clark, Paul Chambers, Jerry Segal, Babs Gonzales, Gene Ammons, Billy Root, Ike Quebec, Stanley Turrentine, Milt Hinton, Art Blakey.

Ike Quebec The Complete Blue Note 45 Sessions

During his comeback years (1959-62) after a decade mostly off the scene, tenor saxophonist Ike Quebec recorded frequently for Blue Note. He started off with a session aimed at the 45 jukebox market and, although he eventually made a few full-length albums for the label, Quebec cut four 45 dates over a two-and-a-half-year period. This double-disc set has all of the jukebox sessions. Most of the 26 selections clock in between four and seven minutes and have long melody statements in addition to concise and soulful solos. Quebec, who was in consistently prime form during his last period, is joined by groups featuring either Skeeter Best or Willie Jones on guitar and Edwin Swanston, Sir Charles Thompson, or Earl Van Dyke on organ. Fun, loose and highly enjoyable music. 

Review by Scott Yanow

http://www.allmusic.com/album/complete-blue-note-45-sessions-r145969

Caj Tjader & Eddie Palmieri - El Sonido Nuevo (1966)

This Verve CD reissues the popular collaboration between vibraphonist Cal Tjader and pianist Eddie Palmieri (who provided the arrangements) titled El Sonido Nuevo: The New Soul Sound, along with six other songs taken from a pair of Tjader's other Verve albums. Despite the claims of greatness expressed in the liners ("a landmark in the history of Latin jazz"), much of the music is actually quite lightweight although enjoyable enough, and the easy listening melodies and accessible rhythms hold on to one's interest. Despite the changing personnel, Tjader is generally the lead voice, and he is in fine form even if the overall results are not all that memorable or unique.
Review - Scott Yanow
http://www.allmusic.com/album/el-sonido-nuevo-the-new-soul-sound-r148939

1. Los Jibaros

2. Guajira Azul

3. Ritmo Uni

4. Picadillo

5. Modesty (Theme from Modesty Blaise)

6. Unidos

7. On A Clear Day (You Can See Forever)

8. El Sonido Nuevo

9. Fuji

10. Black Orchid

11. Los Bandidos

12. Poinciana

13. Yellow Days

14. Along Came Mary 

Lonnie Liston Smith Cosmic Funk (1974)

A real gem from Lonnie Liston Smith's early years in the studio - and a record that's perhaps a bit more "cosmic" than it is "funk" – but that's why we like it so much! The session has Lonnie stretching out a bit more than usual – borrowing some of the righteousness from his years with Pharoah Sanders, and tripping out on tracks that revel in their own spacey brilliance. Lonnie plays both acoustic and electric piano on the record – stretching out on some Impulse-influenced grooves that feature some great soprano sax and flute from the lesser-known George Barron. Titles include the soulful "Beautiful Woman", the ethereal "Sais", and the heavier groover "Cosmic Funk" – plus great versions of Wayne Shorter's "Footprints" and John Coltrane's "Naima"

www.dustygroove.com

1. Cosmic Funk 

2. Footprints

3. Beautiful Woman

4. Sais (Egypt)

5. Peaceful One

6. Naima

Curtis Counce - You Get More Bounce With Courtis Counce (1957)

Although the title and even the cover photo have been changed, this CD reissue has the same music as was earlier issued as Counceltation; the "bonus cut" "Woody 'n You" has also been reissued on Sonority. In any case, the program features the underrated but talented Curtis Counce Quintet of 1956-1957, a group consisting of the bassist/leader, trumpeter Jack Sheldon, tenor saxophonist Harold Land, pianist Carl Perkins, and drummer Frank Butler. Counce contributed two originals but otherwise the band sticks to jazz standards, with some of the best moments being on "Too Close for Comfort," "Mean to Me," and Charlie Parker's "Big Foot."

1. Complete

2. How Deep Is The Ocean

3. Too Close For Comfort

4. Mean To Me

5. Stranger In Paradise

6. Counceltation

7. Big Foot

8. Woody 'n You

Curtis Counce (b) Carl Perkins (p) Harold Land (ts) Jack Sheldon (tp) Frank Butler (d)