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Gene Ammons - Jammin' In Hi-Fi with Gene Ammons (1957) {Prestige OJCCD-129-2 rel 2006}
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© 1957, 2006 Prestige / Fantasy / Universal | 00025218612920 / OJCCD-129-2
Jazz / Hard Bop / Soul Jazz / Saxophone

Tenorman Gene Ammons headed a series of notable studio jam session in the 1950s and this is one of the better ones. With such fine young players as trumpeter Idrees Sulieman, altoist Jackie McLean, pianst Mal Waldron, guitarist Kenny Burrell, bassist Paul Chambers and drummer Art Taylor, Ammons and his friends jam through four numbers all of which clock in between 11:59 and 13:01. The results are an accessible and often exciting brand of bebop.

John Fahey - Live In Tasmania (1980) {Takoma ‎TAKCD-6513-2 rel 2004}
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© 1980, 2004 Takoma ‎Records / Fantasy | TAKCD-6513-2
Finger-Picked Guitar / Progressive Folk / Jazz Blues / Contemporary Folk / New Acoustic

John Fahey was well known as a perfectionist who played concerts for over two decades without releasing a live album. It was therefore something of a surprise when he not only recorded a full album in front of an audience, but did so at a concert booked on four days notice, at a hall he had never seen much less checked for acoustics, and with almost all material written on the spur of the moment. Fahey hadn't even planned on visiting Tasmania, but during an Australian concert tour he got drunk on an airplane flight and decided on the spur of the moment that he wanted to record an album there.

Thelonious Monk - It's Monk's Time (1964) {Columbia–Legacy ‎513357 2 rel 2003}
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© 1964, 2003 Columbia / Legacy / Sony Music | ‎513357 2
Jazz / Bop / Hard Bop / Post Bop / Piano

Although often unrightfully maligned by self-proclaimed "purists," Thelonious Monk did some brilliant work during his early- to mid-'60s stint for Columbia Records. It's Monk's Time (1964) contains some of the best – if not arguably the best – studio sides that the pianist cut during his final years as a recording musician. The album's title turned out to be somewhat prophetic, as Time magazine featured Monk as the cover subject for its February 28, 1964, edition.

Houston Person - Blue Odyssey (1968) {Prestige OJCCD-1045-2 rel 2000}
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© 1968, 2000 Prestige / Fantasy | OJCCD-1045-2
Jazz / Hard Bop / Soul Jazz / Saxophone

An excellent Houston Person set from the late 60s – and a record that's unlike any other that he did at the time! The groove here is a bit less funky, and a bit more conceptual – kind of a soaring vibe that's still quite soulful, but in less of the stock soul jazz mode that Person was hitting – if that makes any sense! There's almost a modal energy at points – a bit like the sounds coming from Hank Mobley or Lee Morgan in the late 60s – and the group features Cedar Walton on piano, who also arranged the set – so the unusual flavor is definitely one that he brings into play. Other players include Pepper Adams on baritone, Curtis Fuller on trombone, Bob Cranshaw on bass, and Frankie Jones on drums.

Bobby Hutcherson & Harold Land - Blow Up (1969) {Jazz Music Yesterday JMY1005-2 rel 1990}
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© 1969, 1990 Jazz Music Yesterday | JMY 1005-2
Jazz / Post Bop / Modal Music / Vibes / Saxophone

The Hutcherson-Land Quintet has long been one of my favorite jazz groups. Great compositions, excellent soloing with everyone interacting as a cohesive unit. Always lots of sparks & fire in an open, relaxed feel. Never over-bearing or pretentious. This live date from 1969 is a great addition to their discography. Joe Chambers, the usual drummer, is here in even greater than usual form, one of the most outstanding (and under-recognized) drummers ever. Reggie Johnson contributes solidly on bass and the always stimulating Stanley Cowell on piano make this an especially interesting configuration. Four tunes well over 10 min. ea., exploring these pieces in a way much like Miles' '65-'68 quintet (and doing Hancock's "Maiden Voyage").

Roy Eldridge - What It's All About (1976) {Pablo OJCCD-853-2 rel 1995}
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© 1976, 1995 Pablo / Fantasy / Universal | OJCCD-853-2
Jazz / Mainstream Jazz / Trumpet

What It's All About is swinging, building up solos to potentially ferocious levels and going for broke. That was always the philosophy that Roy Eldridge followed and, even though it was rather late in his career by the time he recorded this Pablo set, he was still pushing himself. His septet on the album is full of talented veterans including altoist Norris Turney, Budd Johnson on tenor, pianist Norman Simmons, and (on half of the set) vibraphonist Milt Jackson. The music (three Eldridge originals and two obscurities) features plenty of lengthy and spirited soloing.

Gene Ammons & Sonny Stitt - Left Bank Encores (1973) {Prestige PRCD-11022-2 rel 2002}
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© 1973, 2002 Prestige / Fantasy | PRCD-11022-2
Jazz / Bop / Hard Bop / Saxophone

On June 24, 1973, Baltimore's Left Bank Jazz Society reunited one of the most legendary tenor teams of the bebop era: Gene "Jug" Ammons and Sonny Stitt. Like Dexter Gordon and Wardell Gray, Jug and Stitt were on the same team – the bop team – but loved to compete with one another and see who had the mightiest chops. That was in the late '40s and early '50s – when the saxmen were reunited at that Baltimore concert in 1973, they weren't as competitive and battle-minded as they had been in their younger days. But their chops were still in top shape, and they could still swing unapologetically hard.