Hargrove

Sonny Rollins's usual sextet (with trombonist Clifton Anderson, pianist Mark Soskin, guitarist Jerome Harris, electric bassist Bob Cranshaw and drummer Steve Jordan) welcomes guest drummers Jack DeJohnette and Al Foster and, most importantly, trumpeter Roy Hargrove on two selections. ~ AllMusic

Johnny Griffin - Chicago, New York, Paris (1995) {Verve 527 367-2}
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© 1995 Verve / PolyGram | 527 367-2
Jazz / Bop / Mainstream Jazz / Saxophone

Like Joe Henderson who released one beautiful CD after another in the past 10 years or so, Griffin plays here with gorgeous tone and overflowing musicality only getting better with age. I love the newer sax lions like James Carter, Joshua Redman, and Joe Lovano but Griffin, again like Joe Henderson, seems to be bringing out the qualities only possessed by those who came from 50s.

James Clay - Cookin' At The Continental (1992) {Antilles–Island 314-510 724-2}
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© 1992 Antilles / Island Records | 314-510 724-2
Jazz / Hard Bop / Saxophone

Tenor saxophonist James Clay had a brief comeback starting in 1988 before he passed away in 1995. This is one of his final recordings. Most interesting is a duet with bassist Christian McBride on "Crazeology." There are also four quartet numbers (with McBride, pianist Kirk Lightsey, and drummer Winard Harper) and four selections that are reunions with fellow tenor David "Fathead" Newman (including a remake of "Wide Open Spaces"). Two of the numbers with Newman ("Sister Sadie" and "Moanin'") also feature trumpeter Roy Hargrove. Although Clay's playing is not flawless (Newman sounds more consistent), plenty of sparks fly and this is a frequently exciting set, well worth searching for.

Sonny Rollins's usual sextet (with trombonist Clifton Anderson, pianist Mark Soskin, guitarist Jerome Harris, electric bassist Bob Cranshaw and drummer Steve Jordan) welcomes guest drummers Jack DeJohnette and Al Foster and, most importantly, trumpeter Roy Hargrove on two selections. Hargrove sounds fine on "I Wish I Knew" and "Young Roy" while Rollins is in good form on such songs as "Why Was I Born," "Someone to Watch over Me" and "Long Ago and Far Away." Nothing very innovative occurs but the music is quite pleasing.

This 1994 recording was McBride's debut as a leader, and it consolidated his place as the most eminent bassist of the mainstream youth movement. His big sound, relaxed time-feel, and keen harmonic sense all hearken back to the great bass players of the '50s, and his adroit bowed solos can recall the work of Paul Chambers. McBride has assembled some of his most talented peers here in various permutations, forming a tight rhythm unit with drummer Lewis Nash and inspiring strong contributions from trumpeter Roy Hargrove, tenor saxophonist Joshua Redman, trombonist Steve Turre, and pianist Cyrus Chestnut.