Prophecy Heathen Years (2013) [compilation]

In his brief intro to this collection, Steve Earle makes one point: that his creativity in recovery is far greater than it was in the throes of addiction. He writes, "I've done way more shit sober than I did fucked up…There are people who would argue that my early albums, Guitar Town and Copperhead Road are better records than Train a Comin' and El Corazón but they're wrong…." Writer/director/colleague David Simon (Homicide, The Wire, Treme) makes a far longer, more detailed, and personal case for the same thing in his lengthy liner essay.

This download-only compilation by The 49 Americans includes the complete "14-Track Single" 7" and "Too Young To Be Ideal" 12" plus six bonus tracks (alternative takes), originally released in 1980 and now for the first time available in digital format.

Edward F. Davis (March 2, 1922 – November 3, 1986), known professionally as Eddie "Lockjaw" Davis, was an American jazz tenor saxophonist. Davis played with Cootie Williams, Lucky Millinder, Andy Kirk, Eddie Bonnemere, Louis Armstrong, and Count Basie, as well as leading his own bands and making many recordings as a leader. He played in the swing, bop, hard bop, Latin jazz, and soul jazz genres. Some of his recordings from the 1940s also could be classified as rhythm and blues.

Sometimes being prolific works against a musician. Sonny clearly felt at ease inside a recording studio, so much so that the listening audience may mistake his recordings as being unexceptional. Yet careful listening tells us that he was not merely a slavish imitator of Charlie "yardbird" Parker. Sonny Stitt was consistently excellent on his own terms from date to date during the period 1959-1962. Throughout these eight sessions Sonny's presence is dynamic and original, whether he's playing alto or tenor sax. In this collection, I currently find myself favoring Sonny's collaborations with Gene Ammons ("Boss Tenors" & "Boss Tenors In Orbit"), particularly "Autumn Leaves" and "Blues Up and Down" (Stitt's most famous original). He was especially discerning in his selection of keyboardists such as Jimmy Jones, Jack McDuff and Don Patterson. My only regret with this collection is the lack of "bonus tracks". ~ review by Jeffrey Tedford

Rosemary Clooney has one of the most distinctive voices. The minute she starts to sing you can tell that it is Rosemary. Her phrasing is superb and her voice as smooth as velvet. This collection is a great testament to her individuality and her beautiful voice. Absolutely superb. ~ review by Alan Woodside

AVID Jazz here presents four classic Eddie “Lockjaw” Davis albums plus including original LP liner notes on a finely re-mastered and low priced double CD. For the 1959 date “Very Saxy” Davis is joined by legendary tenor saxophonists Coleman Hawkins, Arnett Cobb and Buddy Tate along with Shirley Scott on Hammond Organ, George Duvivier on bass and Arthur Edgehill on drums. Four veteran sax players getting together as they did in the old days for what was known as “the battle of the bands” where one band would try to blow the other off stage!

Robert Henry Timmons (December 19, 1935 – March 1, 1974) was an American jazz pianist and composer. He was a sideman in Art Blakey's Jazz Messengers for two periods (July 1958 to September 1959; February 1960 to June 1961), between which he was part of Cannonball Adderley's band. Several of Timmons' compositions written when part of these bands – including "Moanin'", "Dat Dere", and "This Here" – enjoyed commercial success and brought him more attention. In the early and mid-1960s he led a series of piano trios that toured and recorded extensively.

Great Small group bop! This is the beginning of Wayne Shorter's tenure as Music Director. This anthology represents a peak in The Jazz Messenger's story beginning with such brightly hued originals as "The Chess Players" and "Lester Left Town" from THE BIG BEAT (1960), Morgan (tpt), Shorter (ts), Timmons (p.), Merritt (b), Blakey (d). This is the classic Art Blakey and The Jazz Messengers signature style: inventive solos, driving, witty arrangements-in short everything you could want in a jazz masterpiece circa 1960.