Donal Byrd Doug Watkins

Avid Jazz presents four classic Pepper Adams albums, including original liner notes on a finely re-mastered and low priced double CD. “Jazzmen Detroit”; “Critics’ Choice”; “Pepper Adams Quintet” and “10 to 4 At The 5 Spot”.
It’s official… Detroit Swings! And here’s “Jazzmen Detroit” to prove it! Kenny Burrell on guitar, Tommy Flanagan on piano, Pepper Adams on baritone sax, Paul Chambers on bass and Kenny Clarke on drums. All but Clarke are Detroit men and all have come together from their respective day jobs, like Pepper Adams from the Stan Kenton band, Tommy Flanagan from Miles, Kenny Clarke from Hampton Hawes…

Donald Byrd & Gigi Gryce - Complete Jazz Lab Studio Sessions. Vol. 1 (1957) {2006 Lone Hill Jazz Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 332 Mb | MP3 @320 -> 165 Mb
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© 1957, 2006 Lone Hill Jazz | LHJ10253
Jazz / Hard Bop / Trumpet / Saxophone

Believe it or not, the 2006 three-volume Lone Hill Jazz reissue of the complete Donald Byrd/Gigi Gryce Jazz Lab studio recordings marks the first comprehensive appearance of this body of work on CD. Considering how many reissues, re-reissues and re-re-reissues some material has undergone, the fact that it took so long for this magnificent music to be made available to the public in its entirety is somewhat grueling. These recordings were made during the spring and early autumn of 1957.

At The Cafe Bohemia Vol. 1 (1956). This is Art Blakey's early period Jazz Messengers featuring trumpeter Kenny Dorham, saxophonist Hank Mobley, bassist Doug Watkins, and pianist Horace Silver. This first volume of live performance from the Cafe Bohemia in New York City circa late 1955 is a rousing set of hard bop by the masters who signified its sound, and expanded on the language of modern jazz. There are three bonus CD tracks not on the original LP that further emphasize not only the inherent power of Blakey's band and drumming, but demarcate the simplicity of melodic statements that were a springboard for the fantastic soloing by these individuals who would follow those tuneful lines…

Avid Jazz presents four classic Phil Woods albums, including original liner notes on Volume Three of a finely re-mastered and low priced double CD. “Pairing Off”; “Woodlore”; “Sugan” and “Rights to Swing”.
To continue the tennis analogy taken from the original liner notes of our first serving, “Pairing Off”, we have an ace album to start the first set! Enjoy the fantastic line up as the main protaganists pair off against each other for a swinging set of volleys! Phil Woods and old doubles partner Gene Quill on tenors, Donald Byrd and Kenny Dorham on trumpets, assisted by more than capable “ball boy” Tommy Flanagan on piano, Doug Watkins on bass and Philly Joe Jones on drums. Liner notes writer Ira Gitler was obviously a sports fan as he again uses a sports analogy on our second selection “Woodlore”…

Avid Jazz presents four classic Phil Woods albums, including original liner notes on Volume Three of a finely re-mastered and low priced double CD. “Pairing Off”; “Woodlore”; “Sugan” and “Rights to Swing”.
To continue the tennis analogy taken from the original liner notes of our first serving, “Pairing Off”, we have an ace album to start the first set! Enjoy the fantastic line up as the main protaganists pair off against each other for a swinging set of volleys! Phil Woods and old doubles partner Gene Quill on tenors, Donald Byrd and Kenny Dorham on trumpets, assisted by more than capable “ball boy” Tommy Flanagan on piano, Doug Watkins on bass and Philly Joe Jones on drums. Liner notes writer Ira Gitler was obviously a sports fan as he again uses a sports analogy on our second selection “Woodlore”…

The jazz jam session has always been reserved for in-concert or club performances. Where these 1956-1957 recordings from guitarist Kenny Burrell and his all-star septet and sextet differ is that they were made in the confines of Rudy Van Gelder's recording studio, where the musicians were able to stretch out on two of the most memorable modern long-distance jam sessions of all time - All Night Long and All Day Long. Initially available as individual LPs and then together as a two-fer, this is a welcome reissue, showcasing perhaps the finest collective groups the Detroiter ever fronted. The extended aforementioned title tracks, with ample solo room for these individualists, were the best friends of after-hours radio DJs, and in the case of All Day, very danceable…

Art Blakey - The Jazz Messenger (1956) {Columbia Jazz Masterpieces, CK 47118 rel 1991})
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 321 Mb | MP3 @320 -> 129 Mb
Full Artwork @ 300 dpi (jpg) -> 14 Mb | 5% repair rar
© 1956, 1991 Columbia / Sony Music | CK 47118
Jazz / Hard Bop / Drums

Digitally remastered from the original analog masters. Art Blakey's Jazz Messengers not only supplied consistently exciting and innovative music for nearly 40 years, but also provided the experience and mentoring for young musicians to learn their trade.

Horace Silver - Silver's Blue (1956) {Epic–Legacy EK93856 rel 2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 200 Mb | MP3 @320 -> 106 Mb
Full Artwork @ 300 dpi (jpg) -> 13 Mb | 5% repair rar
© 1956, 2005 Epic / Legacy / Sony BMG Music | EK 93856
Jazz / Bop / Hard Bop / Piano

Horace Silver never did much for me on the several occasions when I caught him live: his compositions were showcased at the expense of musicians' solos, and Horace's piano work–with its limited technique and "catch-phrase" melodies–would pale considerably if another pianist were on the same concert bill. Hearing him on record is another matter–especially the recordings he made under his own name as well as with Art Blakey in the 1950's. His Blue Note session with Blakey and Clifford Brown at Birdland is legendary, and the set for Columbia entitled "Art Blakey and the Jazz Messengers" is simply quintessential music, not to mention exemplary–make that "sterling"–Messengers' material.

In 1956 Jackie McLean was only beginning to assert himself as a true individualist on the alto saxophone, exploring the lime-flavored microtones of his instrument that purists or the misinformed perceived as being off-key or out of tune. 4, 5 and 6 presents McLean's quartet on half the date, and tunes with an expanded quintet, and one sextet track - thus the title. Mal Waldron, himself an unconventional pianist willing to explore different sizings and shadings of progressive jazz, is a wonderful complement for McLean's notions, with bassist Doug Watkins and drummer Art Taylor the impervious team everyone wanted for his rhythm section at the time. The quartet versions of "Sentimental Journey," "Why Was I Born?," and "When I Fall in Love" range from totally bluesy, to hard bop ribald, to pensive and hopeful, respectively…