Jimmy Forrest

Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions — 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3 and also released on Hybrid SACD. All mastered from the original analog master tapes by mastering maestro Kevin Gray.

Jimmy Forrest - Most Much! (1961) {Prestige OJCCD-350-2 rel 1989}
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© 1961, 1989 Prestige / Fantasy | OJCCD-350-2
Jazz / Hard Bop / Bebop / Saxophone

Jimmy Forrest was a very consistent tenor, able to infuse bop and swing standards with soul and his distinctive tone. With the assistance of pianist Hugh Lawson, bassist Tommy Potter, drummer Clarendon Johnson and Ray Barretto on congas, Forrest explores mostly veteran tunes, such as a jumping "Annie Laurie," and the calypso "Matilda," a sentimental "My Buddy," "Robbins Nest," and even "Sonny Boy." Enjoyable music from the warm tenor.

Jimmy Forrest - Soul Street (1962) {Prestige OJCCD-987-2 rel 1998}
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© 1962, 1998 Prestige / OJC / Fantasy | OJCCD-987-2
Jazz / Hard Bop / Bebop / Soul Jazz / Saxophone

A popular yet underrated tenor saxophonist, Jimmy Forrest is featured in several different settings on this 1998 CD reissue. Forrest matches wits with fellow tenors King Curtis and Oliver Nelson on "Soul Street" (his opening phrase is a classic), plays three standards (including an effective "Sonny Boy") with a combo that includes pianist Hugh Lawson and is featured on "I Wanna Blow, Blow, Blow" with a nonet also featuring trombonist Buster Cooper.

Miles Davis & Jimmy Forrest - Our Delight (1952) {Prestige PCD-24117-2 rel 1992}
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© 1952, 1992 Prestige / Fantasy | PCD-24117-2
Jazz / Bop / Hard Bop / Trumpet / Saxophone

In 1992, Prestige/Fantasy combined both of Miles Davis' Live at the Barrel LPs on a 74-minute CD titled Our Delight. For hardcore collectors, the release of Our Delight was very good news. However, there are various reasons why this CD can hardly be called essential. The performances, which find Davis and tenor saxman Jimmy Forrest joining forces in a St. Louis club called the Barrel, are competent and likable but not mind-blowing. And the sound quality, although listenable, is not great (by early-'50s hi-fi standards).

Miles Davis and Jimmy Forrest - Complete Sessions (1952) {The Jazz Factory JFCD22853 rel 2003}
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© 1952, 2003 The Jazz Factory / Disconforme | JFCD22853
Jazz / Bop / Bebop / Trumpet / Saxophone

Rare and inspired session of Davis with tenorman Jimmy Forrest (then at the peak of his popularity). Raging version of "Night In Tunisia". Meticulous Audio Restoration. This album contains some absolutely smokin material. Davis is as adventurous and stretches himself to the breaking point. Forrest more than keeps up and proves that he is a master of club bebop, with blistering solos. The musicians also engage in some fun interplay. All in all, if you like early Davis this is a must have. There are some real gems here.

Jack McDuff with Jimmy Forrest - Tough 'Duff (1960) {Prestige OJCCD-324-2 rel 1995}
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© 1960, 1995 Prestige / Fantasy | OJCCD-324-2
Jazz / Hard Bop / Soul Jazz / Organ

Tough 'Duff is the second album by organist Jack McDuff recorded in 1960 and released on the Prestige label. Jack McDuff switched from bass to organ in the 1950s and left near-poverty in Chicago for fame and celebrity in New York. Featured first with Willis Jackson and then with his own band, McDuff built a huge following almost immediately. Tough ‘Duff, his second LP as a leader, was the first of two meetings with Jimmy Forrest. Their organ/tenor interplay is remarkable throughout; Forrest is at the top of his game. The program is solid mainstream fare which leads to a minimum of confusion and maximum of swing.

Creed Taylor matched two of his most famous artists, Wes Montgomery and Jimmy Smith, on this session (Montgomery's last for Verve), and the results are incendiary – a near-ideal meeting of yin and yang. Smith comes at your throat with his big attacks and blues runs while Montgomery responds with rounder, smoother octaves and single notes that still convey much heat. They are an amazing pair, complementing each other, driving each other, using their bop and blues taproots to fuse together a sound…