Mosura 1961

Like two of his other three albums, Tina Brooks' final session as a leader (in March 1961) was sequenced and prepared for release, but remained on the shelves until well after the tenor's tragically early death. That's why the title of The Waiting Game is not only apt, but sadly poignant. Despite Blue Note's reservations at the time, Brooks' output for the label was uniformly strong, demonstrating his skills as a smooth, graceful soloist and a composer of considerable dexterity within the hard bop idiom. Swinging and bluesy, yet sophisticated and refined, The Waiting Game upholds the high standard Brooks set with his previous sessions. Brooks is especially fine on his minor-key compositions, such as "Talkin' About" and "Dhyana," which allow his streak of melancholy romanticism to emerge (as does the lone cover here, the Tony Bennett hit "Stranger in Paradise")…

This is the one that started it: Mosaic, recorded in 1961, was the first recording of Art Blakey's Jazz Messengers as a sextet, a setting he kept from 1961-1964. The band's front line was trumpeter Freddie Hubbard, trombonist Curtis Fuller, and tenor saxophonist Wayne Shorter; Cedar Walton played piano and Jymie Merritt (a criminally underappreciated talent) was the bassist. Everything on this set was written by the musicians in the band. Walton wrote the burning title track; its blazing tempo and Eastern modes were uncharacteristic of the Jazz Messengers sound, but it swings like mad. Hubbard contributed two pieces to the album, the first of which is the groover "Down Under," with its blues gospel feel. The bandmembers dig their teeth into this one, carrying the blues theme to the breaking point as Hubbard fills in between…

Grant Green's fourth album, Sunday Mornin', was the first time Green recorded (as a leader) with a piano instead of an organ. Joined by pianist Kenny Drew, bassist Ben Tucker, and drummer Ben Dixon, Green makes Sunday Mornin' less of a soul-jazz session than his previous work, instead turning in a solid - if not quite exceptional - set of modal hard bop and laid-back grooves. Pianist Drew's sparse chording leaves plenty of room for Green's lilting tones to ring out, and since Green's approach relies on single-note lines rather than chords, the whole session ends up with a spacious, light feel. Half of the original six tracks are Green originals, including the Martin Luther King-inspired "Freedom March" and the gospel-tinged title track; the others are well-known repertory: "God Bless the Child," Miles Davis' "So What," and Eddie Harris' then-recent hit adaptation of the theme from "Exodus"…

As a trio, this edition of guitarist Grant Green's many ensembles has to rank with the best he had ever fronted. Recorded on April Fool's Day of 1961, the band and music are no joke, as bassist Ben Tucker and drummer Dave Bailey understand in the most innate sense how to support Green, lay back when needed, or strut their own stuff when called upon. Still emerging as an individualist, Green takes further steps ahead, without a pianist, saxophonist, or - most importantly - an organist. His willpower drives this music forward in a refined approach that definitely marks him as a distinctive, immediately recognizable player. It is also a session done in a period when Green was reeling in popular demand, as this remarkably is one of six recordings he cut for Blue Note as a leader in 1961, not to mention other projects as a sideman…

This is the one that started it: Mosaic, recorded in 1961, was the first recording of Art Blakey's Jazz Messengers as a sextet, a setting he kept from 1961-1964. The band's front line was trumpeter Freddie Hubbard, trombonist Curtis Fuller, and tenor saxophonist Wayne Shorter; Cedar Walton played piano and Jymie Merritt (a criminally underappreciated talent) was the bassist. Everything on this set was written by the musicians in the band. Walton wrote the burning title track; its blazing tempo and Eastern modes were uncharacteristic of the Jazz Messengers sound, but it swings like mad. Hubbard contributed two pieces to the album, the first of which is the groover "Down Under," with its blues gospel feel. The bandmembers dig their teeth into this one, carrying the blues theme to the breaking point as Hubbard fills in between…

Volume 2 of a double-length live set from the legendary Modern Jazz Quartet - recorded in Scandinavia in 1960, almost as a summation of the group's growing genius in the 50s! The tunes are a mix of John Lewis and Milt Jackson originals, plus other songs all given the wonderful MJQ twist - distilled into a sublime blend of piano, vibes, bass, and drums - all delivered with a sense of class, but never too much polish.

This unusual session consists of a complex six-movement suite by J.J. Johnson featuring Dizzy Gillespie's trumpet over a brass choir (six trumpets, two trombones, two bass trombones, four French horns and two tubas), bass, drums, percussion and two harps. Often reminiscent of classical music, Johnson's writing allows plenty of room for Gillespie to improvise. The result is a rather unique set of music that is well worth searching for.

This release contains all existing live performances by the Donald Byrd- Pepper Adams Quintet taped at Jorgie’s on June 24, 1961, and appearing on CD here for the first time ever. The quintet on that engagement featured Herbie Hancock on piano (both leaders had recently recorded the Blue Note album Chant with the pianist, and would make the LP Royal Flush with him a few months later). The fifth title at Jorgie’s is an extended trio version of “Like Someone in Love” on which both horns sit out. No other version of this tune by Hancock is known to exist!