Jazz at the Blue Note [Live] [Import]

1. Take the "A" Train

2. Willow Weep for Me

3. Walkin'

4. Autumn Leaves

5. I'll Remember April

6. Nearness of You

7. Django

8. Blue Lester

Jazz at the Blue Note,Maurice Vander,Polygram,Bop

Jazz

Music

jazz

music

Average customer rating: its great that mr jones is still with us. Missing in shipment A MAGNIFICENT DUO: HANK & JOE IN A TIMELESS, BEAUTIFUL JAZZ PERFORMANCE

Kids: Duets Live at Dizzy's Club Coca-Cola Joe Lovano & Hank Jones Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music Similar Items: Live at the Village Vanguard Pilgrimage Night & the Music Back East Time and Time Again ASIN: B000O5BP5U Release Date: 2007-05-08

Tracks:

1. Lady Luck
2. Charlie Chan
3. Lullaby
4. Little Rascal On A Rock
5. Budo
6. Soultrane
7. Kids Are Pretty People
8. Oh, What a Beautiful Mornin'
9. Oh! Look At Me Now
10. Four In One
11. Lazy Afternoon

Amazon.com

As good as tenor saxophonist Joe Lovano's recent quartet albums featuring piano master Hank Jones were, they didn't prepare us for the sublimity of this two-man encounter. Duets Live has it all: brilliant and spirited individual playing, exceptional rapport, a terrific mix of songs and a luminous awareness of jazz in all its varied forms. What makes Lovano and Jones so compatible, even though they are separated by more than three decades, is the ease with which they each straddle and move back and forth across the line beween modern and pre-modern (in this, Lovano recalls Coleman Hawkins, one of the giants Jones backed). Much of the material is steeped in classic bop, but Jones points the way back to an earlier golden era with his lambent sparkle and Lovano comes at songs like "Charlie Chan" (his salute to Charlie Parker), Thelonious Monk's "Four in One," and Tadd Damerson's "Soultrane" from consistently fresh angles even as he applies his classic husky sound. Still a force at 88, Jones elegantly frees three of his late brother Thad's tunes from their big band trappings and in the solo spotlight pulls out stops on the standard, "Oh! Look at me Now!" It's a performance of gusty expression and poetic delicacy, slyness and warmth, and endless smiles. Is it too much to ask for a volume two? --Lloyd Sachs

Customer Reviews:

its great that mr jones is still with us........2007-07-18

mr jones playing is great as always.mr lovanos playing is the most distinctive of all the current sax players. the playing on this album is very good, the monk tune "four in one" is my favorate. the only thing i not not like is that the piano could have been recored with a little more volume.

Missing in shipment.......2007-07-18

Your online purchasing machine defaulted to an old shipping address no longer in use. The address originally was for optional shipping to a family member.

A MAGNIFICENT DUO: HANK & JOE IN A TIMELESS, BEAUTIFUL JAZZ PERFORMANCE.......2007-05-13

Five MAGNIFICENT Stars!! The legendary jazz keyboard master Hank Jones and legendary tenor saxophone titan, Joe Lovano, have conjured up one of the best jazz duet performances in years!! And they are caught live at the intimate Dizzy's Club Coca-Cola in the Frederick P. Rose Hall, which is the Jazz At Lincoln Center performance complex in NYC. These are timeless, beautiful, flawless performances by two jazz masters who have almost restlessly searched the jazz spectrum for fulfillment in many formats over the years. They definitely have found something very special here that just may require an encore and it happened in a great venue. Stepping away from Mr Lovano's quartet, these two incomparable musicians have all of the propulsion and rhythm that is needed to propel these excellent performances along nicely. Unencumbered by bass and drum, they bend and stretch the time at will, with Hank providing solos and colorations as well as wicked time-keeping 'stride piano' with Joe declaratively soaring above and in between, making for some wonderful mellow jazz music. '80ish' Mr Jones plays with equal fire as '50ish' Mr Lovano making this duo an empathetic match made in jazz heaven.

The 'Pieces De Resistance', the best of the best, are wall to wall equally-captivating performances which proceed without letdown from song to song. But I especially like the fire by both players on "Lady Luck", written by Hank's brother, Thad, and "Kids Are Pretty People". I also love Joe's nod to older tenor players with his 'Ben Webster-ish' tenor sax effects on "Lullaby" and his nod to Yardbird Parker on "Charlie Chan", so reminiscent of Miles' "Half Nelson". Hank gets two solo bites of this CD apple with a wonderful, shimmering "Oh, What A Beautiful Mornin' " and "Oh! Look At Me Now", which is fitting since "Dizzy's Club Coca-Cola" is known for great solo piano performances. Joe gets off what is probably his best solo, alone and later with Hank, on a swirling performance of Monks' "Four In One", blowing hot, liquid strings of notes. Pure, timeless, magnificent jazz music! Encore, gentlemen! My Highest Recommendation. Five ENJOYABLE Stars!!

(This review is based on an iTunes digital download.)

Average customer rating: essential to your jazz collection, period Thelonious Monk Quarted with John colgrane at Carnegie Hall Very Nice Pure Thelonious Monk Quartet with John Coltrane at Carnegie Hall

Thelonious Monk Quartet with John Coltrane at Carnegie Hall Thelonious Monk , and John Coltrane Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music Jazz | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Similar Items: One Down, One Up: Live at the Half Note Town Hall, New York City, June 22, 1945 Kind of Blue Our New Orleans: A Benefit Album for the Gulf Coast Prairie Wind ASIN: B000AV2GCE Release Date: 2005-09-27

Tracks:

1. Monk's Mood
2. Evidence
3. Crepescule With Nellie
4. Nutty
5. Epistrophy (Live)
6. Bye-Ya
7. Sweet And Lovely
8. Blue Monk
9. Epistrophy

Amazon.com

Every year sees a crop of newly found jazz gems, but rarely are listeners treated to anything as special as this 1957 concert recording of Thelonious Monk and John Coltrane, which was accidentally discovered in an unmarked box by a Library of Congress engineer early in 2005. Until now, fans could only dream of hearing these two immortals play together beyond the three studio tracks they left behind. But here they are, hitting their stride at an all-star benefit concert, basking in the chemistry they had developed in Monk's quartet during the preceding weeks at New York's Five Spot. Coltrane's playing is a revelation. He's both an inspired accompanist and a galvanizing soloist, taking the music to new heights with his bold, brilliantly challenging, and sometimes jaw-dropping phrases, note clusters, and blasts of power. Sharing with Coltrane a newfound sense of freedom following the personal and professional troubles that had plagued them both, Monk is clearly tickled to be in the tenorist's presence, injecting humorous commentaries and otherwise asserting his eccentric genius as a pianist. The material, which was very well recorded by the Voice of America, includes Monk classics like "Epistrophy," "Monk's Moods," and "Evidence," as well as a striking rendition of the standard "Sweet and Lovely." This is music that not only bears repeated listenings, but also demands them--the ultimate definition of a classic. --Lloyd Sachs

Customer Reviews:

essential to your jazz collection, period.......2007-05-30

I can't believe this sat in a box and the library of congress all this time! It makes me wonder what other gems they got in deep freeze. Thank Jeezy they found it. I love listening to this when I drive around town with the windows down on a summer night. Good, good, good. Hear it, love it, get it.

Thelonious Monk Quarted with John colgrane at Carnegie Hall.......2007-05-29

This recording, unearthed after nearly fifty years on old tapes found at the Library of Congress, is a national treasure that speaks to all of us, after two generations. Surely this marks the work as art in its most universal sense: something with permanence, that will (I hope) last through the ages. I understand from a little research that Billy Holiday participated in this same concert, and regret that that recording has been lost! But this one, in my opinion, gets five stars.

Very Nice.......2007-05-25

I've got a small but impressive jazz library, jazz has been a recent addition to my musical tastes. I'm not the biggest Coltrane fan, I prefer Cannonball Adderly and some others less inclined to go wailing away. I do not like Coltrane's A Love Supreme. Monk and Coltrane team up here with a very enjoyable performance. Excellent for background music or dedicated listening. The fidelity is superb, very high quality. Only negative is it's mono. Jazz fans will love this.

Pure.......2007-05-20

It's funny what people find when they clean out closets. The people at Carngie Hall found a jewel and something unique and pure. A great addition to any jazz aficionado's collection. In reality a must have if you like jazz at all.

Thelonious Monk Quartet with John Coltrane at Carnegie Hall.......2007-05-17

I purchased the disc, being asked by my brother.
He is exceited and overjoyed to have gotten the disc.

Average customer rating: You are there realism 4 ½ stars A Great Snapshot of an Excellent Trio

Live at the Village Vanguard The Bill Charlap Trio Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music Similar Items: Kids: Duets Live at Dizzy's Club Coca-Cola Night & the Music Pilgrimage Live at Birdland You Taught My Heart to Sing ASIN: B000PC6FP2 Release Date: 2007-05-22

Tracks:

1. Rocker
2. Autumn In New York
3. Godchild
4. The Lady Is a Tramp
5. It's Only a Paper Moon
6. My Shining Hour
7. All Across the City
8. While We're Young
9. Last Night When We Were Young

Customer Reviews:

You are there realism.......2007-07-19

Just like you are there with what may be the greatest working piano trio in the world today. Blue Note has really captured it with sound that is completely natural. Charlap and company have such grace and elegant refinement as they convey the heart of this wonderful music. The venue is well suited to their mastery and the sound is so natural and real. Bill Charlap has such a deep saturation and enjoyment of this music it just flows out of him. These musicians don't need to prove anything, but like the professionals they are they just let it flow and get in the groove. And you can tell they're having fun at it and the crowd sure is eating it up. They sure can swing and get your feet tapping along. This trio is so tight that they move along as one. Bill Charlap Trio is my favorite contemporary jazz trio, and I have most of their recorded output. I can't say enough. Get this one, since it really captures them live for the first time. A great starting point that will likely lead you to many more gems on record.

4 ½ stars.......2007-06-04

From Charlap's solo choruses in "Rocker," at once burning hot and supremely cool, to the wistful "Last Night While We Were Young," this is an absorbing and sometimes startlingly good record. Although it doesn't seem right that Charlap tends to get most of the attention - i.e. the focus on Charlap in interviews about the trio's work, his lone cover photo here, and some critics' annoying habit of dubbing the unrelated bassist and drummer "the two Washingtons"- he really is a fine player. His solos are consistently interesting and invigorating; his technique is impressive; and how about the way he uses the piano? Even if one may grow weary of a certain right hand tremolo/trill effect as transitional device, Charlap's quiet but hip comping, use of lower registers, piano-rattling glissandi, and superimposition of left hand and right hand are extremely effective and rather unique. So too are his undulating lines, at once muted and strong, and his enviable ability to create a translucent, ethereal musical space. It is for these reasons that "Autumn in New York" garnered such a reverent response from the Vanguard audience - and "My Shining Hour" such a raucous one.

Speaking of "My Shining Hour," let me not be guilty of the same Charlap-centered commentary I lamented earlier. As the liner notes point out, "the incandescent playing captured here is made possible by trust," a trust which in turn is only possible thanks to the rock-solid foundation provided by Peter Washington on bass and the combustible energy released by Kenny Washington on drums. Although I feel that Peter has not yet been ideally captured on recording, it is quite evident from this album and others that Kenny sets the fire under the band and leads them to "Shining Hour" heights. The very swinging feel of a potentially square tune like "Rocker" and potentially static arrangement of "While We're Young," as well as "Last Night While We Were Young's" magical coda, owe much to Kenny's fire, too.

It should be no surprise, then, that numbers like "Lady is a Tramp" cook when the Charlap Trio plays `em, and ballad arrangements like "All Across the City" are so good they almost hurt. But "While We're Young" also provides indisputable proof that this group can play in 3. So let's hear some more waltzes, and more of that glorious ebb and flow that another pianist named Bill inspired at the same Village Vanguard :) How about more bass and drum solos too?!? (come now, 2 bass solos and 1 drum solo really are not enough for a whole album). Then, consider the possibilities of straight 8, Latin, funk, mixed meter...you know these guys can do it. To me, this would make a visit to see them at the Vanguard or Dizzy's Club Coca-Cola that much more memorable - and their group that much better.

A Great Snapshot of an Excellent Trio.......2007-06-01

After many years of widespread acclaim as one of the best working groups in mainstream jazz, the Bill Charlap Trio has finally issued its first live recording, and the results are most impressive. Individually, the group's members are all virtuoso musicians of the highest caliber, and in any setting they can be counted upon to deliver vivid, engaging performances (see for example Charlap's collaborations with Warren Vaché and Peter Washington's work with the great Tommy Flanagan). However, when they play together their rapport is so strong that each seems to bring out the best in the others, and even on the trio's studio recordings they sometimes attain a level of controlled intensity that is downright mesmerizing, both on uptempo numbers and on slow ballads. Here, they reach that level again and again, and the interplay among them is consistently thrilling; each plays with great energy and creativity, but also with great precision, and they are so perfectly attuned to one another that when they improvise together they do so with a degree of cohesion and unity that is nothing short of astonishing. ("My Shining Hour" provides an especially good example of this.) Their own enjoyment of what they can do is both palpable and infectious, and while they never indulge in the kind of showboating that sometimes mars live recordings, the presence of an attentive and appreciative audience does seem to inspire them. The sounds made by that audience are not the least bit obtrusive, but their applause helps to create a pleasant atmosphere of immediacy, as does the immaculate sound achieved by engineer Joel Moss. The disc is also nicely programmed, though there are fewer rarities than one might expect given Charlap's extensive knowledge of the American songbook and his penchant for reintroducing overlooked but worthy material.

In all, this is a most welcome document of an exceptional group in action. It is also long overdue, so let's hope that volume two will follow in short order!

Average customer rating: a nice evening out Very Appealing Live Trio Set Best CD I've bought this year. Hail the Return of the Great Steve Kuhn Trio Solid and Stylish

Live at Birdland Steve Kuhn Trio Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music Similar Items: Live at the Village Vanguard Lawn Chair Society Night & the Music Kids: Duets Live at Dizzy's Club Coca-Cola Metheny Mehldau Quartet ASIN: B000MM0L7S Release Date: 2007-02-20

Tracks:

1. If I Were A Bell
2. Jitterbug Waltz
3. Two By Two
4. La Plus Que Lente/Passion Flower
5. Little Waltz
6. Lotus Blossom
7. Stella By Starlight
8. Slow Hot Wind
9. Clotilde
10. Confirmation

Amazon.com

Even though he accompanied any number of legends during the late 1950s and '60s, Steve Kuhn doesn't have the name recognition of other jazz artists who came of age during that period. But few pianists have maintained as high a standard as he has in the mainstream trio setting. Live at Birdland, which occasions the reunion of one of his best threesomes--the bassist is Ron Carter, the drummer Al Foster, both Miles Davis alumni--is one of his most consistently engaging albums. A keen intelligence and lively wit is at work on this tuneful terrain, which ranges from the shifting tempos and tones of "Jitterbug Waltz" to the luminous reflection of Carter's "Little Waltz" (which the bassist graces with a lovely solo) to the lovely intersection between Billy Strayhorn's "Passion Flower" and a Debussy waltz, "La Plus Que Lente." There's a romping aspect to the set as well: In his late 60s, Kuhn has lost nothing in speed or agility, rendering Kenny Dorham's "Lotus Blossom" with light-fingered brilliance. If another pianist hadn't stolen the "State of the Art" tag, he certainly could hang out that shingle on this album, one of the most enjoyable in this vein in quite some time. --Lloyd Sachs

Customer Reviews:

a nice evening out.......2007-06-28

a light deft touch marks kuhn's style. had me thinking of art tatum and oscar peterson. if i were a bell reminded me of miles' rendition on relaxin' with miles. some other jazz standards, a selection written by kenny dorham, trumpeter, two kuhn originals. one of my favorites, jitterbug waltz by fats waller, has me regretful i was not at birdland the night this was recorded, what a nice night that must had been. and you can't go wrong with al foster and ron carter, little waltz written by carter. a theme of music and flowers, two waltzes, a passion flower and a lotus blossom, in starlight, a slow hot wind blowing. this could be a presumptuous picture in other hands, kuhn, nicely, carries it off.

Very Appealing Live Trio Set.......2007-06-05

The 10 tracks were selected by Kuhn as the best from a four-night run at Birdland. The pianist rented a Hamburg-D Steinway (his favorite) for the occasion, and makes it sparkle. As others have indicated, audio quality is outstanding, making you feel like you're sitting in the club. I probably own close to 50 CDs with Ron Carter on bass, but I've never heard him as clearly as on this recording. The music is spontaneous and inventive, and should please just about anyone. Great playing all around by these 3 classy veterans; Kuhn's virtuosity peaks on the final cut --Charlie Parker's Confirmation, a most appropriate selection for this venue.

Best CD I've bought this year........2007-05-26

Great album! It is rare to have such musical genius and recording excellence combine on one CD. Steve Kuhn sounds like - Steve Kuhn and nobody else. Teamed with Ron Carter and Al Foster, the trio creates wonderful chemistry on the best-engineered live performance you will ever hear. Katherine Miller is credited with recording, mixing and mastering the album. If this is an example of her expertise, I am going to start looking for her name in album credits like I used to look for Rudy Van Gelder.

Hail the Return of the Great Steve Kuhn Trio.......2007-04-12

On the 20th anniversary of their 1986 recording at the Village vanguard, the Steve Kuhn trio (featuring Ron Carter on bass and Al Foster on drums) reconvenes for two glorious nights of traditional AND adventurous jazz at Birdland. Like its predecedssor, the sessions are marked first and foremost by Kuhn's incredibly rich and distinctive tone. The Big-Ben theme that opens the first tune, "If I Were a Bell," establishes the sound right away. And like the 1986 date, the interplay between the three players is dazzling--and seemlingly effortless.

But "Live at Birdland" is not a mere re-do. If, at the time, the Village Vanguard sessions proved a high-water mark for the pianist's career, he proceeded to follow it up with an uninterrupted flow of excellent live and studio recordings that showed him stretching his vocabulary and developing his prowess in ways one had previously not expected from him. "Live at Birdland" is a masterful culmination of such experiments. He has more confidence than ever before, which enables him to solo more effectively.

"Jitterbug Waltz" was a highlight of the first record. It was a restrained, elegant classic that underwent a series of impressive tempo shifts without ever undergoing a change in mood. Here it acheives all this plus more: in the opening solo Kuhn states the theme more fully. The trio then treat it to a number of variations and tempo shifts. At roughly the seven-minute mark, there is a terribly exciting kick into another gear for several minutes, which then cools down into the closing section.

There are inevitable comparisons between the two recordings, since Kuhn decides to use a handful of the same tunes for each. Thankfully, this decision is not repetitious. And, when Kuhn does introduce new material, it startles. The final tune, a driving rendition of Parker's "Confirmation," will leave you breathless.

Solid and Stylish.......2007-03-16

If this isn't my very favorite Steve Kuhn album, it's still very stylish, creative and lovely. It's nice to hear these vets together in live setting and Kuhn remains one of the best unheralded players. I
would still go first for his trio albums with David Finck and Billy Drummond (mostly on Reservoir I think), or some of the ECM titles for their 'experimentalism.' This one shows another side though. Very fine stuff.

Average customer rating: Brilliant Good fun One of my best cds Serious fun Mercy, Mercy, Mercy

Mercy, Mercy, Mercy! Live at 'The Club' Cannonball Adderley Quintet Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Soul-Jazz & Boogaloo | Jazz | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music General | Jazz | Indie Music | Stores | Music Similar Items: Somethin' Else Them Dirty Blues Moanin' Soul Station Song for My Father ASIN: B000005GY5 Release Date: 1995-07-03

Tracks:

1. Fun
2. Games
3. Mercy, Mercy, Mercy
4. Sticks
5. Hippodelphia
6. Sack O' Woe

Amazon.com

"Live at 'The Club'" boasts the cover of this 1966 album. Of course, this turned out to be a lie, as did the entirety of the original liner notes. Mercy, Mercy, Mercy was not recorded at that Chicago venue, but instead at Capitol Studios in Los Angeles. (The ruse was a favor to the club owner.) The hollering audience was comprised of invited guests and stimulated by free booze. Still, their enthusiasm is definitely well warranted, as alto man Cannonball Adderley and his band offer a riveting blend of postbop calisthenics and soul-jazz grooves. Joe Zawinul's famous title track, with its hypnotic, gospel-drenched funkiness, was a crossover top 10 pop hit, as well as an astonishing exercise in restraint for Zawinul, who somehow resists the urge to dig in on his electric piano, instead opting for a deep, mellow mood. The rest of the album cooks, with Cannonball, brother Nat on cornet, and Zawinul supplying the heat. --Marc Greilsamer

Album Description

Cannonball Adderley Quintet: Cannonball Adderley (alto saxophone), Nat Adderley (cornet), Joe Zawinul (piano), Victor Gaskin (bass), Roy McCurdy (drums).

Customer Reviews:

Brilliant.......2007-02-17

I Remember Bird, Leonard Feather's tribute to Charlie Parker, is one of my all time favorite jazz pieces. Cannonball and his brother Nate play it superbly. It's an unforgettable performance.

Good fun.......2006-06-04

Performed in front of a studio crowd plyed with free drinks, Cannonball and company (Nat, Joe Zawinul, Victor Gaskin & Roy McCurdy) play six funky songs. First Cannonball speaks to the crowd, then the band gets in the groove. The groove is a strength and weakness of the album, with the exception of the title track, the songs don't stand out very strongly from each other. The title track has the most interesting songwriting, though the fact that it was a crossover hit surprises me. It's very good, though. The playing is all top-notch, too.

One of my best cds.......2005-12-30

The title track "Mercy, Mercy, Mercy," alone, is enough reason to buy this album. This recording captures the electricity of this particular show to the extent that the listener may at points truly get a feeling like they're sitting in the room with the band.

Serious fun.......2005-06-30

This is hard bop at its essence. It's funky, fun, exciting, and most of all it's emotionally-charged. I tend to find myself driving to it a lot.

Although the first two tracks are titled "Fun" and "Games," there's a slightly dark edge to some of the soloing here, a bit of that mystery that makes the music of Miles Davis so compelling and captivating. Perhaps that's what makes this music so exciting. It's frequently on the edge of chaos, but never quite tips over into "free" jazz.

Zawinul really takes the spotlight on the title track, with a great spoken intro by Cannonball. This track is pure soul-drenched simplicity. Genius. Let this album be the light that guides you into jazz.

Mercy, Mercy, Mercy.......2004-08-23

Let me just tell you, this is about as exciting as it gets! The recording actually feels like it took place at a famous jazz club on a summer night, but as everyone knows by now, this wasn't so, and it was recorded in Capitol studios. This album finds the quintet at the top of its game, this time featuring Cannonball, his brother Nat on cornet, the spectacular Joe Zawinul on piano, Victor Gaskin on bass, and Roy McCurdy on drums. Of the six exciting numbers, I'd have to say that "Games" is my favorite, another great example of how amazingly underrated Nat was as a composer. The title track has this after-hours mood that you won't be able to find anywhere else. Whenever you're down about something, just put on that track, and I guarantee it will help you deal with whatever your problem is. You can't possibly call yourself a jazz or Cannonball fan and not own this magnificent album, so order it now!

Average customer rating: In Person

As Is...Live at the Blue Note Avishai Cohen Manufacturer: Half Note Records ProductGroup: Music Binding: Audio CD Avant Garde & Free Jazz | Jazz | Styles | Music Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music General | Miscellaneous | Styles | Music Similar Items: Continuo Pilgrimage At Home Metheny Mehldau Quartet Dear Miles ASIN: B000OCY6WM Release Date: 2007-04-24

Tracks:

1. Smash
2. Elli
3. Etude
4. Bass Suite #1
5. Feediop
6. Remembering
7. Caravan

Customer Reviews:

In Person.......2007-06-19

Avishai Cohen is a person I would love to see in perform live. This DVD/CD combo features some of my favorite tunes by the group as well as the live DVD presentation. Wonderful combination for someone with the longing to see them

Average customer rating: Down home jazz What a great sounding CD 84117 Awesome! Jimmy You were the Greatest!!! RIP

Back at the Chicken Shack Jimmy Smith Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Soul-Jazz & Boogaloo | Jazz | Styles | Music Electric Blues Guitar | Blues | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music General | Jazz | Indie Music | Stores | Music Similar Items: Midnight Special The Sermon! Root Down Midnight Blue Jimmy & Wes: The Dynamic Duo ASIN: B000005H4M Release Date: 1990-10-25

Tracks:

1. Back At The Chicken Shack
2. When I Grow Too Old To Dream
3. Minor Chant
4. Messy Bessie
5. On The Sunny Side Of The Street

Amazon.com

This is the kind of nasty, back-alley music that makes you wince in ecstasy. With Stanley Turrentine's tenor and Kenny Burrell's guitar sharing solo space, the Hammond master digs in with a blues-drenched shovel. While certainly fluent in the bop idiom, Smith's organ work maintains a direct emotional peg that reflects the swing and jump blues of a previous generation. Turrentine, a relative newcomer at this point (1960), proves a perfect foil for Smith's funky ideas, forgoing flashy bop runs in favor of soulful, expressive passages. Even on chestnuts such as "When I Grow Too Old to Dream" and "On the Sunny Side of the Street," the foursome boils the melodies down to their barest bluesy core. Back at the Chicken Shack is the prototypical soul-jazz recording. --Marc Greilsamer

Customer Reviews:

Down home jazz.......2007-02-07

Jimmy Smith (1925-2005) recorded this classic for Blue Note on April 25, 1960, popularizing the Hammond B-3 electric organ in the process. This is soul-jazz funk music, with its strong relationship to the blues and gospel music. The sidemen on this recording are: Stanley Turrentine (tenor sax), Kenny Burrell (guitar) and Donald Bailey (drums).

"Back at the Chicken Shack" was recorded during the same session that the famous "Midnight Special" came out of. The title track on this release is immersed heavily in the blues, made clear by the accent on Jimmy's organ. Track two, "When I Grow Too Old to Dream", showcases Stanley Turrentine reworking a classic Romberg and Hammerstein II title.

Track three, "Minor Chant", is an original composition by Turrentine that swings really hard. The track first appeared on Turrentine's album "Look Out" recorded earlier for Blue Note. Smith gets plenty of solo time to share with Stanley's heated solos. Track four, "Messy Bessie", is another heavily blues influenced excursion, this one showcasing Turrentine, Smith and Burrell with respective solos. And track five, the standard "On the Sunny Side of the Street", Smith & Co. execute this one with precision and finesse.

This is a well produced, well executed, incredibly enjoyable album from Smith's extensive career. Not owning this album leaves a giant whole in your jazz collections. Digitally transferred by Ron McMaster, this session is crisp and alive. Jimmy Smith's ""Back at the Chicken Shack" easily earns itself five stars in my opinion.

What a great sounding CD.......2005-09-26

If you like jazz organ you will love Jimmy Smith's playing. I highly recommend this CD - ruggedthug.com

84117.......2005-05-22

i bought this for a friend a long time ago, and then bought myself a copy some time after that. it has an awsum cover and is just really enjoyable to listen to, especially in the summer months. a long time ago i thought it was a sequel or something, but it's not.

Awesome!.......2005-02-21

I agree 100% with Guy from New Haven. And even though I don't possess all of Jimmy's albums, this has to be his best... Maybe the the best jazz album ever!!! Never heard anything so groovy; it's B3 organ, Tenor Sax and good rhythm galore!!!

I don't know which track is best because they're all stunning but to name a few, maybe "Minor Chant" by Stanley Turrentine (who brilliantly plays the sax throughout the album), stands out a little... not by much though. "When I grow too old to dream": what a sweet melody!... Messy Bessie (by Jimmy) is so good, I would have appreciated a finale instead of the fade-out we got (but that's okay). And technically, the 1960's Blue Note pure, clear, and no-fuss analog recording sounds flawless.

If you're jaded with the traditional organ-drums-guitar formation, check this out because tenor saxophone truly adds a uniquely elegant and amazingly powerful dimension to Jimmy's already great sound! This will put a smile on your face and make your head bounce!

Jimmy You were the Greatest!!! RIP.......2005-02-11

It's a sad day for me today because I just heard that the great Jimmy Smith passed away 2 days ago at his home near Phoenix. He was far and away THE GREATEST HAMMOND B3 PLAYER WHO EVER LIVED!!!
I can't think of anyone else who had such an impact and defined the classic jazz blues sounds of the 50's and 60's like he did!
As for this album, Back at the Chicken Shack, I agree with previous reviewers who consider this and Midnight Special as his two best! I like them both equally!
And one final note, I was lucky to see Jimmy three times, most recently three years ago at the Del Mar Fairgrounds in Southern California, and he graciously signed my vinyl album cover of "Chicken Shack" which also has the autographs of the late great saxaphonist Stanley Turrentine and guitarist Kenny Burrell! I am very proud to own this album and hope to be able to perhaps donate it to a Jazz museum for future generations to see. Jimmy, thanks for all the incredible music! Rest in Peace.

Average customer rating: A Power Trio!!! unlike coupling Raw Powerful Sonny...Awesome ! Pretty great, but... Anticipation Of Things To Come

Night At The Village Vanguard Sonny Rollins Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Bebop | Live Albums | Jazz | Styles | Music Modern Postbebop | Live Albums | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music General | Jazz | Indie Music | Stores | Music Bebop | Jazz | Indie Music | Stores | Music Modern Post Bop | Jazz | Indie Music | Stores | Music Similar Items: Way Out West Thelonious Monk Quartet with John Coltrane at Carnegie Hall The Bridge Tenor Madness Soul Station ASIN: B00000K4GJ Release Date: 1999-09-14

Tracks:

1. A Night In Tunisia
2. I've Got You Under My Skin
3. A Night In Tunisia (Evening Take)
4. Softly As In A Morning Sunrise (Alternate Take)
5. Four
6. Introduction
7. Woody 'N' You
8. Introduction
9. Old Devil Moon

Tracks:

1. What Is This Thing Called Love
2. Softly As In A Morning Sunrise
3. Sonnymoon For Two
4. I Can't Get Started
5. I'll Remember April
6. Get Happy
7. Striver's Row
8. All The Things You Are
9. Get Happy (Short Version)

Amazon.com

In 1957, Sonny Rollins was at an early creative peak, already a masterful improviser who could range from hard-bitten bop blues to broad or sly humor, all conveyed with a swaggering virtuosity and bullying warmth. One of the first jazz musicians to develop the extended solo, Rollins would turn tunes inside out rhythmically, often building a solo around complex variations on a tune's melody. The Vanguard recordings come from a period when Rollins found maximum freedom in a trio pared down to the essentials of tenor, bass, and drums, and the multiple takes here testify to his fluent invention. Disc 1 of this set is highlighted by two takes of "A Night in Tunisia," the first recorded at a matinee with bassist Donald Bailey and drummer Pete LaRoca, the second and faster version at the evening performance with regular accompanists bassist Wilbur Ware and drummer Elvin Jones. The second CD continues the evening performance with Ware and Jones. It's a uniquely gifted threesome, with each musician seeming to invent new ways to swing, without a note or a musical opportunity wasted. Both Rollins and Ware reveal their relationship to Thelonious Monk in the ability to create complex, arresting music out of shifts in rhythmic inflections. It's especially apparent in the second version of "Softly as in a Morning Sunrise." In this context, Jones has an opportunity to show just how melodic a drummer he was. The two versions of "Get Happy" demonstrate Rollins's ability to make complex and witty music out of the most banal material, while "What Is This Thing Called Love" is a tour de force of sustained group invention. --Stuart Broomer

Album Description

The mid-fifties was an astonishing period for this saxophone genius. And for all his great work in this era, this daring album and "Saxophone Colossus" remain his crowning achievements. With just bass (Wilbur Ware) and drums (Elvin Jones) in support, Rollins creates tenor saxophone improvisations of increible beauty and inexhaustible creativity. Twenty years after the initial album, a double album containing the rest of the releasable material from this magic night at the Village Vanguard was issued. With the recent re-discovery of the original tapes, the performance has been assembled as it happened and beautifully remastered by original engineer with superb depth of sound. Several of Sonny's stage announcements have been added to master for the first time.

Customer Reviews:

A Power Trio!!!.......2007-03-18

It's almost hard to fathom that it's been almost 50 years since Sonny Rollins recorded the historic "Night At The Village Vanguard" for Blue Note. Even half a century later, this jaw-dropping performance still leaves one awestruck by it's beauty and power.
Even as far back as 1957, Sonny Rollins was experimenting with different ensemble configurations and at the Village Vanguard, unveiled a combo that was unique for its time - a tenor sax/bass/drums trio which already proved to be successful on "Way Out West" from earlier in the year. Because of the lack of any chordal instruments, the musical interplay between Rollins, bassist Wilbur Ware and a rising star drummer in the form of Elvin Jones is extremely tight and each musician is given plenty of space to stretch out without going too far off the deep end.
Every piece included in this set is a gem. It's almost like being there in the middle of the Village Vanguard listening to the Rollins trio giving their all. Even the early take of "A Night In Tunisia" which features Donald Bailey and Pete LaRoca in the place of Ware and Jones is a sure-fire performance.
"A Night At The Village Vanguard" is definitely a must for Sonny Rollins fans as well as anyone who appreciates Jazz. The remastering by original recording engineer Rudy Van Gelder is absolutely stunning although there is a slight amount of undistracting tape hum heard occasionally.
Four years later, John Coltrane would record a legendary album at the Vanguard which would make the venue a household name. However, it should be noted that not only was Sonny's recorded first, it was also the first ever recording to be made at the Village Vanguard.
Definitely Essential Sonny Rollins!!!

unlike coupling.......2006-03-17

Curiosity has driven me to buy this double,live CD set,and after repeated listening, I'm afraid my expectations were a little too far from reality. I was, in fact convinced that Elvin Jones drums would have made a heck of a match to Rollins 'out of tune',loose sound,yet this isn't the case on these sessions. Apart from a couple of tracks('A night in Tunisia',disc1 and partly in 'What is this thing called love',disc2)Elvin hasn't fully developed,yet the rythm machine he was in the John Coltrane quartet. If I didn't hear Rollins mentioning the drummer in his presentations(or read about it in the booklet)I would have thought Max Roach,at best, was on drums or perhaps someone less recognizable,to my ear, like Louis Hayes or Art Taylor. Anyhow, the school of the time wasn't that bad,was it? I am more familiar with Sonny Rollins studio recordings of his later stage,and in this set,probably because of playing in the temple of live Jazz,or maybe because of performing with his newly formed combo, I can feel more care has been put to lessen mistakes, than to express musicality freely.
In any case I've liked the versions of 'A night in Tunisia' with saxophone,as opposed to the ones I know by Art Blakey's ensembles,with the trumpet. And I love the unique out of tune sound of Rollins' sax anyway: standard bop, though for this one.

Raw Powerful Sonny...Awesome !.......2005-03-31

Man, from the very first notes of night in tunisia this is just nail you to the wall music. I think this set captures the young Sonny Rollins in rare form and should not be missed. The drummer Pete Larocca in a different life could have been an arena rock drummer. He's got a straightahead pound it out style that works beautifully on this set. Lisen to what these guys do with an old warhorse like Got You under My Skin" As they run chorus afer chorus with tempo changes and different feels. I love this CD and think that it captures Sonny Rollins at a time when his art was blossoming. Highest reccomendation.

Pretty great, but..........2004-07-19

is it just me or is Elvin's drumming kinda sloppy on this album?

Anticipation Of Things To Come.......2004-06-20

At some point in 1956 Sonny Rollins developed from being a promising new voice on the tenor saxophone to one of the great jazz improvisers. From then until his temporary withdrawal from the jazz scene at the end of the decade he produced a series of fine recorded sessions, including a classic album aptly titled `Saxophone Colossus'. This Village Vanguard recording from 1957 is valuable for capturing Rollins in good form in a live setting accompanied only by bass and drums. Of additional interest is that the drummer was another jazz colossus treading his own path to greatness: Elvin Jones.

As these were live sessions, it's not surprising if some of Sonny's playing here is sometimes more diffuse than in the more tightly constructed pieces on his studio albums from this period. Nevertheless there is a lot of inspired and energetic playing here. Tracks such as "Sonnymoon for Two", "Softly as in a Morning Sunrise" and "A Night in Tunisia" are often singled out as highlights; but I haven't yet come across any appreciation of "What Is This Thing Called Love?" as the most remarkable performance. This track reminds me of two other Rollins classics: "There's No Business Like Show Business" (on the earlier album, `Worktime') and "Three Little Words" (`Sonny Rollins on Impulse' - 1965). Like them it shows Sonny paring down and reconstructing a well-known standard with characteristic resourcefulness and wit, playing with motifs from the tune and with time and phrasing, and managing to sound both supremely relaxed and intensely concentrated at a moderately fast tempo. Notice how at the beginning he exploits the lack of a piano accompaniment to create harmonic ambiguity: by playing with just a few notes from the tune he teasingly hides its identity for a few bars (it sounds at first as though he is going to launch into "Toot, Toot, Tootsie").

Here and there on these sessions, but particularly on "What Is This Thing Called Love?" you can also hear Elvin Jones beginning to cut loose from his influences and to anticipate the kind of percussion playing he was to develop in the next few years, reaching a peak in his work with John Coltrane in the 1960s. For example, on this track he already shows that ability both to maintain the basic pulse and to appear to subvert it with the use of complex polyrhythms. This begins to happen during Sonny's solo and becomes increasingly adventurous in Elvin's. There is a particularly telling moment at the end of Elvin's long solo, when, after the original tempo seems to have been lost in a succession of polyrhythms, Rollins comes back in, immediately picking up the original tempo as if both players had rehearsed it down to the fraction of a beat. If it weren't for that moment when Sonny re-establishes control, one could suppose that on this track Elvin is the leader, taking the music where he wants it to go (it is he who has the first as well as the last word!). So for different reasons I think this track is the `classic' of the album and one which gives an intriguing anticipation of things to come - not only of Elvin's later work with Coltrane and others but also of the increasingly abstract style which Sonny was to develop in the next decade.

To describe these performances as `dialogues' between Sonny and Elvin would be to unfairly slight the contribution of bassist Wilbur Ware who plays well throughout, reliably maintaining the trio's harmonic foundation, and produces some good melodic motifs in his solos on "Softly as in a Morning Sunrise". But it's fair to say that his more conventional playing helps to set in relief the occasional glimpses into the future we get from his partners.

Whether as an historical document or in its own terms as an exhilarating blowing session, this is a highly recommended album. The sound is mono only, but for a club date is good - clear, realistic and well balanced between the three instruments.

The only other collaboration between Sonny and Elvin that I know of is the mid-1960s album, `East Broadway Rundown'. You might not like the long `free jazz' title track, but the remaining two excellent trio tracks are available on a CD in the Priceless Jazz series, along with some other good Rollins performances from the period (Priceless Jazz GRP98762- see my Amazon review).

Average customer rating: A great night for jazz Pressure Cooker Bebop transforms into hard bop Hard Bop Genesis My favourite Art-Blakey set

A Night at Birdland, Vol. 2 Art Blakey , Clifford Brown , and Horace Silver Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Bebop | Live Albums | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music General | Jazz | Indie Music | Stores | Music Bebop | Jazz | Indie Music | Stores | Music Similar Items: A Night at Birdland, Vol. 1 Study in Brown Moanin' Somethin' Else A Night in Tunisia ASIN: B00005MIZ9 Release Date: 2001-08-07

Tracks:

1. Wee-Dot
2. If I Had You
3. Quicksilver
4. Now's The Time
5. Confirmation
6. The Way You Look Tonight
7. Lou's Blues

Amazon.com

The second volume of recordings from this seminal hard-bop date (February 21, 1954) picks up where Volume 1 leaves off, and is no less thrilling. Trumpeter Clifford Brown positively smokes through "Wee-Dot" and a supercharged reworking of the standard "The Way You Look Tonight." Alto Lou Donaldson earns his "Sweet Papa Lou" moniker with a tender reading of "If I Had You," rippling off a flurry of notes without ever upsetting the gentle nature of the tune, and evidencing a strong Bird influence in the process. Speaking of Bird, the two closing tunes come from Parker's pen, most notably "Now's the Time," which here receives a superbly slowed-down and funked-up rendition. --Marc Greilsamer

Customer Reviews:

A great night for jazz.......2005-03-15

This second volume of the Art Blakey Quintet live at Birdland (2/21/54) is just as good as volume 1. Clifford Brown, alto man Lou Donaldson, Horace Silver, and Curly Russell join Blakey for some swinging hard bop performances. "Wee-dot" is a fast blues, as is "Lou's blues," which might be just a tad too frantic. All the playing is exceptional, though, on every track. Should be had with volume 1, and both CDs are must-have deals.

Pressure Cooker.......2005-01-22

Be careful folks, this one can scorch your knickers! Everyone here is in tip-top shape and there are times when this one is a full-blown show of pure firepower.

It also slows down nicely though when it does pull back to the mid and slow tempos. Actually the mid-tempo stuff here is my favorite. Lou Donaldson purely shines here. He really should be more well-known. His playing is an absolute joy from beginning to end and, at least for me, he is the true star of this release. Of course there is also no lack of material here to please the Clifford Brown crowd, either. Sometimes upper-register pyrotechnics types of trumpet players seem to kill my ears. It's not my most favored style, but I still can't help but marvel at the lines Brownie blows here. When listening to him, I get the feeling that audience members probably broke out into a sweat just from hearing and seeing him play.

Even though Jazz at Massey Hall (whether partial or the complete one) is often viewed as a high-water mark in bebop, I'd tend to go with this disc as a better example of what it's all about. The sonic quality of this recording is fuller, richer, and I just think the performance is better, too. This disc has hard-bop-lengthed solos, but bebop style and freneticism... along with the killer slower stuff, as I mentioned earlier.

Bebop transforms into hard bop.......2004-10-05

The second album produced of a concert done in 1953 at Birdland by Art Blakey, this is actually better than Volume 1, in my opinion. I'd give it 4 stars for material and soloing, but 5 for importance, because there are several things are interesting about this cd:

1. This was the first live recording ever made that is not bootleg, but recorded for the specific purpose of commercial release.

2. Art Blakey is known as the god of hard bop, but this is really a bebop album, with blistering tunes and elongated, flowing lines by all the soloists. But you can begin to sense the elements of hard bop coming in, especially with Clifford Brown's solos, so in this way this is a great historical document.

3. The line up of Brown, Blakey and Silver, the three fathers of hard bop, all playing on the same stage is just a joy.

The album is deffinitely worthwhile, as Clifford Brown and Horace Silver (who I've always loved as a composer but less as a soloist) contributing excellent solos, especially Silver on Quicksilver, and Brown on Now's the Time and especially Confirmation. Altoist Lou Donaldson is a solid, adept player in the Bird tradition. While not the equal of Brown, he has two nice moments early on: he steals the show on the tune Wee Dot, and of course is featured on the ballad If I had You. Art Blakey is as brillaint on the drums as always, rarely taking a solo but shining when he does. This really is jazz history right here, and thus EVERY jazz fan should have it, especially lovers of Blakey, Brown and Silver.

Hard Bop Genesis.......2001-12-19

This 1954 live recording is a momentous one in jazz history -- it's one of the first recordings in a style that would be known as hard bop. Blakey's quintet, a clear forerunner of his Jazz Messengers, approaches the classic bop style, mixes in some soul and gospel, and cranks up the energy. Art Blakey's turbocharged drumming, Horace Silver's funky, blues-drenched playing, and the formidable frontline of trumpet wizard Clifford Brown and Bird disciple Lou Donaldson set the mold for the style.

Highlights of Volume 2 are a blistering interpretation of the Kern-Fields classic "The Way You Look Tonight" and two Charlie Parker tunes, "Confirmation" and "Now's The Time". Clifford Brown really burns on these tunes. If you like this CD, be sure to buy Volume 1 as well as the two Bohemia recordings of Blakey a year later.

My favourite Art-Blakey set.......2001-08-15

These live recordings were the first jazz albums I ever bought. Now, after having listened to many more I still think that this live set is one of the most amazing recordings I have. The Art Blakey Quintet was in great form on that particular night, about 50 years ago. The material is bebop as well as early fast hardbop - a nice mix of classics and songs mainly by Horace Silver. I highly recommend this live set to anybody interested in jazz!

Average customer rating: What can I say about this album... Hard Bop 101 So much began here This is it!!! Two words: Clifford Brown

A Night at Birdland, Vol. 1 Art Blakey , Clifford Brown , and Horace Silver Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Bebop | Live Albums | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music General | Jazz | Indie Music | Stores | Music Bebop | Jazz | Indie Music | Stores | Music Similar Items: A Night at Birdland, Vol. 2 Moanin' Study in Brown A Night in Tunisia Song for My Father ASIN: B00005MIZ8 Release Date: 2001-08-07

Tracks:

1. Announcement By Pee Wee Marquette
2. Split Kick
3. Once In A While
4. Quicksilver
5. A Night In Tunisia
6. Mayreh
7. Wee-Dot (Alternate Take)
8. Blues (Improvisation)

Amazon.com essential recording

For all intents and purposes, the style of jazz known as hard bop came of age at this February 1954 live date from the famous New York club. By adding vibrant elements of blues, funk, soul, and gospel to the technically challenging and highly cerebral bebop form, hard bop became the dominant jazz style and to this day represents what is typically referred to as mainstream jazz. The lineup here resembles the '27 Yankees of the genre: trumpeter Clifford Brown was quickly becoming the red-hot alternative to Miles Davis's cool stylings (his work on the ballad "Once in a While" is worth the price of admission alone); pianist Horace Silver's driving, urgent sound epitomized the funky hard-bop aesthetic; alto Lou Donaldson and bassist Curly Russell had already graced countless essential recordings between them. From this seed grew three of the greatest hard-bop outfits in history: Blakey's Jazz Messengers, Silver's Quintet, and the Clifford Brown-Max Roach Quintet. This short-lived ensemble might have them all licked. For a complete snapshot of the Birdland event, pick up A Night at Birdland, Volume 2, easily on par with Birdland, Volume 1 for sheer artistry. --Marc Greilsamer

Customer Reviews:

What can I say about this album..........2007-03-09

that hasn't been said already? ...I can't think of anything. Simply awesome, would suggest it to anybody that enjoys Clifford Brown or Horace Silver or Art Blakey (in other words, any listener of jazz)

Hard Bop 101.......2007-03-05

This recording is worth five stars alone just to hear Mr. Clifford Brown's performance. No amount of hyperbole can do this man justice. He is simply the best. It is almost bittersweet hearing Brownie sound this great knowing that he had so many of these unbelievable performances still left in him before his untimely and tragic death. This is definitely one of my top five favorites of any album he ever did. This is also one of my top ten favorites of any live album period! It is an amazing performance by the whole group of all-stars - Lou Donaldson, Art Blakey, Horace Silver and Curly Russell.

If you are a fan of Clifford Brown then this is essential! If I was teaching a jazz class this would be the first album I would play to the class as an example of hard bop at it's absolute finest.

So much began here.......2006-11-14

If you love hardbop and/or Horace Silver and/or Art Blakey, you need this album. It is just a joy to hear the band setting the course that so many others would follow over the years.

This is it!!!.......2005-06-13

This CD, with its partner Volume 2, is one of the greatest live recordings of a club date in jazz history. The hard-driving Blakey with his best group ever; Brownie is incredible. And unlike a studio date, there are no retakes, no editing, just raw improvisation at the highest level.

Two words: Clifford Brown.......2005-05-15

Some of the best Trumpet playing I've ever heard is on this album. The entire band rocks - but Cliffor Brown is on fire. I've listened to all the greats - but nothing stands up like this!

Jazz Music:

1. Jubilation
2. Keepin' Me Satisfied
3. Live in Chicago, Vol. 1 [Live]
4. Live in Chicago, Vol. 2 [Live]
5. Live In New Orleans [Live]
6. Live Jazz [Live]
7. Live-Montreux '77 [Live]
8. Merry Olde Soul
9. Mexican Bandit Meets Pittsburgh Pirate
10. Monk

Jazz Music

jazz music