Coleman Hawkins with Horace Silver - Complete Birdland Broadcasts

"Coleman Hawkins and Horace Silver were only recorded together during the two Birdland broadcasts presented here, which had never previously appeared on CD. As a bonus, we have added Hawkins' complete quartet set at the First Playboy Jazz Festival in 1959 and a seven-minute Hawkins interview, which also appear here for the first time ever on CD."

How great is it that this kind of stuff continues to show up? These are certainly not the greatest recordings ever or anything like that, but given the level of the participants, how can you possibly resist?  These tracks are from the golden age of radio when live dates with the giants of jazz were a regular weekly event. Jump into the 'Wayback Machine' and spend an hour or so transported back to a time when jazz was still popular music in the spotlight.

Howard McGhee - Jazz Brothers (1977) [New vinyl rip to flac 24/96

 

The Danish label Jazzcraft released eight LPs in the late 70s. 

 
Review by Michael G. Nastos [of the CD reissue]-
"Post-bop lived quite well in the '70s, especially when expressed by Howard McGhee and Charlie Rouse, as formidable a trumpet/tenor sax tandem as has ever existed. Add peerless pianist Barry Harris, bassist Lisle Atkinson, and drummer Grady Tate, and you had a dynamic quintet that could not only swing hard and play deep, but could even throw Latin rhythms into the mix, with the help of unsung conga player Jual Curtis. The ten songs on Jazz Brothers, a companion recording to Rouse's 1977 album Moment's Notice, make all this abundantly clear. "One for George" and "Driftin'" are essentially the same tune: a patient, counterpointed horn line in a slow-blues framework. "Island Mood," which uses a churning Latin rhythm and turnaround melody reminiscent of "Caravan," features Rouse's spare, staccato tenor contrasts and McGhee's Dizzy Gillespie-like muted trumpet, while the hot calypso bop "Frisky" is replete with melody and rhythm changes that recall "What Is This Thing Called Love?" Straight bop and calypso are welded together on "In There," the out-and-out bopper "Queens" (featuring drum stops from Tate), and the simple tag-team melody of "Search." Rouse gets a ballad feature on "When Sonny Gets Blue," displaying all of the original, wistful passion that made him Monk's favorite. This is an imperfect session, but not so much musically. The hour-long running time is disappointingly deceptive, because alternate takes of each song chew up much of that space. There are also some speed distortions during the piano solos, as if the master tapes were either defective or damaged. Nonetheless, this is some great modern jazz from a group of gentlemen who knew their stuff stone cold."

01. In There 5:21
02. One For George 7:40
03. Island Mood 5:35
04. Frisky 4:25
05. Driftin' 7:38
06. Queen's 3:56
07. Search 6:10

Howard McGhee (tp) Charlie Rouse (ts) Barry Harris (p) Lisle Atkinson (b) Grady Tate (d) Jual Curtis (cga)
New York, October 19, 1977

Sonny Stitt - Featuring Howard McGhee (1967,61)

A concise compilation of works by two master jazz artists: Sonny Stitt and Howard McGhee. The tracks chosen are taken from two excellent 'Black Lion' releases arising out of two separate sessions; the first one held in Zürich from 1967 and the second held in New York City in 1961. Howard McGhee is featured on all tracks and six are his own compositions. The great altoist Sonny Stitt is joined by trumpet great Howard McGhee on the first half of the album along with pianist Walter Bishop, Jr., bassist Tommy Potter and drummer Kenny Clarke. For the second half of the album Howard McGhee takes over with his quintet comprising of tenorist Georg Coleman, pianist Junior Mance, bassist George Tucker and drummer Jimmy Cobb. All tunes are strong derivatives of bop and all players are at the top of their game. Many enthusiasts if they haven't done so beforehand will search out the original albums: Night Work & Shades Of Blue, Well Recommended! 

Jazz Life, 2473242, 1988
Recorded 18th October, 1967 (#1,2,4-6) at Turicop Studios, Zürich, Switzerland;
8th December, 1961 (#3,7-10) at Stea-Phillips Studios, New York City 

Musicians:
Sonny Stitt - Alto Saxophone (#1,2,4-6)
Howard McGhee - Trumpet (#1-10)
George Coleman - Tenor Saxophone (#3,7-10)
Walter Bishop, Jr. - Piano (#1,2,4-6)
Tommy Potter - Double Bass (#1,2,4-6)
Kenny Clarke - Drums (#1,2,4-6)
Junior Mance - Piano (#3,7-10)
George Tucker - Double Bass (#3,7-10)
Jimmy Cobb - Drums (#3,7-10) 

Tracks:
01. Night Work {Howard McGhee} (7:26)
02. Matter Horns {Eiger, Jungfrau} (10:43)
03. Shades Of Blue {Howard McGhee} (5:05)
04. Don't Blame Me {Dorothy Fields, Jimmy McHugh} (4:06)
05. Lover Man [Oh Where Can You Be] {Davis, Sherman, Ramirez} (5:15)
06. Hello {Howard McGhee} (6:50)
07. The Sharp Edge {Howard McGhee} (5:56)
08. Cool {Howard McGhee} (2:55)
09. The Day After {Tom McIntosh} (2:06)
10. Topside {Howard McGhee} (4:21) 

Total Time: 54:49 

Producer - Alan Bates
#1,2,4-6
Sonny Stitt - Night Work [Black Lion Records - BLP-307]
#3,7-10
Howard McGhee - Shades Of Blue  [Black Lion Records - BL-305] 

Matter Horns

Don Patterson - The Best Of Don Patterson & The Jazz Giants (1969)

The term "jazz giants" is no overstatement for this selection of choice tracks from the brilliant organist's output for Prestige between 1964 and 1969. The various lineups on the LP's six tracks are made up of players who excel in playing Patterson's brand of smart, hard-bopping soul jazz: Sonny Stitt, Pat Martino, Charles McPherson, George Coleman, Blue Mitchell, Junior Cook among others. Cohesive pacing and sound put this release a few notches above most all-star/best-of sets. There's no awkward shoehorning guests in for celebrity cameos, rather the players all sound like members of tight, working units. It helps to have Patterson stalwarts guitarist Martino and drummer Billy James on board for most of the music, as they share the artist's ability to generate exciting, hard-driving music with their great blues feeling and outstanding chops. The three tracks with Martino are the high points: Stitt's "Ratio and Proportion," Billy James' "Little Shannon," and Charlie Parker's "Donna Lee." As he consistently does in his work with Patterson, Martino impresses with his stunning rhythm work, in addition to his more widely recognized role as a killer soloist. The version of "Donna Lee" here is also significant for the presence of veteran bebopper Howard McGhee, who is in excellent form on this feature for his trumpet. The mark of a strong best-of package is one that stands on its own as a coherent presentation of the artist's work, as well as one that prompts the listener to seek out the complete sessions that were drawn on for the compilation. On both these accounts, this survey of Patterson's work is a complete success. ~ by Jim Todd, AMG.

Prestige Records, PRST 7772, 1969

Recorded 24^th September, 1968 (#A1) in New York City

Recorded 2^nd June, 1969 (#A2) At Van Gelder Studio, Englewood Cliffs, New Jersey

Recorded 22^nd February, 1968 (#A3) in New York City

Recorded 10^th May, 1967 (#B1) At Van Gelder Studio, Englewood Cliffs, New Jersey

Recorded 19^th March, 1964 (#B2) At Van Gelder Studio, Englewood Cliffs, New Jersey

Recorded 5^th June, 1968 (#B3) in New York City

Personnel:

Don Patterson - Organ

Virgil Jones - Trumpet (#A2)

Howard McGhee - Trumpet (#A3)

Blue Mitchell - Trumpet (#B3)

Charles McPherson - Tenor Saxophone (#A1)

Sonny Stitt - Tenor Saxophone (#A1,B2)

George Coleman - Tenor Saxophone (#A2)

Houston Person - Tenor Saxophone (#A2)

David "Fathead" Newman - Tenor Saxophone (#B1)

Junior Cook - Tenor Saxophone (#B3)

Pat Martino - Guitar (#A1-A3,B3)

Billy James - Drums (#A1,A3,B1,B2)

Frankie Jones - Drums (#A2)

Tracks:

A1. Ratio And Proportion {Sonny Stitt} (5:09)

A2. Perdido {Ervin Drake, Hans Lengsfelder, Juan Tizol} (8:50)

A3. Donna Lee {Charlie Parker} (6:16)

B1. Mellow Soul {Don Patterson} (6:35)

B2. Please Don't Talk About Me When I'm Gone {Sidney Clare, Sam H. Stept} (5:42)

B3. Little Shannon {Billy James} (6:56)

Total Time: 39:28

See Session Info [Personnel].txt for further details

Gene Ammons - Heavy Sax (1974) [vinyl]

Very nice record, and one of the rarer sides by Gene Ammons. We can't remember the exact story behind this, but we know that the material was recorded by Jug during the early 60's, when he was violating his contractual agreements with a number of labels, and recording sessions for just about everybody. Paul Winley caught him then, and put him in the studio with Howard McGhee and guitarist Jake Fisher, for this cool laidback soul jazz session that's probably one of Jug's most open-ended from the time. The tracks are all long, with a lot of room for solo space, and a round mellow tone. Winley has his name on all of the writing credits, which is probably false (the lying bastard!), and titles include "Housewarmin", "Nothin' But Soul", and "Jug & McGhee". © Dusty Groove, Inc.

Olympic Records, OL-7126, 1874

Recorded circa May, 1962 at Circle Campus Auditorium, University Of Illinois, Chicago

Musicians:
Gene Ammons - Tenor Saxophone

Howard McGhee - Trumpet

Jake Fisher - Guitar

Barney Richmond - Bass

Willie Mashburn - Drums

Waco - Bongos

Tracklisting:

A1. House Warmin' (12:22)

A2. Jivin' Around (4:55)

B1. Nothing But Soul [Jazz With A Beat] (6:25)

B2. Jug And McGhee [Muggin' McGhee] (10:03)

Anyone who rates this below a five is a straight fool, the album SMOKES. Guitar work, sax flows, tight drum work, and a lazy bass line. The A1 track "House Warmin'" alone tells you what's up. ~ bodangerou

James Moody - Cookin' The Blues (1961) [vinyl>flac]

The genius of Moody! It's an album like this that you need to prove to your friends that Moody was way more than a simple bopper. The set was recorded live in San Francisco in 1961, and it's got a hip mix of soul jazz, filtered through some modernist ideals, all played by a great little group that includes Bernard McKinny on trombone, Howard McGhee on trumpet, Musa Kaleem on baritone, and Sonny Donaldson on piano. Eddie Jefferson sits in for 2 numbers - "Disappointed" and "Sister Sadie" - and other tracks include "One For Nat", "Bunny Boo", "Moody Flooty", and "Home Fries". © Dusty Groove, Inc.

“Cookin’ the Blues”, features his septet recorded live at the Jazz Workshop in June 1961, during his tour on the West Coast. Moody, wonderfully relaxed and in good form, fronts a band (with trumpeter Howard McGhee in his come back to the coast) offering inspired performances and more musical content than groups with a bigger name. Eddie Jefferson was also was one of the moving forces behind the whole show, with his humorous, and happily frantic singing. ~ Fresh Sound Records.

This album was recorded live in San Francisco and the band sound on good form with well worked and, most likely, well-rehearsed ensembles. The opening blues, The Jazz Twist, has Moody playing alto although he sounds equally at home on this or tenor sax. These are very well cooked blues and Moody is on sparkling form on both this and the studio set that follows. He digs into the blues on the opening selection and again on Bunny Boo, measuring his solo phrasing carefully as the rhythm section pulses along beside him. Moody Flooty has the leader showing how well he can perform on flute, his tone strong and his ideas forming unimpeded. The rhythm section plays well throughout. Arnold Enlow, who is aka Buddy on some discs, is steady on all selections. Moody is the only soloist but the group sound overall, is impressive. ~ Derek Ansell (Jazz Journal, March 2015)

“Cookin’ the Blues” finds Moody with a medium sized group which includes trumpeter Howard McGhee unfortunately none of the group get to solo except pianist Sonny Donaldson. Moody plays alto, tenor and flute, on alto he displays his debt to Parker but on tenor and flute he is more his own man. This is a live recording and may have been exciting in person but this does not transfer to the recording. Apart from “It Might As Well Be Spring” all the compositions are originals and includes to vocals by Eddie Jefferson in his vocalese style. ~ Roy Booth, Jazz Views.

Argo/Cadet Records, LPS-756, 1965

Recorded at the Jazz Workshop, San Francisco, 1961

Musicians:

James Moody - Tenor & Alto Saxophones, Flute (#A4)

Howard McGhee - Trumpet

Bernard McKinney - Trombone

Musa Kalleem - Baritone Saxophone

Sonny Donaldson - Piano

Steve Davis - Bass

Arnold Enlow - Drums

Eddie Jefferson - Vocals (#B2,B3)

Track Listing:

A1. The Jazz Twist {James Moody} (6:36)

A2. One For Nat {Gene Kee} (5:53)

A3. Bunny Boo {James Moody} (5:32)

A4. Moody Flooty {James Moody} (4:16)

B1. It Might As Well Be Spring {Richard Rodgers, Oscar Hammerstein II} (5:55)

B2. Disappointed {Eddie Jefferson} (2:10)

B3. Sister Sadie {Horace Silver} (2:50)

B4. Little Buck {James Moody} (2:12)

B5. Home Fries {Gene Kee} (6:17)

Credits:

Supervisor, Producer - Jack Tracy

Sound Engineer - Paul Gayten

Photography [Cover] - Don S. Bronstein

Design - Michael Reid Design

Liner Notes - Ira Gitler

Charlie Parker Memorial Concert

Charlie Parker Memorial Concert
Cadet Records – 2CA 60002
 2 × Vinyl, LP, Album, 1970

A1 Billie's Bounce        
A2 Just Friends        
B1 Scrapple From The Apple        
B2 Summertime        
C1 Ornithology        
C2 Groovin' High        
D1 Yardbird Suite        
D2 Now's The Time        
D3 Parker's Mood        
D4 Disappointed/Oh, Lady Be Good (Medley)

    Alto Saxophone – Vi Redd (tracks: C1)
    Alto Saxophone, Tenor Saxophone – Lee Konitz (tracks: B1, C2, D1 to D4)
    Bass – Rufus Reid
    Drums – Philly Joe Jones* (tracks: B1, C2, D1 to D4), Roy Haynes (tracks: A1), Wilbur Campbell (tracks: A2, B2, C1)
    Piano – Jodie Christian (tracks: A1, C1), John Young (16) (tracks: B1, C2, D1 to D4), Richard Abrams* (tracks: A2, B2)
    Tenor Saxophone – Dexter Gordon (tracks: A1), Joe Daly* (tracks: A2, B2), Von Freeman (tracks: A1)
    Trumpet – Howard McGhee (tracks: C1), Kenny Dorham (tracks: A2, B2), Red Rodney (tracks: A1)
    Trumpet, Flugelhorn – Arthur Hoyle (tracks: B1, C2, D1 to D4)
    Trumpet, Violin – Ray Nance (tracks: A2, B2)
    Vocalese – Eddie Jefferson (tracks: B1, C2, D1 to D4)