Jimmy Carroll Orchestra

          Recording Date:
               November 30, 1949

              Charlie Parker   AS
              Stan Freeman     P
              Ray Brown         B
              Buddy Rich        D

             Mitch Miller         OB
             Bronislaw Gimpel VLN
             Max Hollander      VLN
             Milton Lomask      VLN
             Frank Brieff         VLA
             Frank Miller          VLC
             Meyer Rosen        Harp
             Jimmy Carroll      Arr

Reeves Sound Studios, NYC
November 30, 1949
319-5 Just Friends Mercury
320-3 Everything Happens To Me
321-3 April In Paris
322-2 Summertime
323-2 I Didn't Know What Time It Was
324-3 If I Should Lose You  



            At Carnegie Hall

               Recording Date:
                     November 29, 1957

                    Thelonious Monk     P
                    John Coltrane         TS
                    Shadow Wilson        D
                    Ahmed Abdul-Malik  B


Review by Thom Jurek
Larry Appelbaum, the recording lab supervisor at the Library of Congress, came across this tape by accident while transferring the library's tape archive to digital. What a find. Forget the Five Spot recording that sounds like it was recorded inside of a tunnel from the far end. The sound here is wonderfully present and contemporary. More importantly, this band — which also included drummer Shadow Wilson and bassist Ahmed Abdul-Malik — had it right on November 29, 1957, at Carnegie Hall. The John Coltrane on this date is far more assured than he had been four months earlier on the Five Spot date and on the initial Prestige side Thelonious Monk with John Coltrane. He'd been with Monk for four months and had absorbed his complex, multivalent musical system completely. It's clear from the opening track, "Monk's Mood," where the pair play in duet, that Coltrane is confident and moving into his own. Monk feels that confidence with his nearly Baroque entrance on the tune. This is a hard-swinging band with two front-line players who know how to get the best from one another. Coltrane knows the music inside out and his solos reflect an early version of his sheets of sound methodology. Check the joyous "Crepuscule with Nellie" for the hard evidence. Coltrane's cue and Monk's arpeggios are wondrous, swinging, and full of fire and joy. Trane's fills on the melody that leads into his solo are simply revelatory, and the solo itself is brilliant. Or check Wilson's cymbal work on "Nutty" before the band kicks it in full force. Even on the knottiest of Monk's tunes, "Epistrophy," Trane shines and takes charge of his instrument while being utterly receptive to the continual shape-shifting Monk put into his compositions in a live setting. There are nine tunes here (an incomplete version of "Epistrophy" finishes the set) taken from early and late performances. These 51 minutes of music leave the Live at the Five Spot date in the dust. This is one of those "historic" recordings that becomes an instant classic and is one of the truly great finds in jazz lore. It documents a fine band with its members at the peak of their powers together.  


              GUIDO MAZZON

                  At the "Statale"
                University of Milan
                November 28, 1975

                  Guido Mazzon       TP,P
                  Edoardo Ricci       AS
                  Roberto Bellatalla  B
                  Toni Rusconi         D




                  RAY CHARLES
          Atlantic Recordings

                Recording Date:
                   November 26-27, 1956

                    Marcus Belgrave   TP
                    Skeeter Best        G
                    Joe Bridgewater   TP
                    Ray Charles          P,AS
                    Hank Crawford     BS


Review by Ron Wynn
For many years, Atlantic's treatment of Ray Charles' catalog was a disgrace. They had lots of packages like this single album, a grab bag of various '50s and '60s sessions that didn't give the casual listener any real sense of Charles' greatness and infuriated the true fan. This set and many others like it are no longer necessary, since Atlantic issued the deluxe four-volume edition that contained every significant Ray Charles soul and R&B hit.


          BOOKER ERVIN

            Recording Date:
                 November 26, 1960

                Booker Ervin       TS
                Horace Parlan      P
                Dannie Richmond D
                George Tucker     B
                Richard Williams  TP


Amazon Review:
Before Booker Ervin joined the Prestige label in the mid-60s, he cut these sides for Savoy in November 1960. Joining Booker on this session are Richard Williams on trumpet, Horace Parlan (whom he collaborated with for Blue Note) on piano, George Tucker on bass and longtime Mingus associate Dannie Richmond on drums. The album's material consists of four Ervin originals and two standards, "You Don't Know What Love Is" and "Autumn Leaves." In terms of the quality of the album, "Cookin'" is definitely a cut below his various "Books" for Prestige (see my reviews of most of them), but is better than your average Savoy title. I think this is because unlike many musicians who came into Savoy studios to pick up some spare cash, Ervin didn't have other record contracts, and seems to put in a bit more effort than your typical blowing session as a result. Those new to Booker Ervin would be best served starting with "The Blues Book" or "The Space Book," but those familiar with the tenor saxophonist will thoroughly enjoy "Cookin'."


                  BOBBY HACKETT
         Blues With A Kick

              Recording Date:
                 November 25-26, 1958
                  Bobby Hackett  CO
                  Dave McKenna   P
                  Nicky Tagg        P,O
                 John Giuffrida    B
                 Milt Hinton         B
                 Joe Porcaro       D
                 Harry Breuer      VB
                 Phil Kraus          Per
                 Stan Applebaum Strings



                  BILL EVANS
              Recording Date: 
                  November 24, 1969

                  Bill Evans        P 
                  Eddie Gomez  B 
                  Marty Morell    D


Review by Scott Yanow
This set is one of two albums (both reissued on CD) recorded by the Bill Evans Trio (with bassist Eddie Gomez and drummer Marty Morell) at Copenhagen's Montmartre on one night in 1969 but not released initially until the late '80s. Evans sounds relaxed and swinging playing his usual repertoire. All of the songs (mostly standards) have been recorded by Evans at other times but the pianist's many fans certainly will not mind hearing these "alternate" versions of such tunes as "How Deep Is the Ocean," "How My Heart Sings," "Sleepin' Bee" and a light-hearted "California Here I Come."


           One for Prez

             Recording Date:
                  November 23, 1946

                  Red Callender      B
                  Wardell Gray       TS
                  Dodo Marmarosa   P
                  Chuck Thompson  D
                  Harold West         D


Reviewby Michael G. Nastos
Wardell Gray's admitted direct and huge influence is Lester Young, and as a tenor saxophonist growing up in the passing lane between swing to bop, it would be difficult for anyone to ignore the so-called President of Jazz. Gray's time in Los Angeles with Dexter Gordon further refined his sound, but these recordings, his first as a leader, define the greatness of Gray. Originally recorded on 78s for Vogue Records, and an LP for the Fontana label, this collection is essentially a complete session, done November 23, 1946 in Hollywood, CA, with several alternate takes included. Drummer Harold "Doc" West and bassist Red Callender are the cream of the crop West Coast rhythm section at the time, and cook up a storm when asked to up the tempo. Alongside pianist Dodo Marmarosa, Gray is inspired to play unison lines with him on several occasions, especially in the introductions and melody lines of these pieces, as they mesh brilliantly into a stunning display of teamwork and compatibility. Five versions of "Dell's Bells" display the shared values between Gray and Marmarosa, as they scoot along in perfect tandem lines that seem telepathic, while also displaying the fluid dynamics of the tenor man. "One for Prez" falls along the same lines, basing this jam on the theme of "How High the Moon." Five versions of this one -- three at the end of the CD -- are shorter with a more edited introduction. Settling into a more cozy mood, three renditions of the ballad "The Man I Love" have Marmarosa in more of a support role, offering chiming chords and comping that is clearly interactive. Two takes of "Easy Swing" are just that, an original based on a simple theme adding big doses of the blues and an off-minor mode à la Thelonious Monk, a big influence on Marmarosa. Drummer Chuck Thompson replaces West for a sole take of "The Great Lie," an out-and-out furious bopper, all Gray, with Marmarosa and the ever brilliant Callender pumping up the rhythm to maximum levels. If you are fond of saxophonists like Don Byas, Chu Berry, Herschel Evans, and Lester Young, please include Gray and this wonderful introduction to him as a leader, backed by a bulletproof all-star combo, all deserving high praise.


         WOODY SHAW
           Double Take

         Recording Date:
             November 21-22, 1985

             Woody Shaw      TP
             Freddie Hubbard TP,FG
             Kenny Garrett     AS,FL
             Mulgrew Miller     P
             Cecil McBee        B
             Carl Allen            D


REVIEW: Dusty Groove
Mid 80s effort from 2 of the greatest modern trumpeters to have put a horn to their lips. Woody & Freddie run through a set of tunes, all written by trumpeters, like Clifford Brown, Fats Navarro & Kenny Dorham, as well as their own, with a group of the then-young players on Blue Note, like Carl Allen & Kenny Garrett. The playing is crisp & tight, if not as over the top burning as the sides these players cut during their younger years, and includes "Lotus Blossum", "Hub-Tones" and 'Boperation".
Scott Yanow, All Music Guide
Other than their joint appearance as sidemen on Benny Golson's Time Speaks in 1983, Freddie Hubbard and Woody Shaw had never recorded together before Double Take. At this point in their evolution, Hubbard still gets the edge (his range is wider and he cannot be surpassed technically). Although Shaw tended to play more harmonically sophisticated lines and is remarkably inventive, they are both trumpet masters. Their meeting on Double Take was more of a collaboration than a trumpet battle; in fact, the brass giants only trade off briefly on "Lotus Blossom."


          KAI WINDING
  Incredible Kai Winding

           Recording Date:
                 Nov. 17, 1960 tk 6,10
                 Nov. 21, 1960 tk 1,4,5
                 Nov. 23, 1960 tk 2-3

             Kai Winding    TB
             Ross Tompkins P tk 1-6,10
             Al Beldini        D tk 1-6,10 
             Bob Cranshaw  B tk 1-6,10
            Tony Studd   BTB tk1-6,10  
             Eph Resnick    TB tk 6,10 

  Johnny Messner  TB tk 1-5
              Michael Olatunji CNG tk 1,4,5
              Ray Sterling Mell tk tk 1-5

Review by Scott Yanow
After the J.J. Johnson-Kai Winding Quintet broke up in 1956, Kai Winding formed a four-trombone septet of his own which he led on a fairly regular basis through 1967. This Impulse set was probably the group's best-known recording. Seven standards (including "Speak Low," "Doodlin'" and "Bye Bye Blackbird") and three of Winding's basic originals are played by the band with solos allocated not only to Kai but pianists Ross Tompkins and Bill Evans along with guest conga player Olatunji. Fine straightahead music obviously most enjoyed by listeners who like the sound of trombones.


         GARY BURTON
   A Genuine Tong Funeral
           Recording Date:
              November 20, 1967

             Gato Barbieri     TS
             Carla Bley        O,P,K
             Gary Burton        VB
             Larry Coryell       G
             Howard Johnson  BS,TU
             Jimmy Knepper   TB
             Steve Lacy          SS
             Lonesome Dragon Ds
             Michael Mantler TP
Bobby Moses     D
            Steve Swallow   B


Reviewby Scott Yanow
One of vibraphonist Gary Burton's most intriguing recordings, A Genuine Tong Funeral (Carla Bley's suite which musically depicts attitudes toward death) was called by its composer a "Dark Opera Without Words." Burton's classic Quartet (which also includes guitarist Larry Coryell, bassist Steve Swallow and drummer Bob Moses) is augmented by six notable all-stars: soprano saxophonist Steve Lacy, trumpeter Mike Mantler, Gato Barbieri on tenor, trombonist Jimmy Knepper, Howard Johnson on tuba and baritone and Bley herself on piano and organ. The music is dramatic, occasionally a little humorous, and a superb showcase for Gary Burton's vibes.


           MILES DAVIS
              Big Fun

           Recording Date:
              November 19, 1969 tk 1,8
              November 28, 1969 tk 4,7
              January 27, 1970  tk 6
              February 6, 1970  tk 3
              March 3, 1970     tk 5
              June 12, 1972     tk 2



      Miles Davis        TP
      Bennie Maupin    CL
      Steve Grossman  SS
      Chick Corea       P  
      Herbie Hancock  P
      John McLaughlin G  
      Ron Carter         B
      Harvey Brooks    B
      Billy Cobham      D
      Airto Moreira      Gui,Ber
      Khalil Balakrishna Sit   
      Bihari Sharma     Tam,Tab

Review by Thom Jurek
Despite the presence of classic tracks like Joe Zawinul's "Great Expectations," Big Fun feels like the compendium of sources it is. These tracks are all outtakes from other sessions, most notably Bitches Brew, On the Corner, and others. The other element is that many of these tracks appeared in different versions elsewhere. These were second takes, or the unedited takes before producer Teo Macero and Miles were able to edit them, cut and paste their parts into other things, or whatever. That is not to say the album should be dismissed. Despite the numerous lineups and uneven flow of the tracks, there does remain some outstanding playing and composing here. Most notably is "Great Expectations" from 1969, which opens the album. Here the lineup is Miles, Steve Grossman, Bennie Maupin, John McLaughlin, Khalil Balakrishna, and Bihari Sharma on sitar and tambura, Herbie, Chick Corea, Ron Carter, Harvey Brooks, Billy Cobham, and Airto. Creating a series of vamps from drones and a small melodic figure, there is very little in the way of groove or melodic development until the middle section, where a series of modalities enters the composition. The second album in the set features "Go Ahead John," an outtake from Jack Johnson's sessions that is 28 minutes in length. It's a riff-based groover, with McLaughlin and his wah-wah pedal setting the pace with Steve Grossman on soprano. The basic motif is the blues, floating around E and Bb flat, but there are modulations introduced by Miles into Db flat that add a kinkier dimension into the proceedings as well. Dave Holland is the bass player, and DeJohnette is the drummer. There is no piano. What's most interesting about this date is how it prefigures what would become "Right Off" from Jack Johnson. It doesn't have the same fire, nor does it manage to sustain itself for the duration, but there are some truly wonderful sections in the piece. This is for Miles fans only, especially those of his electric period, because it fills in the puzzle. The reissue added four bonus tracks to the original double-LP set, but other than "Recollections" by Zawinul, they shed little light on the mystique and development of the intensely creative music being developed in 1969 and 1970. Others should be directed to Bitches Brew, In A Silent Way, Jack Johnson, or Live Evil as starting points.


           JOE LOVANO
               Folk Art

            Recording Date:
                  November 18-19, 2008

                 Otis III Brown     D,Bells
                 Joe Lovano   
                 Francisco Mela Dumbek
                 Esperanza Spalding B
                 James Weidman      P


Review by Michael G. Nastos
Jazz is essentially an African-American folk art, elements not lost on Joe Lovano as he presents this all-original program of progressive music. His updated quintet Us Five is one of his freshest units in some time, with bassist Esperanza Spalding, the criminally underrated pianist James Weidman, and two stir-the-pot drummers in Francisco Mela and Otis Brown III. Together they fulfill Lovano's vision as a band that is not afraid to take many chances, stay within a bop-based tradition, and cut loose on many levels in terms of adding diverse elements to this mix of music. Lovano is noticeably restless, using his reliable tenor sax, but also straight alto, clarinet, and taragato. The drummers not only play their standard kits, but ethnic percussion instruments from many continents, while Spalding is maturing and growing exponentially into a formidable voice on her instrument. Weidman is simply brilliant throughout, largely ignored since his early days with Abbey Lincoln until now, but there's no reason he should be so underestimated or slighted. The title track is as intriguing as its concept, dipping into modal jazz via a stairstep melody and slipstream steady swing that staggers slightly (influenced by one beer?) punctuated by the drummer's "solo" and Weidman's outstanding bop step out. Always an outside-the-box thinker, Lovano's tenor stretches in unique, post-Coltrane mannerisms for "Us Five" surrounding his rhythm makers and the chords of the piano, while the band explores improvisation in no time during the wondrous "Ettenro," completely untethered by any standardized structure. The distinctive and most enjoyable "Dibango" is a slightly squawky funk with Lovano on taragato, up in a high, sustained register, a bit goofy, and very reminiscent of Don Pullen's great tune "Big Alice." "Powerhouse" is the straitlaced neo-bop tune à la Thelonious Monk that Lovano has always favored, his clarinet comes out on the delicate, serene soul blues "Page 4," and the appropriately titled "Wild Beauty" is not so much exotic as it is edgy within a ballad framework. Of the many excellent and diverse projects Joe Lovano has produced and won critical acclaim for, this ranks with his very best, as strong an album as he has ever produced, with musicianship at an extremely high level, and well-conceived compositions that continue to identify him a true original. Folk Art, close to his definitive statement, is highly recommended, and should be considered a candidate for Jazz Album of 2009.


         HAROLD LAND
     Jazz At The Cellar

            Recording Date:
                November 1958

                Harold Land        TS
                Elmo Hope          P
                Scott LaFaro        B
                Lennie McBrowne D


Review by  Gavin Walker 
With the release on Lonehill Records of Harold Land at The Cellar (that is the original Cellar that was located at the rear of 222 East Broadway) the public can hear a reasonably well recorded set by a band that changed my life. First off these recordings have been circulated for years throughout the they got out only Dave Quarin (who made them and ran the Cellar) knows and how they got into the hands of Lonehill is anybody's guess and who knows whether Quarin or the Land estate had any knowledge of this is also anybody's guess. This incredible group was here for 4 days in November 1958 and I was there for three of the four nights. I did my last year of high school here in Vancouver as my family had moved here from Montreal and was in high school when this band came here. I had been lucky up to that time to have heard some amazing live music (Miles Davis, MJQ, Brubeck, etc) but nothing prepared me for this band! Harold Land (tenor) with Elmo Hope (piano), Scott LaFaro (bass) and Lennie McBrowne (drums). My parents reluctantly allowed me to go Thursday night (much begging and pleading as it was a school night) and Dale Hillary (the alto player) and Al Neil (the pianist) and Jimmy Johnson (the saxophonist) sat in the front chairs.
Just Land, LaFaro and McBrowne hit as Elmo was late and they opened with Cole Porter's "Just One of Those Things" taken at a tempo only the greats could handle........Hillary and I sat with our mouths agape and we could only say "Yeah!" as Land reeled off chorus after chorus leaning back with his eyes closed and holding his horn to one side and moving only his fingers on the keys (no body english) just like Bird. I'd never seen a bass played the way LaFaro played before with his first two fingers of his right hand moving over the strings and never missing a beat and McBrowne who had studied with Max Roach emulating the master but not imitating him.......then after dozens of Land choruses Elmo Hope picked his way through the tables and chairs and hit the bandstand and splatted down chords never missing a change. The rest of the evening was even better. I got to meet Elmo who was aways a personal favourite of mine and shake his hand......he had huge hands and it was like shaking hands with a pillow. Elmo (who was much shorter than me called me his little buddy and was quite taken by the fact that I had a number of his albums. Today I'd have him autograph the records but back then it wouldn't be considered hip to do that! I went again on Saturday and again (after much begging and again) on Sunday night. I may have been there for some of those tunes on the CD...I probably was. The MC at the Cellar who is heard on the recordings was Barry Cramer (saxophonist Dylan Cramer's dad) who produced plays at the Cellar. That band changed my life and provided me with some of the best musical moments I have ever experienced to this day!

Although he was always a secondary figure when compared to other contemporary tenor saxophonists like Sonny Rollins, Harold Land was nevertheless an excellent player. This opinion is backed by the important groups and musicians that counted on his services. He formed part of outstanding small groups in Los Angeles and made perennial recordings with bassists Red Mitchell and Curtis Counce. Land taped the first Long Play album issued under his own name in 1958, Harold in the Land of Jazz, followed a year later by The Fox. He also began playing with the Gerald Wilson orchestra, and with pianists Hampton Hawes and Carl Perkins. In 1960, he recorded in San Francisco with Thelonious Monk and gained fame in the late sixties for his band with vibraphonist Bobby Hutcherson. Influenced by John Coltrane, Land's sound and style began to change during this period, becoming harder and freer than his early bebop and post Bebop recordings. Issued on the current CD for the first time ever, the live recordings contained here present Harold Land in a splendid but unusual setting. The rhythm section of pianist Elmo Hope, bassist Scott LaFaro and drummer Lennie McBrowne wasn't part of his usual group. In fact, the three musicians formed the rhythm section for Sonny Rollins' quartet! 
 LoneHill Records


                MILES DAVIS
       The  New Miles Davis Quintet

           Recording Date:
               November 16, 1955

               Paul Chambers   B
               John Coltrane    TS 
               Miles Davis        TP 
               Red Garland       P 
               Philly Joe Jones  D 


Review by Scott Yanow
Although they had made a few slightly earlier cuts that would later be issued on Columbia, the first full-length album by the Miles Davis Quintet is quite intriguing in that it gives one a look at tenor saxophonist John Coltrane when he still had a hesitant style. This audiophile CD reissue has the same music that is currently available on an Original Jazz Classics set: five jazz standards plus "The Theme." Unlike Coltrane, who would develop rapidly within the next year, Miles was already very much in his prime, sounding quite lyrical on "Just Squeeze Me" and "There Is No Greater Love," and the classic rhythm section (pianist Red Garland, bassist Paul Chambers and drummer Philly Joe Jones) was quickly starting to gel.


               RED GARLAND
             All Mornin' Long
               Soul Junction
                  Recording Date: 
                       November 15, 1957

                     Donald Byrd       TP 
                     John Coltrane    TS 
                     Red Garland       P
                     George Joyner   B 
                            Art Taylor          D 

LINK     Review by Scott Yanow
On November 15, 1957, a quintet headed by pianist Red Garland recorded enough material for two records. This CD reissue (whose companion is Soul Junction) has a 20-minute version of "All Mornin' Long," along with briefer renditions of "They Can't Take That Away from Me" (a mere ten minutes) and Tadd Dameron's "Our Delight." More important than the material is that, in addition to Garland, the main soloists are John Coltrane and trumpeter Donald Byrd. Byrd was on his way to getting his sound together, while Trane, very much in his sheets-of-sound period, was already blazing a new path for jazz to follow. An excellent and often quite colorful jam session-flavored hard bop set. 

LINK     Review by Scott Yanow
Pianist Red Garland's very relaxed, marathon blues solo on the 16-minute "Soul Junction" is the most memorable aspect of this CD reissue. With such soloists as tenor saxophonist John Coltrane and trumpeter Donald Byrd, plus steady support provided by bassist George Joyner and drummer Art Taylor, Garland gets to stretch out on the title cut and four jazz originals, including "Birk's Works" and "Hallelujah." Coltrane is in excellent form, playing several stunning sheets of sound solos.


                McCOY TYNER
          Reaching Fourth
              Recording Date:
                   November 14, 1962

                   Henry Grimes B 
                   Roy Haynes    D 
                   McCoy Tyner  P 



Review by Scott Yanow
Pianist McCoy Tyner is featured in a trio with bassist Henry Grimes and drummer Roy Haynes, Tyner performs two of his originals ("Reaching Fourth" and "Blues Back") plus three standards and "Theme For Ernie." One of the two most original and influential pianists to fully emerge in the 1960s (along with Bill Evans), McCoy Tyner's unique chord voicings and ease at playing creatively over vamps pushed the evolution of jazz piano forward quite a bit. This outing, although not as intense as his work with the John Coltrane Quartet, is generally memorable and still sounds quite viable 35 years later.


               AHMAD JAMAL
        Chicago Revisited

            Recording Date:
                November 13-14, 1992

                Ahmad Jamal  P
                John Heard     B
                Yoron Israel    D



Review by Scott Yanow
Although it had been more than 40 years since his debut recording, pianist Ahmad Jamal's playing was as viable as ever in the 1990s. Teamed up with bassist John Heard and drummer Yoron Israel for this live Telarc CD, Jamal plays a particularly inspired repertoire that includes "All the Things You Are," Clifford Brown's "Daahoud," John Handy's "Dance to the Lady" and "Be My Love" among its nine selections. Jamal's style had developed since his early days, but his basic approach was unchanged while still sounding quite fresh. This date is an excellent example of Ahmad Jamal's unique sound and highly appealing music in the '90s.


          LESTER YOUNG

                 November 12, 1956

                 Lester Young    TS
                Miles Davis        TP 
                Milt Jackson       VB
                John Lewis        P
                Percy Heath       B
                Connie Kay         D
                René Urtreger     P  tk 3
                Pierre Michelot   B  tk 3
               Christian Garros  D  tk 3



       Freiburg, Germany

            Recording Date:


              WARDELL GRAY
    Central Avenue Session

            Recording Date:
                November 11, 1949

                Wardell Gray   TS
                Al Haig            P
                Tommy Potter  B
                Roy Haynes      D


Revewi by Michael G. Nastos
Excellent sessions in NYC, Detroit, and Los Angeles in 1949, 1950, 1952, 1953. A handful of trio and sax sides, larger bands featuring Dexter Gordon, Art Farmer, Clark Terry, and Sonny Criss, Frank Morgan, and Sonny Clark. Gray's tenor is unmatched.

Easy Living*
Sweet Lorraine*


            HORACE SILVER
       6 Pieces of Silver

           Recording Date:
               November 10, 1956

               Donald Byrd    TP 
               Junior Cook    TS 
               Louis Hayes     D 
               Hank Mobley   TS 
               Horace Silver  P 
               Gene Taylor    B 
               Doug Watkins  B 


Review by Scott Yanow
The first classic album by the Horace Silver Quintet, this CD is highlighted by "Señor Blues" (heard in three versions, including a later vocal rendition by Bill Henderson) and "Cool Eyes." The early Silver quintet was essentially the Jazz Messengers of the year before (with trumpeter Donald Byrd, tenor saxophonist Hank Mobley, and bassist Doug Watkins, while drummer Louis Hayes was in Blakey's place), but already the band was starting to develop a sound of its own. "Señor Blues" officially put Horace Silver on the map.