MAY 24

             SONNY ROLLINS 
             Tenor Madness         

                Recording Date:
                     May 24, 1956

                Personnel:
                    Paul Chambers   B 
                    John Coltrane    TS tk1 
                    Red Garland       P 
                    Philly Joe Jones  D 
                    Sonny Rollins      TS 

     





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Review by Michael G. Nastos
At a time when he was a member of the legendary Clifford Brown/Max Roach sextet, Sonny Rollins was still the apple fallen not too far from the tree of Miles Davis. Tenor Madness was the recording that, once and for all, established Newk as one of the premier tenor saxophonists, an accolade that in retrospect, has continued through six full decades and gives an indication why a young Rollins was so well liked, as his fluency, whimsical nature, and solid construct of melodies and solos gave him the title of the next Coleman Hawkins or Lester Young of mainstream jazz. With the team of pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones, staples of that era's Miles Davis combos, Rollins has all the rhythmic ammunition to cut loose, be free, and extrapolate on themes as only he could, and still can. This is most evident on his version of "The Most Beautiful Girl in the World," started in its normal choppy waltz time, followed by a sax/drums prelude, a drum solo from Jones, and steamed from there on in, a hot 4/4 romp. Garland is particularly outstanding for keeping up the pace, depth and placement on this one. A bluesy version of "When Your Lover Has Gone," again enlivened by Jones, and the legendary title track with Rollins and John Coltrane trading long solos, and fours with Jones, are tunes that in the mid-'50s defined the parlance "blowing session." "Paul's Pal," in tribute to Chambers, has become a standard in its own right with a bright, memorable melody showing the good humor of Rollins, especially on the second time through, while the saxophonist's ability to sing vocal like tones through his horn is no better evinced as during the light ballad "My Reverie." A recording that should stand proudly alongside Saxophone Colossus as some of the best work of Sonny Rollins in his early years, it's also a testament to the validity, vibrancy, and depth of modern jazz in the post-World War era. It belongs on everybody's shelf.
 

MAY 23

                  JOHN COLTRANE
             Africa / Brass v1-2

                  Recording Date:
                      May 23, 1961  tk 1,4
                     June 7, 1961    tk 2,3

                 Personnel:
                     John Coltrane      TS
                     Eric Dolphy         AS,CL
                     McCoy Tyner       P
                     Paul Chambers     B
                     Reggie Workman  B tk 1,4
                     Elvin Jones          D
                             Additional Personnel






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Review by Scott Yanow

This CD combines together the two related Africa/Brass LPs that formed John Coltrane's debut on the Impulse! label. On these dates the great tenor was backed by groups ranging from nine to 14 pieces playing pieces arranged by Eric Dolphy. "Africa" (which is heard in two versions) is the most memorable selection on an extended set that also includes "Blues Minor," "Song of the Underground Railroad," and two versions of "Greensleeves." Two other numbers from these sessions (a third take of "Africa" and "The Damned Don't Cry"), both of which were released on the double-LP Trane's Modes, are all that is missing. Although it would have been preferred that such sidemen as trumpeter Booker Little, Freddie Hubbard, and Eric Dolphy himself had received some solo space (only Coltrane, pianist McCoy Tyner, drummer Elvin Jones, and the various bassists get to stand out individually), the music is quite rewarding and sometimes haunting. [Universal''s 2007 edition included bonus tracks.]

MAY 22

             COUNT BASIE
          For the First Time
         
                 Recording Date:
                      May 22, 1974
 
                 Personnel:
                      Count Basie    P
                      Louie Bellson  D
                      Ray Brown      B 

        






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Review by Scott Yanow
Throughout his career, Count Basie was modest about his own abilities as a pianist, and his success at streamlining his style to the bare essentials often made listeners underrate his playing talents. This 1974 session was a rarity, an opportunity for Basie to be featured in a trio setting (with bassist Ray Brown and drummer Louie Bellson), during which he provides enough variety to hold one's interest and enough technique to lead many to reassess his piano skills.

 

MAY 21

             GRANT GREEN
                  Visions
          
                 Recording Date: 
                      May 21, 1971


                 Personnel:
                      Ray Armando        CG 
                      Harold Cardwell    D 
                      Grant Green         G 
                      Idris Muhammad   D 
                      Chuck Rainey        B 
                      Emanuel Riggins    P 
                      Billy Wooten         VB







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Review by Stephen Thomas Erlewine
Grant Green's early-'70s recordings for Blue Note are continually attacked by jazz critics for being slick, overly commercial sessions that leaned closer to contemporary pop and R&B than hard bop or soul jazz. There's no denying that Green, like many of his Blue Note contemporaries, did choose a commercial path in the early '70s, but there were some virtues to these records, and Visions in particular. Often, these albums were distinguished by hot, funky workouts in the vein of Sly Stone or James Brown, but that's not the case here. On Visions, the guitarist crafted a set of appealingly melodic, lightly funky pop-jazz, concentrating on pop hits like "Does Anybody Really Know What Time It Is," "Love On a Two Way Street," "We've Only Just Begun," and "Never Can Say Goodbye." Supported by minor-league players, Green nevertheless turns in an elegant and dignified performance — after stating the melody on each song, he contributes typically graceful, memorable solos. Simply put, he sounds fresh, and his playing here is the best it has been since 1965's His Majesty, King Funk. Ultimately, Visions is a bit laid-back, and the electric piano-heavy arrangements are a little dated, but Grant Green never made a commercial pop-jazz album as appealing and satisfying as Visions.

MAY 20

               SUN RA
           Solo Piano v1

               Recording Date:
                    May 20, 1977

               Personnel:
                     Sun Ra    P

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Without his Intergalactic Space Research Arkestra to hide behind, Sun Ra recorded Solo Piano, Vol. 1, revealing a tender, gentle side always lingering but never entirely present in his days leading his large ensemble. Cutting a pair of standards -- the traditional "Sometimes I Feel Like a Motherless Child" and Duke Ellington's "Yesterday" -- and filling the rest of the disc out with original compositions, Ra extemporizes with a surprising mix of restraint and abandon, often sounding as if he is going to play it straight before launching into a key thrashing salvo that would ordinarily be accompanied by a burst of horns. Here, though, with the use of pedaling, Ra lets the notes drift off to space by themselves, lonely and floating in the void. Unfortunately, the production is far below par and Ra's piano sounds flat and lifeless throughout.(Jesse Jarnow - allmusic)

MAY 19

            DIZZY GILLESPIE
            The Bop Session

               Recording Date:
                   May 19-20, 1975

               Personnel:
                   Dizzy Gillespie   TP
                   Sonny Stitt         AS,TS
                   John Lewis         P tk 1,5
                   Hank Jones        P tk 2-4,6
                   Percy Heath       B
                   Max Roach         D








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Reviewby Scott Yanow

This LP matches together trumpeter Dizzy Gillespie and Sonny Stitt (on alto and tenor) with an all-star rhythm section (John Lewis or Hank Jones on piano, bassist Percy Heath and drummer Max Roach) for six classic bop standards. Gillespie was near the end of his prime but is in generally good form while Stitt typically eats the material (songs such as "Confirmation," "Groovin' High" and "All the Things You Are") with no difficulty. Bop fans should enjoy this date despite the lack of surprises.

MAY 17

             TUBBY HAYES
         Down In The Village
        
               Recording Date:
                   May 17-18, 1962

               Personnel:
                   Tubby Hayes    TS,SS,VB
                   Jimmy Deuchar  TP
                   Gorden Beck      P
                   Freddie Logan    B
                   Allan Ganley       D

        






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One of England's top jazz musicians of the 1950s and '60s, Tubby Hayes was a fine hard bop stylist on tenor and occasionally vibes and flute. A professional at 15, Hayes played with Kenny Baker and in the big bands of Ambrose, Vic Lewis, and Jack Parnell during 1951-1955. He led his own group after that, and started doubling on vibes in 1956. Hayes co-led the Jazz Couriers with Ronnie Scott (1957-1959), and appeared in the U.S. a few times during 1961-1965. He headed his own big band in London, sat in with Duke Ellington's Orchestra in 1964, and was featured at many European festivals. Heart trouble forced him out of action during 1969-1971, and caused his premature death. Tubby Hayes led sessions for Tempo (1955-1959), London, Jazzland (1959), Fontana, Epic (a 1961 date with Clark Terry and Horace Parlan), Smash (a 1962 album which matched him with James Moody and Roland Kirk), 77, Spotlite, and Mole. ~ Scott Yanow

Tubby Hayes' ongoing appeal is virtually unique amongst British jazzmen of his era. Figures celebrated in their own lifetime, such as the drummer Phil Seamen or the saxophonist Harold McNair (both of whom also died young in the early 1970s), have achieved a kind of posthumous apocryphal value but their music is now all but forgotten. The music of Hayes, however, still possesses a charisma and vitality that ensures it is remembered both by fans and fellow musicians. The latter have perhaps taken too long to reappraise Tubby Hayes; when drummer Martin Drew's Celebrating the Jazz Couriers band, formed specially to reprise the music Hayes had written and performed at the close of the 1950s, secured first place in the small group category of the British Jazz Awards in 2001, it was a victory tinged with irony. Hayes' music, played by a tribute band consisting of four musicians too young to have ever heard him play in person or to have performed with him, had snapped up a contemporary jazz accolade in much the same dynamic manner as Hayes himself had once done. What could be seen as a telling reflection of the state of jazz in the early twenty-first century transpired to be yet another reminder of the unending vitality of Tubby Hayes' music.