Jazz  

One of the greatest albums ever from Lorez Alexandria -- an ultra-hip singer who recorded for Impulse and King, but who sounds especially wonderful on this rare date for Chess Records! The album's got a groove that definitely lives up to its title -- a jazzy, bouncy sort of rhythm that's definitely "for swingers only", and which is a nice contrast to overdone torch or standard jazz vocal modes. Alexandria's singing is completely sublime -- quite fluid, yet with a soulful depth that's really amazing -- and her backing combo is equally hip -- a group led by John Young on piano, and also featuring George Eskirdge on guitar, Jimmy Garrison on bass, Phil Thomas on drums, and Ronald Wilson on flute and tenor -- an obscure player whose reed work really makes the album sparkle! The song choices are great too -- a mix of some under-recorded gems and a few blue-toned classics -- all redone amazingly by Lorez with a sound that's quite unique. Titles include her classic Argo reading of "Baltimore Oriole", which begins with an amazing drum/bass passage that's worth the price of the album alone -- and other tracks include "The End Of A Love Affair", "Baltimore Oriole", "All Or Nothing At All", "Mother Earth", "Love Look Away", and "Traveling Down A Lonely Road".

One of the greatest albums ever from Lorez Alexandria -- an ultra-hip singer who recorded for Impulse and King, but who sounds especially wonderful on this rare date for Chess Records! The album's got a groove that definitely lives up to its title -- a jazzy, bouncy sort of rhythm that's definitely "for swingers only", and which is a nice contrast to overdone torch or standard jazz vocal modes. Alexandria's singing is completely sublime -- quite fluid, yet with a soulful depth that's really amazing -- and her backing combo is equally hip -- a group led by John Young on piano, and also featuring George Eskirdge on guitar, Jimmy Garrison on bass, Phil Thomas on drums, and Ronald Wilson on flute and tenor -- an obscure player whose reed work really makes the album sparkle! The song choices are great too -- a mix of some under-recorded gems and a few blue-toned classics -- all redone amazingly by Lorez with a sound that's quite unique. Titles include her classic Argo reading of "Baltimore Oriole", which begins with an amazing drum/bass passage that's worth the price of the album alone -- and other tracks include "The End Of A Love Affair", "Baltimore Oriole", "All Or Nothing At All", "Mother Earth", "Love Look Away", and "Traveling Down A Lonely Road".

Although Dorothy Ashby cut a number of funky groovy records for the Cadet/Argo label at the end of the 60s, this was her first early effort for the label -- and it's a much straighter album of jazz, although still quite nice. The setting is one of the sparest for Dorothy's early records -- and it features backing only by Herman Wright on bass and John Tooley on drums. Ashby's jazz harp dominates the set, and she comes up with loads of haunting melodies on tracks like "Booze", "Lonely Melody", "John R", "Gloomy Sunday", and "Lil Darlin".

A killer by Lou Donaldson -- one of his earliest sides for the Argo label, recorded right after his landmark organ jazz sides for Blue Note -- Natural Soul and Here 'Tis -- and like those, recorded with a lineup that includes Big John Patton on organ! The rest of the group features the great Tommy Turrentine on trumpet, plus Ben Dixon on drums -- a killer player here, grooving in a mode that's similar to the sublime groove he brought to some of Patton's best Blue Note sides. The record's a killer -- one of Lou's few non-Blue Note sides from the time that really holds up -- and cuts include "Coppin' A Plea", "Si Si Safronia", and "I Feel It In My Bones".

One of a few albums recorded by trumpeter Don Goldie for the Argo label in the early 60s -- and probably the best of the bunch! This set has Goldie blowing with a group that includes Eddie Higgons on piano, Richard Evans on bass, and Fred Rundquist on guitar -- gently grooving in a small combo early 60s Chicago mode. Goldie's style is a bit bright -- as you might guess from the title -- but there's enough soul in the rhythm section to keep things solid, even on the shorter tracks. Titles include "Soon", "I'll Be Around", "Look For The Silver Lining", "Toy Trumpet", and "Tis Autumn".

Jamal's recorded here live at the Blackhawk in San Francisco -- a club that always gave a warm welcome to pianists of any nature. The trio features Israel Crosby on bass and Vernell Fournier on drums -- and tracks include Jamal's own "Night Mist Blues", plus "The Best Thing For You", "April In Paris", "The Second Time Around", and "Like Someone In Love".

Groundbreaking work from the legendary Ahmad Jamal -- not just in his own career, but in live jazz in general! The album's a classic recording of Jamal's trio with Israel Crosby on bass and Vernell Fournier on drums -- captured at the Pershing Lounge on the south side of Chicago, where Jamal was clearly wowing the crowd with his amazing talents on the piano. The groove here is sublimely fluid and soulful -- clearly the next wave of expression on the piano in the 50s, and as important to the Chicago scene as Bill Evans was to that of New York at the time. The recording quality is wonderful -- clear enough to capture the subtleties of Crosby's amazing bass, and the lightly tippling sound of Fournier's drums -- and titles include a classic extended reading of "Poinciana", plus "What's New", "But Not For Me", and "No Greater Love".

A compelling title -- as the record was recorded at Nola Penthouse Studios in New York, one of the hippest places to lay down tracks at the time -- but the cover shows an image of the Playboy building in Chicago, famous from the TV show Playboy's Penthouse, Hugh Hefner's first foray into television! The actual music is equally compelling too -- as the record is one of Ahmad's first non-trio sessions, and features some great larger arrangements from Joe Kennedy -- backing the trio of Jamal, Vernel Fournier, and Israel Crosby with some light strings that create a wonderfully dreamy feel! Ahmad's piano glides along wonderfully in such a setting -- set free a bit more than usual, and really sounding great on tracks that include "Ivy", "Comme Ci, Comme Ca", "Tangerine", "Never Never Land", "Ahmad's Blues", and "Seleritus".

Obscure little session issued briefly on Argo during the early 60s, and featuring a little known group with a vibes/piano frontline. Jack Gridley's the vibist in the group, but he also plays trombone, as does Bob Elliot, the other lead member of the quartet. The tracks are pretty lively, with a strong driving sound, not what you'd usually expect from a vibes n piano group. The best moments are when the group's playing other folks' tunes -- like "Night In Tunsia", "Doodlin", and "Minors Holiday" -- but the record also features a nice original called "Bob N Weave".

Easily one of the biggest selling jazz albums of the 60s -- a crowning achievement for Ramsey Lewis and his popular trio with Eldee Young on bass and Redd Holt on drums! The set was recorded live at the Bohemian Caverns in DC, and the trio are perfect in the setting -- going at the numbers with pyrotechnic fury, but always staying in the soul jazz idiom -- keeping things nice, tight, and in the pocket! Titles include the group's hit version of "The In Crowd", plus "You Been Talkin Bout Me Baby", "Spartacus", "Felicidade", and "Come Sunday".

The follow-up to Ramsey's famous Sounds of Christmas album -- and even better than the first! The record features Ramsey's trio with Eldee Young, plus guest work by Cleveland Eaton on bass and a young Steve McCall on drums! Plus, a number of tracks feature larger backing by a jazz group arranged by King Fleming and Will Jackson -- both of whom take the format of standard Christmas tunes, and turn them on their head while fitting them into Ramsey's soul-drenched grooving style. Titles include "Snowfall", "Plum Puddin", "Little Drummer Boy", "Snowbound", "Egg Nog", and "Jingle Bells".

An early album by vibist Mike Mainieri -- who later went on to do a lot of trippier albums in the late 60s. This one's a very nice quartet side with a straight feel, and was recorded for Chess/Argo in the early 60s, at Rudy Van Gelder's studio in New Jersey. The record is a lively mix of piano and vibes, with some nicely chromatic moments that hint at Mainieri's later work. Titles include "BR Blues", "Waltzin In & Out", and "Blues On The Other Side".

One of James Moody's first albums for Argo -- and an album that features him shifting from tenor sax over to flute -- and playing in a slyly seductive way that would have great implications for generations of soul jazz musicians for years to come! The sound here is never sleepy -- and instead shows the flute to be a perfect vehicle for creating more sensitive colors and tones in jazz -- in a way that's also offset by a bit of work on alto and tenor on the album as well. The group features some excellent work from trumpeter Johnny Coles and baritonist Pee Wee Moore -- plus some sparkling arrangements from pianist Jimmy Boyd -- and Eddie Jefferson joins in on 3 great vocal numbers. Titles include "Birdland Story", "I Cover The Waterfront", "Breaking The Blues", "Easy Living", "Richard's Blues", and "Boo's Tune".

A wonderful album from Moody -- one of his "comeback" albums for Chess/Argo, recorded after his release from the Overbrook institution, hence the title. By this point, Moody was writing and playing with much more of an edge than during his bebop days -- and the record certainly shows that -- not only on the title track "Last Train From Overbrook", a jumpy little number that became one of the big new tunes in Moody's book, but on the whole album, which features some well-conceived large charts written by Johnny Pate. Pate and Moody wrote the bulk of the songs, too -- and titles include "Yvonne", "Brother Yusef", "The Moody One", "There She Goes", "Tico Tico", and "Why Don't You". The album also features a great double-exposed cover photo, and some of the most chilling liner notes you'll ever read about a jazzman's struggles with addiction.

A 70s issue of 2 late 50s hard bop sides released by Argo and Cadet. Though the title and packaging might lead you to believe Max and Art are performing side by side, it's really just two albums slapped together, and not necessarily inappropriately, in a gatefold sleeve to sell easily. The first set is Blakey's Tough, one of those obscure sessions recorded during the years after the time he and Horace Silver split, with a transitional early lineup of the Jazz Messengers featuring Jackie McLean and Bill Hardman up front with Sam Dockery and Spanky DeBrest filling out the rhythm section. Included are a swinging Gershwin medley and two Duke Jordan tunes "Scotch Blues" and the classic "Flight to Jordu". Max's sides were issued as Max, a killer set of bop tracks recorded by Max with Hank Mobley and Kenny Dorham -- plus a guest appearance by Ramsey Lewis on piano, in one of his few non-Chicago, non-trio sides! The record's got that great kind of energy that Roach could hit when he really was kicking his group into gear -- and although the overall approach is mostly hard bop, there's plenty going on under the surface. Tracks include "CM", "Four X", "Crackle Hut", and "Speculate".

An amazing record -- bold, proud, and soulful -- a set that we'd easily rank with any classic early 60s session on Blue Note -- and for good reason too! This rare date is the debut as a leader for trumpeter Gene Shaw -- also known as Clarence Shaw in an earlier history of work with Charles Mingus -- and it's an incredible blend of hardbop grooving with sharper-edged modern jazz ideals -- an incredible blend that comes off beautifully on every track in the set! Shaw's probably best known for his late 50s work on the Charles Mingus albums Tijuana Moods, East Coasting, and Modern Jazz Symposium Of Music & Poetry -- but after a famous fight with Mingus, Clarence "hid out" in Chicago and worked under the name of Gene -- but soon made big waves on his own with tremendous work like this. (In the liner notes to the 1963 release of Tijuana Moods, in which Mingus says that he loved Shaw, but can't get in touch with him anymore!) Every aspect of the record is superb -- from the writing, to the rhythm section, to the incredibly well blown solos from trumpeter Shaw and tenorist Sherman Morrison -- who himself is another vastly-overlooked talent in jazz. The rest of the group features James Taylor on piano, Sidney Robinson on bass, and Bernard Martin on drums -- a totally crackling rhythm section who give most tunes a snapping sort of groove! Most tracks are originals, and titles include "Autum Walk", "Six Bits", "The Thing", "It's A Long Way", "AD's Blues", "Marj", and "Our Tune".

A fantastic early record by Sahib Shihab -- a motherlode of modal jazz grooves, cut during the early days of the Clarke-Boland Big Band! The record features a core group of players from that ensemble -- including Shihab on alto, baritone, and flute, plus Francy Boland on piano, Jimmy Woode on bass, Ake Persson on trombone, Francy Boland on piano, Joe Harris on bongos, and Kenny Clarke on drums -- all coming together here with a groove that's really groundbreaking -- a style that's sweet and soulful, but rhythmically revolutionary too! The tracks are all long and grooving -- with the kind of dancing jazz tone that you'd expect from the Saba/MPS label during the mid 60s -- a big change from the Argo label that originally issued the record. But that's no surprise, either, as the session was actually recorded in Europe by Gigi Campi -- the man behind the CBBB albums on MPS -- with a feel that's quite similar to other Shihab classics, like Companionship or Seeds. The whole thing's great -- one of Shihab's most wonderful records, and totally worth owning -- and titles include "Lillemor", "Please Don't Leave Me", "Waltz For Seth", and "Herr Fixit".

A bit rough around the edges, but a very tasty set from Stitt! The album's sort of free-spun organ set -- with Stitt on alto and tenor, Joe Diorio on guitar, Eddie Buster on Hammond, and work by the great Nicky Hill on alto. Tracks are loosely put together -- almost in a one-take mode, with the sort of feel that you'd get if you caught the group out live in Chicago (which is where Buster had recorded some of his few other recordings). Tracks include "Shut The Back Door", "A Natural Fox", "Move On Over", "Dexter's Deck", and "My Mother's Eyes".

Chicago mainstay John Young offers his own expressive take on pop tunes and film themes from the late 50's and early 60's on this trio side cut for the Argo label(Chess record's jazz wing) in 1961. This trio, featuring William Yancey and Phillip Thomas, served as the rhythm section for many of the sides cut for the Argo label behind leaders such as Sonny Stitt, Howard McGhee and Gene Ammons. Here, they shine in their own light on numbers like "When Sunny Gets Blue", "Mr. Lucky", "Spartacus(Love Theme)" and "Fever".

A rare treasure from Yusef Lateef -- one of his hardest to find albums, recorded right around the same time as his magical work for Savoy! The record has Lateef playing in his local Detroit area -- working with Terry Pollard on piano, William Austin on bass, and Frank Gant on a host of percussion instruments. The tracks have that open, percussive, and exotic feel that we love the most in Lateef -- soul jazz taken to a very righteous territory, and one of the first powerful flowerings of the Detroit underground. Includes a really long version of "Morning", plus "Let Every Soul Say Amen", "Brazil", and "Woody N You". CD also features some bonus tracks from other sessions -- including "Before Dawn", "Mahaba", "Taboo", "Playful Flute", "The Beginning", and "Open Strings".

A classic -- and probably one of the best-selling Christmas jazz albums of all time! Ramsey and his classic trio with Redd Holt and Eldee Young serve up a tight set of grooves based around Holiday favorites like "Santa Claus Is Coming To Town", "Winter Wonderland", "Here Comes Santa Claus", "The Christmas Song", and "Sleigh Ride" -- and also carve out a few nice originals like "Christmas Blues" and "The Sound Of Christmas". Side one features the trio on its own, and side two features added arrangements by Riley Hampton -- swirling around to expand the groove even more!

A cool cooker from Oliver Nelson -- one of the few 60s albums he cut as a leader with the same sense of soul and swing as his backings for other players! The sound here is right up there with Nelson's work with Jimmy Smith over at Verve -- soaring, soulful arrangements that sparkle in ways that few other arrangers could match -- perfectly balanced between bold statements by the soloists and a tight ensemble feel overall! The players are all top-shelf -- and include Phil Woods on alto sax, Jerome Richardson on flute and baritone, Robert Hashton on tenor, Art Hoyle on trumpet, and Patti Brown on piano -- plus Nelson himself on alto, getting in a few key solos. The whole thing's wonderfully upbeat and joyous, but with a deeper sense of feeling too -- and many titles are originals by Nelson, including "Hobo Flats", "Post No Bills", "Laz-ie Kate", "Teenie's Blues", and "Three Plus One".

A fantastic early record by Sahib Shihab -- a motherlode of modal jazz grooves, cut during the early days of the Clarke-Boland Big Band! The record features a core group of players from that ensemble -- including Shihab on alto, baritone, and flute, plus Francy Boland on piano, Jimmy Woode on bass, Ake Persson on trombone, Francy Boland on piano, Joe Harris on bongos, and Kenny Clarke on drums -- all coming together here with a groove that's really groundbreaking -- a style that's sweet and soulful, but rhythmically revolutionary too! The tracks are all long and grooving -- with the kind of dancing jazz tone that you'd expect from the Saba/MPS label during the mid 60s -- a big change from the Argo label that originally issued the record. But that's no surprise, either, as the session was actually recorded in Europe by Gigi Campi -- the man behind the CBBB albums on MPS -- with a feel that's quite similar to other Shihab classics, like Companionship or Seeds. The whole thing's great -- one of Shihab's most wonderful records, and totally worth owning -- and titles include "Lillemor", "Please Don't Leave Me", "Waltz For Seth", and "Herr Fixit".

A brilliant little record from the legendary team of Michael Garrick and Norma Winstone -- easily one of their most striking albums ever, and hardly the "blues" set you might guess from the title! Winstone's vocals are very firmly woven into the group's sound here -- and most tunes have some sort of lyrics, not just wordless jazz voice -- so there's almost an extra level of meaning and intensity to the songs, one that further expands the modally-influenced grooves laid down by Garrick and the other instrumentalists! The rest of the group includes Trevor Tomkins on drums, Henry Lowther on trumpet, Art Themen on soprano and tenor, and Don Rendell on tenor -- and Garrick himself plays harpsichord as well as his usual piano -- all with a flowing, soaring grace that's amazing. Titles include "Fire Opal", "Home Stretch Blues", "Sweet & Low", "Epiphany", "Wishbone", "Blue Poppies", and "Limbo Child".

Beautiful modal vocal jazz from the British scene at the end of the 60s -- and one of the key recordings by the team of Michael Garrick and Norma Winstone! Winstone's vocals here rank right up there with those of Karin Krog or Monica Zetterlund -- creating a whole new style for the voice in jazz, as they dance along with the freely searching work of Garrick's sextet on the record. There's a sense of lyrical poetry to the album that's really beautiful -- and not just carried by Winstone's vocals, but also by the soaring horn work of Ian Carr on trumpet, Don Rendell on soprano, Art Themen on flute, and Jim Phillip on tenor. But rhythm is also a key aspect of the session -- and most tunes dance along in a flurry of bass and drum interplay, hitting that warm modal groove that's been recently rediscovered by the Gilles Peterson Impressed series! Titles include "The Heart Is A Lotus", "Torrent", "Temple Dancer", "Blues On Blues", "Voices", and "Beautiful Thing".

A nice little album -- featuring some of the sides that Gene Ammons cut "off contract" for Chess/Argo during the early 60s, and ones that feature him paired with Sonny Stitt, his longtime partner in legendary tenor battles from the 50s. The two horns aren't really locked in combat here, but they do complement each other nicely on the album's mellow groovers and ballad tracks. Titles include "Cha Bootie", "Tenor Eleven", "The Last Mile", and "Full Moon".

A late 60s set, but one that recalls the sweet swinging style of Prestige Records' Swingville sessions from the early part of the decade! Illinois Jacquet sounds wonderful here on tenor (and a bit of bassoon on one track!) -- blowing with plenty of open space amidst a lineup that includes Tiny Grimes on guitar, Wynton Kelly on piano, Buster Williams on bass, and Oliver Jackson on drums. The approach is kind of a mix of Jacquet's mid 60s work for Argo/Cadet, with some of the late 50s non-bop swing sessions issued by Prestige -- and titles include "The Galloping Latin", "Still King", "For Once In My Life", and "Every Day".

The "revisited" in the title refers to Jamal's earlier success on Argo records with a recording of "Poinciana" -- one that forever made the tune his, thanks to a long-flowing approach that took the familiar standard, and turned it into the perfect foil for Jamal's expressive piano style. This set features a beautiful 9 minute reworking of the tune -- handled in a way that beautifully shows Jamal's growth during the 60s -- plus other gems that include "Call Me", "Lament", "How Insensitive", and "Have You Met Miss Jones".

A collection of Ramsey's work on Cadet/Argo that focuses mostly on the groovy uptempo tracks from the mid 60s -- when Lewis had cracked the pop instrumental charts with soulful versions of bigger hits. Titles include "The In Crowd", "Function At The Junction", "Soul Man", "Up Tight", "Hang On Sloopy", and "Dancing In The Street". Also includes 3 excellent cuts from the Charles Stepney baroque soul years -- "Les Fleur", "Julia", and "Maiden Voyage".

A set of classic Ramsey Lewis recordings with his trio of Eldee Young and Redd Holt, all of which were recorded during the 60s for Argo/Chess, but not released until this set in 1972. The tracks all came from the same live set that spawned the group's hit single version of "Hang On Sloopy", and the titles include "Look-A-Here", "Bags Groove", and "Summertime".

A near-lost bit of work from Chicago pianist John Young -- better known for his work on Argo, but sounding great in this moody 60s session -- recorded in Chicago with a familiar lineup that includes Victor Sproles on bass and Phil Thomas on drums. Young's got a nice rhythmic approach to the keys that's a bit similar to the early Lewis style of the time -- yet which also sparks with those modern touches that could also come at surprising moments from the Chicago piano crew of the period. Titles include "I Don't Wanna Be Kissed", "Bones", "Cubana Chant", "In Love In Vain", "Serenata", "Baby Doll", "Circus", and When I Fall In Love".

Beautiful lost 60s material from Stitt -- recorded without any tricks or gimmicks, in a solidly-blown mode that rivals his best work for Roost and Argo! The first 4 tracks of the set were recorded in New York in 1962 -- with an unnamed group that lets Sonny really take the lead on sax, blowing in an easy-going and open style that's every bit the best mode he used on his live work of the time. The next 4 tracks were recorded in Zurich in 1967 -- by a group that featured Sonny with Walter Bishop, Tommy Potter, and Kenny Clarke -- plus trumpeter Howard McGhee on a few numbers. These tunes are equally great in their understated brilliance, and have perhaps a slight bit more punch, thanks to the expanded lineup. A few numbers run quite long, with very open solo space, and titles include "The Gypsy", "Night Work", "Matter Horns", "Hello", and "Loverman".

Classic early bop material from Dexter Gordon -- originally issued as 78s in the 40s, and packaged here in a hip 50s album with a very groovy cover! The set features work from 1945, 1946, and 1947 -- with Gordon in different three different groups -- one with Leo Parker on baritone and Tadd Dameron on piano, one with Leonard Hawkins on trumpet and Bud Powell on piano, and one with Argonne Horton on piano. Titles include "Setting The Pace (parts 1 & 2)", "Dexter's Riff", "So Easy", "Long Tall Dexter", "Dexter Digs In", and "Dexter's Deck".

Early trio work from Keith Jarrett, and a bit straighter than some of his 70s work -- but in a good way, with kind of a New York modern groove that reminds us of early material by Paul Bley or Steve Kuhn! The trio's a very progressive group -- with Charlie Haden on bass and Paul Motian on drums -- making for a really open-ended approach to the rhythms, one that sets the tunes nicely free at times -- although never too outside in the end. The album's a great hint at the direction that Jarrett would take in the 70s, but it also ties him more strongly to other American pianists of the 60s -- a great link that really help us appreciate his later genius more than before. Titles include the original compositions "Church Dreams", "Margot", "Long Time Gone", and "Love No 1 & 2".

A wonderful album that's as swinging as it is exotic! The record really picks up the groove from Lateef's earlier sides for Savoy -- and features a mixture of hardbop and more "Eastern" themed musical images, all extremely compelling, and a wonderful look at a jazz underground that rarely got a voice on record. Lateef plays tenor, but also flute and argol in a snaking moody way -- and he's joined by a group that features Wilbur Harden, Hugh Lawson, Ernie Farrow, and Oliver Jackson, all of whom play the usual bass, piano, drums, plus some odd bits on percussion and strange instruments. Titles include "Anastasia", "Minor Mood", "Taboo", and "Mahaba". 1969 pressing of an album that was earlier issued under the title Other Sounds.

Incredible music from The Pyramids -- an obscure Midwestern combo who made some pretty amazing records in the early 70s! There's a heavy dose of spirituality in the mix here -- a vibe that rivals some of the best albums of the time on Strata East, but with a freer sound overall -- elements of the AACM Chicago scene, or some of the hipper grooves coming out of St Louis -- particularly in the way the band builds up energy on the longer tracks. The reeds are especially nice -- alto sax from Idris Ackamoor and flute from Margo Ackamoor -- and all other group members play percussion, and vocalize too -- singing along with some of the tunes in chanting, chorus formation, which adds an even further element of soul to the mix. Rhythms range from hard-driving to completely hypnotic -- and titles include "Nsorama", "My Africa", "Mogho Naba", and "Queen Of The Spirits".

Classic early bop material from Dexter Gordon -- originally issued as 78s in the 40s, and packaged here in a hip 50s album with a very groovy cover! The set features work from 1945, 1946, and 1947 -- with Gordon in different three different groups -- one with Leo Parker on baritone and Tadd Dameron on piano, one with Leonard Hawkins on trumpet and Bud Powell on piano, and one with Argonne Horton on piano. Titles include "Setting The Pace (parts 1 & 2)", "Dexter's Riff", "So Easy", "Long Tall Dexter", "Dexter Digs In", and "Dexter's Deck".

A great set of trad jazz grooves from the Boston scene of the 50s -- recorded with an easygoing groove that's totally great, and put together by George Wein in the same spirit as some of his better-known live events of the time! Players include Ruby Braff on trumpet, Vic Dickenson and Dick Lefave on trombones, Al Drootin on clarinet, Sam Margolis on tenor, Buzzy Drootin on drums, and Wein himself on piano -- and the tunes are open-ended swing-based numbers, with titles that include "High Society", "You Took Advantage Of Me", "Swinging The Blues", "At The Jazz Band Ball", and "After You've Gone".

A wonderful album that's as swinging as it is exotic! The record really picks up the groove from Lateef's earlier sides for Savoy -- and features a mixture of hardbop and more "Eastern" themed musical images, all extremely compelling, and a wonderful look at a jazz underground that rarely got a voice on record. Lateef plays tenor, but also flute and argol in a snaking moody way -- and he's joined by a group that features Wilbur Harden, Hugh Lawson, Ernie Farrow, and Oliver Jackson, all of whom play the usual bass, piano, drums, plus some odd bits on percussion and strange instruments. Titles include "Anastasia", "Minor Mood", "Taboo", and "Mahaba".