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Hampton Hawes isn't exactly the first pianist we think of when it comes to bluesy lines in his music – but there's definitely a blue-tinged undercurrent to most of the work in this set – a well-chosen batch of tracks from Hamp's early years as a leader on Contemporary Records! The album features work in a variety of settings – with players who include Red Mitchell, Ray Brown, or Scott LaFaro on bass – Shelly Manne, Chuck Thompson, or Frank Butler on drums – and some occasional work by Harold Land on tenor sax, and either Jim Hall or Barney Kessel on guitar. Titles include "Blues The Most", "Hamp's Blues", "Hip", "Soul Sign Eight", "The Sermon", "For Real", "Hampton's Pulpit", "Takin Care", "Up Blues", and "Blues For Jacque".

Maybe the title's a bit overly-optimistic – but with a record like this, you can certainly imagine a world in which everybody does like Hampton Hawes! The record's the third in a legendary early run for the Contemporary label – trio material that broke Hawes out of the box and firmly put his rich talents on the keys at the top of the list of the best players in jazz. The sound's an amazing blend of jazz idioms at the time – with some of the flourishes of the Peterson or Jamal crowd, but often a tighter, almost rootsier bottom in the rhythms – a touch of the LA soul jazz sound, showing up here quite early! The trio features Red Mitchell on bass and Chuck Thompson on drums – and tracks are short, but showcase the open sound that Hawes was developing at the time. Titles include "Night In Tunisia", "Body & Soul", "Lover Come Back To Me", and the Hawes originals "The Sermon" and "Coolin The Blues".

One of Hampton Hawes' last sessions for Contemporary Records – a wonderful little date that's filled with the bright tones and bold confidence that marked Hamp's piano work in later years! The style here is simple, but effective – and Hawes has a way of ringing out the notes without overdoing his thing – a balance that was never present in his earlier work, and which made him a more and more compelling player as the years went on. Titles include "Morning", "Blue In Green", "Sunny", "Soul Sign Eight", and "Killing Me Softly".

'Leaping brilliance on the keys from a young Hampton Hawes – a player who makes this record bristle with excitement from the very first note! The format is simple, but the presentation here is breathtaking – a rock-solid trio performance that shows why Hawes was one of the greatest talents on the keys to come out of the west coast in the 50s – one with the fluidity of some of the better-known crossover players of the era, but the harder edge and sharper notes of the boppers, plus just a touch of nascent soul jazz in the rhythms. Backing is by Red Mitchell on bass and Chuck Thompson on drums – and titles include "Hamps Blues", "Carioca", "What Is This Thing Called Love", "Blues The Most", "Easy Living" and "All The Things You Are".

One of the best David Axelrod-assisted albums from the early 70s – a sweet batch of funky cuts with arrangements and backings handled by Axe! The record really bubbles with the warm and soulful approach Axelrod was using at Fantasy – kind of a step off his stark modern sound at Capitol, but still done with just the right amount of space and appreciation of a funky rhythm. The great Carol Kaye is on bass, and Hawes plays some totally sweeeeeeeet electric keys on the set – really stretching out on tracks that include "Sierra Morena", "Go Down Moses", "Web", "Tune Axle Grease", and "C&H Sugar".

The darkly brooding image of Hampton Hawes on the front cover of this one is a real standout in the mostly-sweet cover lineup of the Contemporary label – but it's also a great indication of the sound of the record, which is something different than most of its contemporaries! Hawes is working here at his top-shelf early best – stepping around the keys of the piano with a sense of grace and spaciousness – but also a hard-hitting, highly rhythmic mode on the left – a bit soul jazz at times, mixing earthy elements with the sweeter, lyrical moments in his solos. Rhythm is by the team of Red Mitchell and Chuck Thompson – and titles include "Yesterdays", "Blues For Jacque", Stella By Starlight", "Steeplechase", "Round Midnight", "Autumn In New York" and "Section Blues".

Features Hawes on piano, Cecil McBee on bass, and Roy Haynes on drums. Titles include "Stella By Starlight", "Blue Bird", "St Thomas", and "Spanish Mood".

Beautiful 60s work from Hampton Hawes – a set from the middle of the decade, a period when he wasn't recorded all that often – but one not issued by Contemporary until his American revival in the 70s! The group's got a wickedly fluid feel – not just Hamp's always-amazing piano, but also great drums from Donald Bailey and some especially great bass from Red Mitchell – really hitting those rounded, warm tones that would flower even more boldly during his time overseas. The sound is great – almost more of a Saba/MPS piano set than the usual Contemporary bag – and titles include "I'm All Smiles", "Searchin", "The Shadow Of Your Smile", "Spring Is Here", and "Manha De Carnaval".

A noteworthy session from pianist Hampton Hawes – a rare quartet session from the 50s (at a time when Hawes was mostly working in trios) – and also a three volume set of releases, all recorded in the space of a single night! The album is truly an All Night Session – as the material here was recorded during the night of November 12 and early morning hours of November 13, 1956 – with an unusual group that features Hawes on piano, Red Mitchell on bass, Bruz Freeman on drums, and Jim Hall on guitar! Hall's ringing tones are a perfect partner for Hawes' light approach to the keys – and the relaxed, extended nature of the recording has both players really opening up on some of the album's longish tracks. Titles on this volume include "I'll Remember April", "I Should Care", "Woody'N You", "Two Bass Hit", "Will You Still Be Mine", "April In Paris" and "Blue 'N Boogie".

A noteworthy session from pianist Hampton Hawes – a rare quartet session from the 50s (at a time when Hawes was mostly working in trios) – and also a three volume set of releases, all recorded in the space of a single night! The album is truly an All Night Session – as the material here was recorded during the night of November 12 and early morning hours of November 13, 1956 – with an unusual group that features Hawes on piano, Red Mitchell on bass, Bruz Freeman on drums, and Jim Hall on guitar! Hall's ringing tones are a perfect partner for Hawes' light approach to the keys – and the relaxed, extended nature of the recording has both players really opening up on some of the album's longish tracks. 2CD set features all 3 volumes of the recording – a total of 17 tracks that includes "Jordu", "Groovin High", "Takin Care", "Hampton's Pulpit", "I'll Remember April", "I Should Care", "Woody'N You", "Two Bass Hit", "Will You Still Be Mine", "April In Paris", "Blue 'N Boogie", "Blues #4", "Blues #3", and "Do Nothin Till You Hear From Me".

A great set by Hampton Hawes – really one of his best ever records, and for a number of reasons! First up, Harold Land's playing tenor on the record, opening it up a lot more than some of Hamp's regular trio sides. Secondly, the bassist on the set is Scott LaFaro, the challenging modernist from Chicago who played such great work with Ornette and Sonny Rollins, and who gives the session a fresher tone than some of Hawes' other recordings. Lastly, the tracks are longish, giving both Land and LaFaro plenty of room to roam, making for a much more adventurous record overall. Titles include "Hip", "Crazeology", "I Love You", and "Numbers Game".

Overlooked genius from Hampton Hawes – one of a number of excellent albums made during a late 60s stint on the European scene – and a set that really has Hamp pushing forward from his previous albums in the US! The tracks are wonderfully fluid – set fire with that Hawes style that was already magical at the start, but which really seemed to find a new sort of energy overseas – possibly here because of the excellent rhythms from Jimmy Woode on bass and Art Taylor on drums – also two players who were really coming into their own at the time. Hampton's got this great blend of lyricism and soulful swing – one that feels a bit like some of the MPS projects that Woode was recording at the time with other players, and which makes the album a real treasure in Hawes' catalog. Every cut save one is an original – and titles include "Sonora", "Blues Enough", "Black Forest", "Spanish Steps", and "Dangerous". CD features 5 bonus tracks – including "Blues For Bud", "Children's Play", "They Say It's Wonderful", and alternate takes of "Black Forest" and "Spanish Steps".

One of Farmer's best sessions of the 70s – recorded in a mode that's a bit freer than usual, with a group that includes Hampton Hawes, Ray Brown, and either Steve Ellington or Shelly Manne on drums. Art Pepper sits in on 4 of the album's 6 tracks – and it's his tone and edgieness that really opens things up, casting Farmer's work on flugelhorn in a light that's darker than usual, filled with shadows that haven't crept into his playing for years, creating a depth to the record that really keeps us listening. Titles include "Downwind", "Namely You", "What Am I Here For?", and "Will You Still Be Mine?"

Volume 2 of a 2 LP set that brings together nearly all of Wardell Gray's classic LA bop recordings for Prestige – most of which were issued originally only on 45s and 78s. The players include the cream of the LA scene of the time – including Dexter Gordon, Sonny Criss, and Hampton Hawes – and tracks include long takes of "Move" and "Scrapple From The Apple", his famous "chase" with Gordon – plus "April Skies", "Jackie", "Farmer's Market", and "Bright Boy".

Volume 2 of a 2 LP set that brings together nearly all of Wardell Gray's classic LA bop recordings for Prestige – most of which were issued originally only on 45s and 78s. The players include the cream of the LA scene of the time – including Dexter Gordon, Sonny Criss, and Hampton Hawes – and tracks include classic long takes of "Move" and "Scrapple From The Apple", his famous "chase" with Gordon – plus "April Skies", "Jackie", "Farmer's Market", and "Bright Boy".

The first entry into Savoy's amazing Hollywood Jazz Session series – and a live recording that spans both sides of the record with just one track! Wardelly Gray and Dexter Gordon go head to head in a lineup that also includes Howard McGhee on trumpet, Trummy Young on trombone, Barney Kessel on guitar, and Hampton Hawes on piano – all joining together to show that the west coast had a very hard bop sound going on back in the late 40s – a hard-burning way of trading solos, heard beautifully in an extended performance of "Byas A Drink"!

70s issue of a great little live set – recorded in LA in 1951, one of those private recordings from the time that saw brief release on the Xanadu label. Tracks are long, and Warne's playing in a much more open-ended mode with a quartet that features Hampton Hawes, Joe Mondragon, and Shelly Manne. Tracks include "Fine & Dandy", "You Go To My Head", "Buzzy", and "I Got Rhythm".

One of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! CD features 3 bonus tracks!

Charlie Parker classics in a variety of flavors – a great collection of material from the 50s, 60s, and 70s – all showing the huge influence of Bird's songwriting on the sound of modern jazz! The recordings here offer up a variety of formats, in a variety of different settings – piano jazz, guitar work, and hardbop horns – all pulled from the mighty vaults of Fantasy Records. Titles include "Parker's Mood" by Eddie Jefferson, "Scrapple From The Apple" by Blue Mitchell, "Yardbird Suite" by Art Pepper, "Confirmation" by Gene Ammons, "Now's The Time" by Frank Morgan, "Steeplechase" by Hampton Hawes, "Repetition" by Wes Montgomery, and "Billie's Bounce" by Johnny Griffin.

A crucially important slice of work – and maybe one of the most striking sets in this all-great Spiritual Jazz series! The focus here is on some of the great American players working in Europe during the late 60s and early 70s – often in collaboration with equally forward-thinking Europeans, and with results that are still musically amazing all these many years later! The collection has American flautist Sahib Shihab working with Swiss guitarist Pierre Cavalli, sound library maestro Johnny Hawksworth with west coast giant Hampton Hawes, Don Cherry working with Krzysztof Penderecki, a rare version of "Enlightenment" by Sun Ra in France and other legendary European recordings by Albert Ayler, Billy Gault, and Lee Konitz – a wonderfully rich blend of players. The tracks are pulled from records we almost never see – especially on vinyl – titles include "Studie Nr 1 Fur 12 Saitige Gitarre" by Pierre Cavalli & Sahib Shihab, "Jazz Rule" by Johnny Hawksworth & Hampton Hawes, "Born & Shake" by Clarence Peters, "Enlightenment by Sun Ra, "Summertime" by Albert Ayler, "T & W" by Frank Wright Sextet, "Humus The Life Exploring Force" by Don Cherry & The New Eternal Rhythm Orchestra, "Five, Four, & Three" by Lee Konitz, "The Creators" by Bobby Hutcherson with Harold Land, and the masterful, nearly 20-minute "Springtime" by Eric Dolphy. Includes a great essay on the scene by Francis Gooding, plus extensive info for each track!

A great little compilation – with exclusive material! This looks like a Pacific Jazz best of – but it's actually a special collection that features some tunes that never appeared on other records, played by some of the label's hippest soul jazz artists. Titles include "One More Hamhock Please" by a group that includes Les McCann, Curtis Amy, and Bobby Hutcherson; "Blowin The Blues" by Harold Land, Jackie Davis, and Gerald Wilson; Red Shirt" by Teddy Edwards, Hampton Hawes, and Jimmy Allen; and "Oatmeal" by Bobby Hutcherson, Les McCann, and Ron Jefferson.

Volume 2 of a 2 LP set that brings together nearly all of Wardell Gray's classic LA bop recordings for Prestige – most of which were issued originally only on 45s and 78s. The players include the cream of the LA scene of the time – including Dexter Gordon, Sonny Criss, and Hampton Hawes – and tracks include classic long takes of "Move" and "Scrapple From The Apple", his famous "chase" with Gordon – plus "April Skies", "Jackie", "Farmer's Market", and "Bright Boy".

A tight little quintet session from bassist Red Mitchell – working here with a group of LA players that includes Hampton Hawes and Conte Candoli. The real star, though, is Joe Maini – a vastly underrated sax player who carves some very nice lines into the session, adding in some nice touches of soul to what might otherwise be a slick easy LA bop set. Titles include "Section Blues", "Jam For Your Bread", "Duff", and "You Go To My Head".

A crucially important slice of work – and maybe one of the most striking sets in this all-great Spiritual Jazz series! The focus here is on some of the great American players working in Europe during the late 60s and early 70s – often in collaboration with equally forward-thinking Europeans, and with results that are still musically amazing all these many years later! The collection has American flautist Sahib Shihab working with Swiss guitarist Pierre Cavalli, sound library maestro Johnny Hawksworth with west coast giant Hampton Hawes, Don Cherry working with Krzysztof Penderecki, a rare version of "Enlightenment" by Sun Ra in France and other legendary European recordings by Albert Ayler, Billy Gault, and Lee Konitz – a wonderfully rich blend of players. The tracks are pulled from records we almost never see – especially on vinyl – titles include "Studie Nr 1 Fur 12 Saitige Gitarre" by Pierre Cavalli & Sahib Shihab, "Jazz Rule" by Johnny Hawksworth & Hampton Hawes, "Born & Shake" by Clarence Peters, "Enlightenment by Sun Ra, "Summertime" by Albert Ayler, "T & W" by Frank Wright Sextet, "Humus The Life Exploring Force" by Don Cherry & The New Eternal Rhythm Orchestra, "Five, Four, & Three" by Lee Konitz, "The Creators" by Bobby Hutcherson with Harold Land, and the masterful, nearly 20-minute "Springtime" by Eric Dolphy. Includes a great essay on the scene by Francis Gooding, plus extensive info for each track!

A rarity from the bop era – hard-blowing tracks that run for a duration that's way longer than the standard three minutes of most 78rpm singles. Here, Gordon and Gray blow head to head in some of their famous "battle" sessions – working with players like Sonny Criss, Howard McGhee, Hampton Hawes, and Barney Kessel in a format that was very popular on the LA bop scene. Each side of the 2LP set features one long track – and titles include "Disorder At The Border", "Cherokee", "Byas A Drink", and "The Hunt". Great 70s package – with notes on all the material the material.

The Newborn Touch is always a great one, but it sounds especially nice on this record – a set that seems to go even farther than any of Phineas' earlier trio sessions! There's an almost-ambitious sound to the record that we really like a lot – one that possibly comes from Newborn's choice of compositions for the set, a great bag of non-standard tunes from some of his west coast contemporaries – tracks penned by Ornette Coleman, Art Pepper, Hampton Hawes, Jimmy Woods, and others – some of which are decidedly more modern than the material that Newborn usually plays! There's a complexity here that's great – but one that still doesn't forget Newborn's down-home roots – and titles include "A Walkin Thing", "Be Deedle Dee Do", "The Blessing", "Diane", "Pazmuerte", "Hard To Find", and "Blue Daniel".

One of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great!

A budget-looking CD – but an essential slice in the career of the great Slide Hampton! Hampton was one of the great American players who departed for Europe during the 60s – and his work on the continent was some of his most fruitful ever, breaking him out of his harbop origins, and turning him into a much more sophisticated modal jazz player. This CD brings together 2 sessions from the late 60s – one a quartet session with Martial Solal on piano, and the rhythm team of Henri Texier on bass and Daniel Humair on drums. The other set's even better – and features the great Nathan Davis on tenor sax, plus vibes work by Dave Pike and piano by Hampton Hawes. Six cuts in all, with many great originals by Hampton, one of the 60s most under-rated jazz writers! Titles include "The Thing", "Chop Suey", "Impossible Waltz", and "Us Six".

Bassist Scott LaFaro left a very big mark on jazz – especially given his few short years on this planet – recording seminal sides with players like Bill Evans and Hampton Hawes – both of whom were really transformed by his work on bass! This set brings together some rare material from the late 50s – three appearances on the Stars Of Jazz TV show, including two with Victor Feldman on piano and Stan Levy on bass, and one more with Cal Tjader on vibes and Vince Guaraldi on piano! The set also features a nice long rehearsal track, recorded at the LA store Recordville – also with the Feldman trio – and titles include "Rehearsal Blues"," Bebop", "Flamingo", "Deep In A Dream", "Crow's Nest", "Liz Anne", "Tumbaro", and "You Are My Lucky Star".