Sonny Clark - Cool Struttin' (1958)

BLUE NOTE 25 "BEST" ALBUMS MONTH* (JULY 2026)

Note: the CD I listened to was the 1999 Rudy Van Gelder Edition with 2 bonus tracks.

I shouldn't try to write about this album simply because the album title is basically the whole aesthetic in two words. Nothing is rushed and nothing is wasted; a perfect balance between swing and restraint. It's cool and it struts.

Original liner notes by Nat Hentoff and 1999 reissue liner notes by Bob Blumenthal.

Clark - piano
Art Farmer - trumpet
Jackie McLean - alto saxophone
Paul Chambers - bass
Philly Joe Jones - drums

Reviews/ratings:

• Billboard (★★): "The set moves and Farmer and McClean have good chances for solos."
• The Penguin Guide to Jazz (5th ed., 2000): ★★★★
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★★

In addition to being named as one of Blue Note's 25 Best Albums, Cool Struttin' placed at #22 on the udiscover.com list of the 50 Greatest Blue Note Albums.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: The original album was only 4 tracks, two long tracks per side - the kind where everybody gets a lengthy solo turn. Of the four, my favorites are the title track, a Clark original, and the final cut, a rendition of Lover by Rodgers & Hart.

Bonus tracks: From the same recording session, we're treated to another Clark original titled Royal Flush and a cover of the Rodgers & Hart standard, Lover.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Sonny Clark Trio (1958)

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*In 1987, the European offices of Blue Note records compiled a list of the 25 Best Blue Note Albums in an effort to promote sales of classic Blue Note albums released on CD for the first time. Albums selected for the list were originally released in the years 1953-1967.

At the time, the Blue Note label had been subsumed by the EMI group. This allowed the selections to be made from other EMI labels, namely Capitol, United Artists, and Liberty. Therefore, the list-makers were able to look outside the Blue Note label and squeeze in titles by artists such as Miles Davis, Chet Baker, & Count Basie. It reads more like "albums we had the rights to, by 25 well-known jazz artists," making the list as much about artists as albums. As a marketing tool, it makes sense. As a starting place to build a Blue Note collection you could do worse. Of course, you could also do much better. But the thing exists, it caught my attention, and here we are.

Cannonball Adderley - Somethin' Else (1958)

BLUE NOTE 25 "BEST" ALBUMS MONTH* (JULY 2026)

Note: the CD I listened to was the 1999 Rudy Van Gelder Edition with 1 bonus track.

Widely regarded as a landmark album of hard bop, although the credits might be a little misleading. As the High Fidelity review clearly states, Somethin' Else "is undoubtedly Miles Davis' record." Though officially credited to Julian "Cannonball" Adderley, the album famously features Davis, Adderley's boss at the time. In a rare act of generosity, Davis stepped into a sideman role, but his influence can be heard throughout. Davis didn’t just show up; he brought the moody, bluesy title track and reportedly handpicked most of the album's material. Overall, Somethin' Else tastefully bridges the gap between Milestones and Kind of Blue, cementing its legacy as an essential cornerstone of any jazz collection. With that kind of firepower, it's not surprising that Somethin' Else placed at #1 on the udiscover.com list of the 50 Greatest Blue Note Albums.

Adderley - alto saxophone
Miles Davis - trumpet
Hank Jones - piano
Sam Jones - bass
Art Blakey - drums

Original liner notes by Leonard Feather and 1999 reissue liner notes by Bob Blumenthal.

Reviews/ratings:

• Downbeat (★★★★★): "There's really not too much to say about this set. It's the result of five thoroughly professional jazzmen playing together and making it."
• High Fidelity: "it is undoubtedly Miles Davis' record."
• Stereo Review: "Intensely stimulating."
• Billboard: "perhaps one of the best of the year."
• CashBox: "Fine combo cohesion here."
• The Penguin Guide to Jazz (5th ed., 2000): ★★★★
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★★★

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: It's all good, but you just can't beat the first three tracks in that exact order.

Bonus track: Track 6 is a Hank Jones composition titled Bangoon which would have easily fit on the album, but I'm guessing was left off the original release due to time limitations.

Personal Memory Associated with this CD: None

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*In 1987, the European offices of Blue Note records compiled a list of the 25 Best Blue Note Albums in an effort to promote sales of classic Blue Note albums released on CD for the first time. Albums selected for the list were originally released in the years 1953-1967.

At the time, the Blue Note label had been subsumed by the EMI group. This allowed the selections to be made from other EMI labels, namely Capitol, United Artists, and Liberty. Therefore, the list-makers were able to look outside the Blue Note label and squeeze in titles by artists such as Miles Davis, Chet Baker, & Count Basie. It reads more like "albums we had the rights to, by 25 well-known jazz artists," making the list as much about artists as albums. As a marketing tool, it makes sense. As a starting place to build a Blue Note collection you could do worse. Of course, you could also do much better. But the thing exists, it caught my attention, and here we are.

Count Basie - The Complete Atomic Basie (1958)

BLUE NOTE 25 "BEST" ALBUMS* MONTH (JULY 2026)

Note: the CD I listened to was the 1994 mono reissue with 5 bonus tracks. The album was originally simply called Basie, it is also known as The Atomic Mr. Basie or E=MC², and reissued here as The Complete Atomic Basie.

Big band music that seems effortless but also controlled. I recognize the name Neal Hefti from the 1966 Batman series theme song (and you just sung that theme in your head, didn't you?), but was unfamiliar with his work on this album prior to buying this disc. Nefti wrote all the charts here and every note is in the right place. In 1958, big band music was on the wane, being replaced by smaller (and cheaper) jazz combos, but Basie proves that he could still make the whole enterprise swing and glide.

Original liner notes by Barry Ulanov.

Reviews/ratings:

• High Fidelity: "without any qualification the best LP that Basie's current band has ever made"
• CashBox: "Terrific readings"
• Billboard: "The Basie's band's debut on the Roulette label is an auspicious one."
• The Penguin Guide to Jazz (5th ed., 2000): ★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★★★

In addition to being named as one of Blue Note's 25 Best Albums, The album won both Best Jazz Performance, Group and Best Performance by a Dance Band awards at the 1st Annual Grammy Awards. It was later recognized in the books 1001 Albums You Must Hear Before You Die, edited by Robert Dimery, and The New York Times Essential Jazz Library by Ben Ratliff. (The 1001 Albums write up claims this is "Basie's last great record" but my vote for that title would be Sinatra at the Sands.)

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: All 11 original tracks are fantastic, but if I'm picking favorites, I'll mention Duet, Double-O, and Splanky (because they just sound like Basie tunes oughta sound), and the laid back ballads After Supper, Midnite Blue, and Li'l Darlin'.

Bonus tracks: These five tracks were arranged by Jimmy Mundy and therefore have a slightly different feel to them - not quite as tight. We're offered the Mundy original Silks & Satins, two takes of Sleepwalker's Serenade, and two takes of The Late Late Show, one with a vocal from Joe Williams. Nothing terrible, they're just a little lacking compared to what came before.

Personal Memory Associated with this CD: None, but I wish I had somehow discovered it during my big band phase in the 1980's.

Previously revisited for the blog:
Big Boss Band (1990) with George Benson
Sinatra at the Sands (1966) with Frank Sinatra
It Might As Well Be Swing (1964) with Frank Sinatra
First Time! The Count Meets The Duke (1962) with Duke Ellington

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*In 1987, the European offices of Blue Note records compiled a list of the 25 Best Blue Note Albums in an effort to promote sales of classic Blue Note albums released on CD for the first time. Albums selected for the list were originally released in the years 1953-1967.

At the time, the Blue Note label had been subsumed by the EMI group. This allowed the selections to be made from other EMI labels, namely Capitol, United Artists, and Liberty. Therefore, the list-makers were able to look outside the Blue Note label and squeeze in titles by artists such as Miles Davis, Chet Baker, & Count Basie. It reads more like "albums we had the rights to, by 25 well-known jazz artists," making the list as much about artists as albums. As a marketing tool, it makes sense. As a starting place to build a Blue Note collection you could do worse. Of course, you could also do much better. But the thing exists, it caught my attention, and here we are.

Lee Morgan - Four Classic Albums: Second Set (2019)

UK Import

2019 compilation of four albums by Lee Morgan from the late 1950s. Another quality compilation from the British Avid label, who take full advantage of the length of copyright laws in Europe (50 years) and, might I add, make classic jazz releases quite affordable: I paid $11.98, new, for this 2 disc set. Albums have been remastered and the original liner notes are included. Morgan was such a fantastic trumpet player. The whole set is highly enjoyable.

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CANDY (1958)
6 tracks, 37 minutes

Previously appeared on The CD Project.

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CITY LIGHTS (1958)
5 tracks, 38 minutes

Original liner notes written by Leonard Feather.

Morgan - trumpet
George Coleman - tenor & alto saxophones
Curtis Fuller - trombone
Ray Bryant - piano
Paul Chambers - bass
Art Taylor - drums

Reviews/ratings:

• DownBeat (★★★★): "a lot of rewarding listening here"
• The Virgin Encyclopedia of Jazz (1999): ★★★★

Tracks: Five tracks, none written by members of the band. Three of the tunes were written by Benny Golson, plus one each from Johnny Green and Gigi Grice. Fuller really brings the goods throughout and really pushes Morgan - it's a joy to hear the playful battles here. Things get a little sloppy in Just By Myself. My top picks are the title cut and You're Mine You.

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LEE MORGAN - INDEED! (1957)
6 tracks, 41 minutes

Morgan's debut album as a leader, but plays like a seasoned pro. These four albums were recorded when Morgan was 18 & 19 years old and you'd never know it - such a mature sound.

Original liner notes written by Leonard Feather.

Morgan - trumpet
Clarence Sharpe - alto saxophone
Horace Silver - piano
Wilbur Ware - bass
"Philly" Joe Jones - drums

Rating:

• The Virgin Encyclopedia of Jazz (1999): ★★★

Tracks: 6 tracks: 1 from pianist Silver, 1 from Donald Byrd, and 2 each from Owen Marshall (a name previously unknown to me) and the aforementioned Benny Golson. The highlights of this debut are the two middle tracks, The Lady and Little T.

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THE COOKER (1958)
5 tracks, 39 minutes

Morgan's fifth release for Blue Note and the first to feature some of his own compositions.

Original liner notes written by Robert Levin.

Morgan - trumpet
Pepper Adams - alto saxophone
Bobby Timmons - piano
Paul Chambers - bass
"Philly" Joe Jones - drums

Ratings:

• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★★

Tracks: In addition to two of Morgan's compositions - titled Heavy Dipper and New-Ma - there are versions of Lover Man, Cole Porter's Just One Of Those Things, and Dizzy Gillespie's A Night In Tunisia, the latter two in which Morgan burns through the tunes in dazzling display of technique. The Cooker, indeed.

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Previously revisited for the blog:
Candy (1958)

John Coltrane - Blue Train (1958)

I never thought I'd watch a documentary that included interviews with subjects from such varied backgrounds as Dr. Cornel West, Common, and Bill Clinton, but the other day I watched Chasing Trane: The John Coltrane Documentary, and there were all three men, speaking passionately and eloquently about Coltrane's music and life. It's a good doc and worth your time, regardless of the level of your current knowledge of Coltrane.

As one does, I followed the documentary with an evening of Coltrane's music, including A Love Supreme, Ballads, Coltrane Plays The Blues, then finishing with this 1958 offering.

This album is notable for a few reasons: 1) it is Coltrane's only recording as a leader on the Blue Note label, 2) the title track has become a jazz standard, and 3) it documents the progression and evolution of both Coltrane's playing and writing as he moved from his bebop background toward his greater, cutting-edge work in the 1960's (Giant Steps, Olé Coltrane, A Love Supreme). That said, I am in full agreement with the album review in High Fidelity which suggests 19-year-old trumpeter Lee Morgan steals the show here (although Kenny Drew tries to steal it from both of them at times).

Original liner notes by Robert Levin.

Coltrane - tenor saxophone
Lee Morgan - trumpet
Curtis Fuller - trombone
Kenny Drew - piano
Paul Chambers - bass
Philly Joe Jones - drums

Ratings/reviews:

• High Fidelity: "Coltrane's hard, fierce tone slashes through this disc like an urgent hack saw, but he is completely overshadowed by Lee Morgan's fantastic excursions on trumpet."
• Billboard: "A provocative item in the hard, modern idiom, most notable for tenorist Coltrane's arresting solo continuity."
• CashBox: "Fine individual and collective performances."
• HiFi & Music Review: "searching diligently for a new concept of tenor saxophone playing."
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★
• The Virgin Encyclopedia of Jazz (1999) (★★★★★): "Coltrane may have made more important albums, but none swung as effectively as this."
• The Penguin Guide to Jazz (5th ed., 2000) (★★★½): "the unavoidable conclusion is that Blue Train is not an unalloyed masterpiece."

In 1987, this album was selected by Blue Note (Europe) as one of the 25 Best Albums on the label.

Update: In 2024, uDiscover Music ranked this album at #2 on its list of The 50 Greatest Blue Note Albums.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: As I mentioned, the title track has become a standard. I also dig the swinging second track, Moment's Notice. Coltrane shines on the burning Locomotion and the sole ballad here, a take on the 1942 Kern-Mercer standard I'm Old Fashioned. This 2003 Rudy Van Gelder Edition contains two bonus tracks, alternate takes on Blue Train and Lazy Bird.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
A Love Supreme (1965)
Coltrane Plays The Blues (1962)

Lee Morgan - Candy (1958)

Note: the CD I listened to was the 2007 Rudy Van Gelder Edition.

Over the past few years, I've formed the opinion that Lee Morgan is the best jazz trumpeter I've heard. (Miles remains the most innovative and important, which is a whole 'nuther discussion entirely.) Morgan's tone, facility, technique, phrasing, etc., are impeccable and I've enjoyed listening to him more and more.

Only 19 years old when this was recorded and 20 when it was released - it just occurred to me that Morgan was born six months after my own father's birth in 1938 - his abilities are breathtakingly remarkable. He and the rest of the quartet shine on a nice mix of popular tunes and show tunes.

Original liner notes by Robert Levin

Morgan - trumpet
Sonny Clark - piano
Doug Watkins - bass
Art Taylor - drums

Packaging includes original liner notes by Robert Levin, 2007 notes by Bob Blumenthal, and one bonus track.

Reviews/ratings:

• CashBox: "Excellent front showing by Morgan"
• High Fidelity: "His tone is big and firm"
• Billboard (★★★): "Set should appeal to modern jazz buffs."
• DownBeat: ★★★★
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★★
• The Penguin Guide to Jazz (5th ed., 2000): ★★★

Also reissued with different title and/or cover art:

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:

1. Candy (music by Alex Kramer, lyrics by Mack David & Joan Whitney) - pop song from 1944.
2. Since I Fell For You (Buddy Johnson) - pop song from 1945 and one of my favorites
3. C.T.A. (Jimmy Heath) - introduced by Miles Davis in 1953
4. All The Way (music by Jimmy Van Heusen, lyrics by Sammy Cahn) - introduced by Frank Sinatra in the 1957 movie The Joker Is Wild; it won the Academy Award for Best Original Song.
5. Who Do You Love, I Hope (Irving Berlin) - from the 1946 musical Annie Get Your Gun
6. Personality (music by Jimmy Van Heusen, lyrics by Johnny Burke) - from the 1946 film Road To Utopia.
7. Bonus track: All At Once You Love Her (music by Richard Rodgers, lyrics by Oscar Hammerstein II) - from the 1955 musical Pipe Dream

All are worth your time. Highlights are Since I Fell For You Today and the smokin' take on All At Once You Love Her. Why the latter didn't make the original cut is beyond me. Today, I'm thinking Morgan's best solo is in C.T.A.

Personal Memory Associated with this CD: None

Lou Donaldson - Blues Walk (1958)/Gravy Train (1962)/Lou Takes Off (1958)/Here 'Tis (1961)

UK Import

2017 compilation of four albums by saxophonist "Sweet Poppa Lou" Donaldson. All 4 albums recorded by Rudy Van Gelder for the Blue Note label in the late '50s/early '60s. I was previously unfamiliar with the British Avid label, but it appears they (quite understandably) took full advantage of the length of copyright laws in Europe (50 years). However, this package isn't a shoddy production. Albums have been remastered and the original liner notes are included. When I grab this set, I normally pick just one of the two CDs to spin. The disc I choose varies, but at 75+ minutes per disc, the length is usually perfect for me.

In 2013, Donaldson was honored as a Jazz Master by the National Endowment for the Arts and has been inducted into the The International Jazz Hall Of Fame.

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BLUES WALK (1958)
6 tracks, 34 minutes

An album during Donaldson's transition from hard bop to R&B/soul-jazz, so there's a variety of tracks to be found here, from the bebop of Move to the bluesy title track.

Original 1958 liner notes written by Ira Gitler, jazz historian and journalist.

Donaldson - alto sax
Herman Foster - piano
John "Peck" Morrison - bass
Dave Bailey - drums
Ray Barretto - congas

Reviews/ratings:

• Billboard (★★★): "Good solid jazz here"
• CashBox: "Sturdy jazz performances"
• DownBeat (★★★): "In some respects, this is the most interesting Donaldson recital I have heard"
• The Penguin Guide to Jazz (5th ed., 2000) (★★½): the material is rather dull"
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: It's a great listen from top-to-bottom, but of the six offerings here, my top picks are the standards The Masquerade is Over (written 1939), and Autumn Nocturne (written 1941), plus the title track, a Donaldson original.

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GRAVY TRAIN (1962)
7 tracks, 44 minutes

A more commercial effort in which Donaldson and crew cover a number of popular tunes from the '30s and '40s with varying degrees of success. An enjoyable album, nevertheless.

Original 1962 liner notes written by Joe Goldberg, noted jazz author.

Donaldson - alto sax
Herman Foster - piano
Ben Tucker - bass
Dave Bailey - drums
Alec Dorsey - congas

Reviews/ratings:

• Billboard: "swings away with carefree abandon"
• CashBox: "Donaldson has developed a free-flowing style in the modern mainstream that is all his own"
• The Virgin Encyclopedia of Jazz (1999): ★★★
• The Penguin Guide to Jazz (9th ed., 2008): ★★★

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: The more successful cuts here are the ballad Polka Dots And Moonbeams and the two groovin' originals, Twist Time and the title track. Less successful are South Of The Border and Avalon.

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LOU TAKES OFF (1958)
4 tracks, 39 minutes

This album records Donaldson in his hard bop days, heavily influenced by Charlie Parker. Notable for the inclusion of two extra horn players, Donald Byrd and Curtis Fuller. An aptly titled album, this music swings and it swings hard.

Original 1958 liner notes written by Robert Levin, writer of liner notes for over 100 Blue Note albums.

Donaldson - alto sax
Donald Byrd - trumpet
Curtis Fuller - trombone
Sonny Clark - piano
George Joyner - bass
Art Taylor - drums

Reviews/ratings:

• High Fidelity: "Some furious and, considering the tempos, surprisingly coherent playing by a group that shows moments of hotheaded genius"
• DownBeat (★★★★): "A very good blowing set by the Young Turks of New York"
• Billboard (★★): "a hard-driving set"
• The Virgin Encyclopedia of Jazz (1999): ★★★

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: Four cuts here, including two originals by Donaldson: the breakneck opener, Sputnik, plus the bluesy Strollin' In. Also covers of bop tunes by Charlie Parker (Dewey Square) and Dizzy Gillespie (Groovin' High). The best bets are Dewey Square and Strollin' In.

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HERE 'TIS (1961)
5 tracks, 39 minutes

Maybe my favorite of the four albums in this set, probably because of the use of drawbar organ and the wonderful playing of Grant Green - a great choice of instrumentation and it pays off. The ad below claims this is "a Groovy Album" and I am here to confirm that assertion.

Original 1961 liner notes written by Levin.

Donaldson - alto sax
Roosevelt "Baby Face" Willette - organ
Grant Green - guitar
Dave Bailey - drums

Reviews/ratings:

• Stereo Review: "jazz of a spontaneous but fairly routine level"
• CashBox: "the group shows itself to be a superior blending of musical talents"
• The Virgin Encyclopedia of Jazz (1999): ★★★★

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: Five swingin' soul-jazz cuts including three Donaldson originals. We're treated to a cover of the Gershwins' A Foggy Day plus four 12-bar blues tunes. All recommended.

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Sonny Clark Trio (1958)

Note: the CD I listened to was the 2001 Rudy Van Gelder Edition with 3 alternate take bonus tracks.

First off, that's yet another great Blue Note graphic design on the cover from the creative mind of Reid Miles.

No originals here, but tasteful renditions of jazz standards and show tunes. I've seen the album called "one of the landmark piano trio recordings in jazz history" and I'm not sure if I've heard enough piano trio recordings to qualify me to make such bold statements, but I sure do like the thing. I dig Clark's phrasing throughout.

Original liner notes by Leonard Feather.

Clark - piano
Paul Chambers - bass
Philly Joe Jones - drums

There's quite a few jazz musicians who go by "Sonny," huh? Now that I think about it, the best jazzer I know personally is named Chris and I call him by his given name, but his entire family calls him Sonny.

Reviews/ratings:

• Billboard (★★★): "Six highly attractive sets by the trio"
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★
• The Penguin Guide to Jazz (5th ed., 2000): ★★★½

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: The top track here might be the closer, the 1941 standard I'll Remember April, which is beautifully performed solo by Clark. As far as trio tracks, my favorites are the aforementioned show tunes: I Didn't Know What Time It Was (from the 1939 musical Too Many Girls) and Softly As In A Morning Sunrise (from the 1928 operetta The New Moon). The only track I'm tempted to occasionally skip is the opener, Dizzy Gillespie's Be-Bop. I should probably like be-bop more than I do, but I normally find it too frantic even though the technique of the performers is usually impressive.

The three bonus tracks are alternate takes of I Didn't Know What Time It Was, Two Bass Hit, and Tadd's Delight. And while I think the correct takes were chosen, I'm glad Blue Note decided to tack them on to this CD reissue.

Personal Memory Associated with this CD: None

Jimmy Smith - Houseparty (1958)

This 1987 attempt at a CD re-release of this album was a hot mess. From the CD liner notes:

So there are 5 tracks on this CD, only two of which appeared on the original 1958 album. This poor editorial decision was corrected on later reissues (I direct you specifically to The Rudy Van Gelder Editions), but that's not doing me much good. However, one simply does not pass up a Jimmy Smith CD especially when it is calling loudly from a cutout bin, so let's focus on the music. First, check out this all-star line up:

On a side note, I recently watched a documentary about Lee Morgan titled "I Called Him Morgan" which I thoroughly enjoyed. And Morgan tears through every solo take he's given on these tunes. I've often mentioned that the Hammond B-3 organ is one of my favorite instruments and it's in the hands of a true master as this group tears through 5 extended tracks of standards, swinging bop, and true rhythm and blues. Every time I hear a Smith track, I listen to the bass player for a while before realizing there's no bass player and that's Smith playing bass lines on the organ pedals. Simply amazing.

Tracks: While this reissue isn't the best, I really can't complain about 70 minutes of Smith on one CD.

1.  J.O.S.* - a ripping Smith original - this bop tune never lets up. James Oscar Smith apparently simply used his own initials as the title. (11:55) 
2. What Is This Thing Called Love* - Groovin', swingin' take on the 1929 Cole Porter show tune. My favorite track on the disc. (15:12)
3. Just Friends - the band takes it down a peg for a smooth, relaxing rendition of another standard. (15:15)
4. Cherokee* - this 1938 Ray Noble tune should be familiar to most jazz lovers and this group's marathon bop version simply doesn't let up for a full third of an hour, leaving me exhausted. But what a fun ride. (20:18)
5. Blues After All - a Kenny Burrell original - soulful, laid back 12 bar blues. (6:06)

*Does not appear on original LP configuration

Personal Memory Associated with this CD: None, but it makes me wish I could buy my own Hammond B-3 organ with Leslie speaker. Not that I've got the funds to buy it nor the room to set it up, but why let such limitations crush my dreams?

Previously revisited for the blog:
The Best of Jimmy Smith: The Blue Note Years (1988)
The Sermon! (1958)

Miles Davis - At Newport 1958 (2001)

Recorded July 3, 1958 in Newport, Rhode Island. The '58 festival was a tribute to Duke Ellington, but in typical Davis style, he doesn't give a care and plays what he wants. The result is a smokin' live performance by the band that would record Kind of Blue within a year of this gig. However, this album is the exact opposite of Kind of Blue. Miles pulls out all the stops and the bebop set is fast, furious, and full of emotion. The band is frantic but cookin'. There are times when the band is trying to push boundaries and don't quite succeed, but in cases like this, the effort is more important than the result. Some might complain about the recording quality, but it was the '50s and outdoors, so I think it sounds pretty good, all things considered.

Peak on the US Billboard Top 200 chart:  Did not chart

Tracks:  Of course its all top notch, but today I'm groovin' on Straight No Chaser and Bye Bye Blackbird.

Personal Memory Associated with this CD:  Purchased around the time of its 2001 re-release, when I was in full-on "Miles mode," a phase that lasted for several years in the early 2000's.

Previously revisited for the blog:
Panthalassa: The Remixes (1999)
The Complete Birth of the Cool (1998)
This Is Jazz, Vol. 8: Miles Davis Acoustic (1996)
Live Around The World (1996)
The Hot Spot: Original Motion Picture Soundtrack (1990)
Music from Siesta (1987)
In A Silent Way (1969)
Miles Davis at Carnegie Hall (1962)
Sketches of Spain (1960)
Kind Of Blue (1959)
Milestones (1958)

Jimmy Smith - The Sermon! (1958)

Since it's Sunday, I figured another sermon couldn't hurt. The Hammond B-3 organ is one of my favorite instruments and it's in the hands of a master on this Blue Note release. Other jazz greats on this release include Kenny Burrell, Art Blakey, Lou Donaldson, and Lee Morgan. Makes me wish I had a spare $10K lying around so I could buy my own B-3.

Reviews/ratings:

• Billboard (★★★★): "A strong album for modern jazz buffs.""
• DownBeat: ★★★
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★★

Peak on the US Billboard Top 200 chart: Did not chart

Tracks:

1. The Sermon - recorded February 25, 1958: This 20 minute title track is a swinging 12-bar blues number with everyone getting a solo (or two).
   Jimmy Smith – organ
   Lee Morgan – trumpet
   Kenny Burrell – guitar
   Art Blakey – drums
   Lou Donaldson – alto saxophone
   Tina Brooks – tenor saxophone
2. J.O.S. - recorded August 25, 1957: a fast-paced minor-key bop number.
   Smith – organ
   Morgan – trumpet
   George Coleman – alto saxophone
   Eddie McFadden – guitar
   Donald Bailey – drums
3. Flamingo - recorded February 25, 1958: a nice take on the 1940 standard with some excellent trumpet work by Lee Morgan.
   Smith – organ
   Morgan – trumpet
   Burrell – guitar
   Blakey – drums

Personal Memory Associated with this CD: None. This was a recent find at a Half Price Books.

Miles Davis - Milestones (1958)

Enough analysis of Miles has been done to the point where I don't think that anything I write about this CD will be adequate. This release documents the transition from blues-based bop to the modal way of writing that would reach its peak with Kind of Blue. Amazing. Is it sacrilegious to say that I enjoy Coltrane's playing on this disc more than that of Miles?

Davis - trumpet, piano (on Sid's Ahead), flugelhorn (on Milestones)
Paul Chambers - bass
John Coltrane - tenor saxophone
Julian "Cannonball" Adderey - alto saxophone
Red Garland - piano (all tracks except Sid's Ahead)
"Philly" Joe Jones - drums

Ratings/reviews:

• Stereo Review: "absolutely fascinating"
• High Fidelity: "warm, firmly formed, assertive lines with all the lyricism his admirers have long claimed for him."
• Billboard: "one of Miles Davis' best to date."
• CashBox: "slickly creative features"
• DownBeat: ★★★★
• The Rolling Stone Jazz & Blues Album Guide (1999): ★★★★
• The Virgin Encyclopedia of Jazz (1999): ★★★★
• The Penguin Guide to Jazz (5th ed., 2000): ★★★★

Tracks: Difficult to choose, of course, but my current favorites (subject to change) are Sid's Ahead, Two Bass Hit, and Straight No Chaser.

Personal Memory Associated with this CD: I'm not fond of my college trumpet professor for many reasons, one of them being that I was not encouraged/forced to listen to Miles Davis when I was studying trumpet. I'd ask for a tuition refund, but then the university would probably revoke my degree. Also, when choosing names for my sons, I offered up the name Miles as a possibility, but that suggestion was quickly vetoed by my wife. Ah, well...at least I tried.