Riverside Ojccd

George Lewis and His Ragtime Band - Jazz At Vespers (1954) {Riverside OJCCD-1721-2 rel 1992}

George Lewis and His Ragtime Band - Jazz At Vespers (1954) {Riverside OJCCD-1721-2 rel 1992}
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© 1954, 1992 Riverside / Fantasy / OJC | OJCCD-1721-2
Jazz / Ragtime / New Orleans Jazz / Clarinet

The recording captures Lewis's ensemble perhaps at zenith. "Jazz at Vespers" is one of the key albums in the George Lewis canon. It was recorded during a Vespers service in 1954 at Holy Trinity Episcopal Church in Oxford Ohio. This was the church of Rev. Alvin Kershaw, a jazz enthusiast who was one of the first to use jazz bands as part of a service. George Lewis was at his best playing spirituals, his clarinet gentle and introspective, weaving inside the melodies like a white dove. The band backed him sensitively.Highly recommended. Clean, clear recordings.
Freddie Redd Trio - San Francisco Suite For Jazz Trio (1957) {Riverside OJCCD-1748-2}

Freddie Redd Trio - San Francisco Suite For Jazz Trio (1957) {Riverside OJCCD-1748-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 177 Mb | MP3 @320 -> 98 Mb
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© 1957, 1990 Riverside / Fantasy | OJCCD-1748-2
Jazz / Hard Bop / Piano Trio

This early recording by pianist Freddie Redd (a straight CD reissue of the original Riverside LP) features Redd's trio of the time, with bassist George Tucker and drummer All Dreares. The CD reissue is highlighted by the 13½-minute title piece, a suite that in its five melodies depicts the jazz life in San Francisco during the era. Redd shows potential both in his writing and his boppish playing. The remainder of the fine set has the group's interpretations of three other Redd originals and a trio of standards. An excellent effort.
Matthew Gee All-Stars - Jazz By Gee! (1956) {Riverside OJCCD-1884-2}

Matthew Gee All-Stars - Jazz By Gee! (1956) {Riverside OJCCD-1884-2}
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© 1956, 1996 Riverside / Fantasy / OJC | OJCCD-1884-2
Jazz / Bop / Cool / Trombone

Trombonist Matthew Gee was primarily a section player and a valuable sideman, but as this CD reissue shows, he could have been a significant soloist too. The two sessions (Gee's only two as a leader) feature him in an unusual quintet with altoist Ernie Henry (the trombone-alto blend has a unique sound) and at the head of a septet also including trumpeter Kenny Dorham, tenorman Frank Foster, and baritonist Cecil Payne. The music is quite bop-oriented and mixes together standards with three swinging Gee originals. An underrated and generally overlooked gem by a forgotten trombonist.
Don Wilkerson - The Texas Twister (1960) {Riverside OJCCD-1950-2 rel 2001}

Don Wilkerson - The Texas Twister (1960) {Riverside OJCCD-1950-2 rel 2001}
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© 1960, 2001 Riverside / Fantasy / OJC | OJCCD-1950-2
Jazz / Hard Bop / Soul Jazz / Saxophone

Don Wilkerson was among the unsung heroes of the tenor sax. Although he backed heavyweights like B.B. King and Ray Charles, the improviser's own albums aren't nearly as well known as they should be. But those who were hip to Wilkerson swore by him, and one of his allies was alto saxophonist Cannonball Adderley. It was in 1960 that Adderley produced The Texas Twister, Wilkerson's first album as a leader. The tenor man (who was 27 at the time) shows a lot of promise on this album, embracing standards as well as bop-oriented material by Adderley, pianist Barry Harris, and obscure Texas musician Jim Martin.
Blue Mitchell - A Sure Thing (1962) {Riverside OJCCD-837-2 rel 1994}

Blue Mitchell - A Sure Thing (1962) {Riverside OJCCD-837-2 rel 1994}
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© 1962, 1994 Riverside / Fantasy | OJCCD-837-2
Jazz / Hard Bop / Trumpet

A hip session from Blue – one that points the way towards some of his later work on Blue Note, and which features a larger than usual group arranged by Jimmy Heath. As on some of Heath's other projects from the time, the groove is tight and soulful, but never so dominant as to overwhelm the soloists. Mitchell's the main player, of course – but the rest of the group features work by Heath, Pat Patrick, Jerome Richardson, and Wynton Kelly. Tracks include "A Sure Thing", "West Coast Blues", "Hootie Blues", and "Hip To It".

Jimmy Heath - The Quota (1961) {Riverside OJCCD-1871-2}  

Posted by ruskaval at Sept. 5, 2015
Jimmy Heath - The Quota (1961) {Riverside OJCCD-1871-2}

Jimmy Heath - The Quota (1961) {Riverside OJCCD-1871-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 264 Mb | MP3 @320 -> 92 Mb
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© 1995 Riverside / Fantasy / OJC | OJCCD-1871-2
Jazz / Hard Bop / Saxophone

For The Quota, Jimmy Heath gathered his older brother, Percy, and his younger one, Tootie, into the Riverside studios along with three young lions of the New York jazz scene. In Julius Watkins, Heath selected a musician who had made himself a mainstay of the New York scene despite the fact that he played French horn, an instrument almost impossibly difficult for improvisation. In a short time in New York, Cedar Walton had become sought after as a versatile pianist who soloed with rare conviction and beauty.
Ernie Henry - Last Chorus (1957) {Riverside-OJC} (ft. Lee Morgan)

Ernie Henry - Last Chorus (1957) {Riverside-OJC} (ft. Lee Morgan)
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© 1998 Riverside / OJC / Fantasy | OJCCD-1906-2
Jazz / Hard Bop / Saxophone

Ernie Henry was one of Riverside's earliest "discoveries." He recorded for the label, as a leader and as a sideman with Thelonious Monk and Kenny Dorham, for little more than a year before his sudden death at the end of 1957. The brilliant and unrealized promise of the young alto saxophonist, which was just beginning to be recognized (he was with Dizzy Gillespie's big band when he died), was dramatically exhibited on this final collection, one side of which is from an unfinished album featuring good friends and colleagues like Lee Morgan, Benny Golson, Wynton Kelly, Paul Chambers, and Philly Joe Jones.

Blue Mitchell - Out Of The Blue (1958) {Riverside} [re-up]  Music

Posted by ruskaval at April 17, 2014
Blue Mitchell - Out Of The Blue (1958) {Riverside} [re-up]

Blue Mitchell - Out Of The Blue (1958) {Riverside}
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© 1991 Riverside / OJC | OJCCD-667-2
Jazz / Hard Bop / Trumpet

This early recording by Blue Mitchell finds the distinctive trumpeter in excellent form in a quintet also featuring tenor saxophonist Benny Golson (who contributed "Blues on My Mind"), either Wynton Kelly or Cedar Walton on piano, Paul Chambers or Sam Jones on bass and drummer Art Blakey. The consistently swinging repertoire includes a surprisingly effective version of "When the Saints Go Marching In." "Studio B," recorded in the same period but formerly available only in a sampler, has been added to the program. It's an enjoyable date of high-quality hard bop.

Bill Evans - New Jazz Conceptions (1956) {Riverside}  Music

Posted by ruskaval at Nov. 28, 2009
Bill Evans - New Jazz Conceptions (1956) {Riverside}

Bill Evans - New Jazz Conceptions (1956) {Riverside}
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© 1999 RIverside | OJCCD-025-2
Jazz / Post Bop / Modal Music / Cool


Bill Evans - New Jazz Conceptions (1956) {Riverside}

Bill Evans' debut as a leader found the 27-year-old pianist already sounding much different than the usual Bud Powell-influenced keyboardists of the time. Even in 1956 (more than a year before he joined the Miles Davis Sextet), Evans had his own chord voicings and a lyrical yet swinging style. Three selections (including the original version of his classic "Waltz for Debby") on this CD reissue are taken solo, while the other nine (including his future theme "Five," "Speak Low" and two versions of "No Cover, No Minimum") are performed in a trio with bassist Teddy Kotick and drummer Paul Motian. A strong start to a rather significant career.
Flora Purim - 500 Miles High (1974) {Milestone OJCCD 1018 rel 1999}

Flora Purim - 500 Miles High (1974) {Milestone OJCCD 1018 rel 1999}
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© 1974, 1999 Milestone / Fantasy | 00025218701822 / OJCCD 1018-2
Jazz / Latin / Brazilian Jazz / Fusion / World Fusion / Latin Jazz / Vocal Jazz

Recorded when she was at the peak of popularity, a result of her stint with Chick Corea's Return to Forever, 500 Miles High presents Flora Purim in concert at the 1974 Montreux Jazz Festival. Accompanied by an all-star band including guitarist David Amaro, flutist Herbie Mann, keyboardist Pat Rebillot, bass legend Ron Carter, and husband (and star in his own right) Airto Moreira on drums, vocals, and various percussion, the Brazilian songstress delivers a fiery performance that must have been a joy to behold. Strictly speaking, this is really more of a band album than a Flora Purim album, as Airto and the guys are featured for extended instrumental romps.