133. Roland Kirk / We Free Kings (1961)

This early album by Roland Kirk demonstrates some of the things he became known for a bit later on. It's a polished, enjoyable, and provocative album. Most notably, throughout the blues and soul inflected set, he plays two or sometimes three instruments at once and switches between them at lightning speed. While blowing the blues on the flute, he likes to screech, howl, and sing along. There aren't any drop-ins from the board, no spliced takes. Obviously with one man filling four chairs, the arrangements revolve around him. As a testament to his talent, it works seamlessly. Kirk has an inspiring technique and sweet tone on all instruments. His style of improvising, I think, clearly departs from the Coltrane bag he was once lumped into. The band is Hank Jones or Richard Wyands, drums is Charlie Persip (great choice), and bass is Art Davis or Wendell Marshall. Through his technique and instrumentation, Kirk puts a unique spin on old tunes, and kicks out his own compositions, as well. After this album, Kirk's journey continued to seek new directions, ever expanding, ever exploring. We Free Kings isn't just nice for listening, it's also nice for perspective. It shows his music is steeped deeply in blues and bop, but the trajectory for future dates would always be farther out than before.

68. Freddie Hubbard / The Artistry of Freddie Hubbard (1962)

This is Hubbard's fifth album as leader, and his first recorded for the Impulse! label. The music is hard bop inside and out, but Hubbard's sextet undergoes some changes with trombone Curtis Fuller, and John Gilmore moonlighting away from the Arkestra. Together they stretch out in some lengthy jams and experimental explorations that lean clearly in the direction of the Impulse! ethos. "Bob's Place," "Summertime," and "The 7th Day" really put eyebrows on the proceedings. The reworking of "Caravan" is interesting, too. Gilmore is especially captivating. Like a musical alchemist, he plays long, sustained notes in lengthy phrases that unmoor the notes from their melodies. On compositions like "The 7th Day" or "Bob's Place" these contrast with the backdrop of the vamp, creating the effect of pure tonal color and presenting the tones themselves in striking relief beside their harmonic relationships. Tommy Flanagan on piano, Louis Hayes does drums, Art Davis bass. I like this side trip from the early Hubbard formula quite a bit.