149. Cannonball Adderley Quintet in Chicago (1959)

Cannonball Adderley Quintet in Chicago (aka Cannonball & Coltrane on Limelight LS 86009) is a splendid disc from the core band that recorded Kind of Blue. "Limehouse Blues" stands ragtime roots on their head in the attitude of hard bop. A sparring match between alto and tenor proceeds at breathtaking pace until the tune reels in for a final, punctual tutti on the main theme. "Stars Fell on Alabama" is next and features very sensitive embellishments from Adderley. Kelly goes next, tinkling single notes into the dusty register. As saxes go, it's a pleasure to hear the two styles in opposition. Adderley and Coltrane ride atop the rhythmic swell and strike the bar at will. But the two players are not very similar. Contrast their rhythmic interpretations of "Wabash," or technique in "Grand Central," which crackles with Trane's rhythmic inventions in fast triplets. The ballad "You're a Weaver of Dreams" is handed to Coltrane, and Kelly strolls through some jaunty figures that recall the old school with aplomb. On each track, whether it's Adderley busting open the guts of the melody and improvising endlessly thoughtful variations on its theme, or Coltrane boldly probing the rhythmic and harmonic architecture, there's always something to hang an ear on. This disc is a fine compliment to Kind of Blue, Somethin' Else, and At Newport 1958.

146. Wes Montgomery / Smokin' at the Half Note (1965)

Smokin' is the second collaboration between Montgomery and the Wynton Kelly Trio. They played on a couple of his other albums, too, and they make a solid group. The trio is Kelly, Chambers and Cobb. Having said as much I shouldn't have to say more because the names, let alone the music, practically say it all. I'll listen to anything with these guys. Only two of the five tracks on the original LP are actually live from the venue, "If You Could See Mee Now" and "No Blues." The other three are from (where else?) Van Gelder's studio. It doesn't really matter because both dates are terrific. Our opener "No Blues" pushes 13 minutes in length, marked by Montgomery's fat tone and heavy right hand. It's also an interesting piece as far as Miles covers go, dating from his 'casting around' period before the second great quintet formed up. But getting back to Wes, his melodic constructions in "Unit Seven" are something to marvel at. It's refreshingly cogent jazz thinking, replete with strong musicality and inventive spirit. For both live and studio material, Chambers and Cobb are the bedrock while Kelly is probably the perfect pianist for this group, having both the technical facility and bluesy swagger necessary to enhance the brew. If you want to learn what jazz guitar is all about, this is a good entry point.

119. The Great Jazz Trio / Standard Collection (1987)

This great CD by Denon is sadly out of print. The trio is agile and smart, working through 16 standards, just as the title implies. Hank Jones is eloquent and a joy to listen to. On the drums is Jimmy Cobb adding just enough muscle to spread it out but playing with impeccable taste ("Caravan"). The bass chair this time is Eddie Gomez, who stands out in slippery but very melodic solos like "S'wonderful," "Embreceable You," or the excellent rendering of "Sophisticated Lady." The trio is augmented at times by the violin of Lewis Eley ("Autumn in New York," "Isn't it Romantic") adding a touch of style similar to the effect Ray Nance had on the Duke Ellington band. The album's selections fall mostly to the Ellington-Strayhorn team, Thelonious Monk, and George Gershwin. The pacing is good and the band is professional. They work closely and make a solid unit, Cobb and Jones especially. As I mentioned, Standard Collection is out of print but worth it, I think, for a band that plays straight from the heart. If you're interested in the other work by this fine and ever changing group, please see the Great Jazz Trio Discography page by 441 Records. The last four tracks composed by Monk are played by Jones with a special fondness, it seems.

76. Nat Adderley Quintet / Blue Autumn (1983)

Recorded live at the Keystone, 1983. The quintet is Nat Adderley (c), Sonny Fortune (as), Larry Miller (p), Walter Booker (b), and Jimmy Cobb (d). There's a lot going on in this tribute, and it's a bit of a mixed bag. While Cannonball isn't in attendance, it's not always obvious with Sonny Fortune blowing alto, especially on the smoldering "For Duke and Cannon." That channel is again fulfilled by the last number, which is Willis' rollicking "Tallahassee Kid." And the band pays further homage with "Book's Bossa" in the middle of the set, a form popularized by Cannonball. Booker, Cobb and Willis are like a band unto themselves, working closely while Nat haunts the wings, shouting his encouragement. He flies in and out where needed in his characteristically bright and broad tone, especially in "Fifth Labor of Hercules," wildly shaping and reshaping themes before putting it all back in the box at the end. These performances don't just showcase the soloists, though. Like any Adderley band, it's a celebration of a band, and in this case, a really good band. 

66. Miles Davis / At Newport 1958 (1958)

This live disc features the sextet that recorded Kind of Blue a short time later. It's also the debut of Cobb and Evans with the group. Davis premiered his new lineup in the context of Newport's considerable inertia. The gloves are off right from the start. "Ah Leu Cha" is the fastest I've heard it played by anyone and Adderley, Davis, and Coltrane show off their chops in blistering runs of mind boggling accuracy. If you haven't heard this, I advise you turn up the volume to fully appreciate these musicians when they start blowing. I think their power even surprised the leader. It's like going from 0 to 60 in an instant. Davis is in high spirits, talking all throughout the set, encouraging his musicians. Evans is careful when he slips between Adderley and Coltrane, but offers excellent harmonic advice and makes a few pointed statements as with "Straight No Chaser." It's easy to see why Davis picked him, and to hear him outside of his role in guiding the modalities heard in Kind of Blue is quite exciting. A short-lived and critically under-documented group, I'm thankful to have this disc.

31. Wes Montgomery / Boss Guitar (1963)

This is a really slick album by the Wes Montgomery trio, one of four recorded with organist Melvin Rhyne. Montgomery takes most of the leads, although Rhyne does get a few. When he does, he doesn't use the draw bars much, although he plays a great bass accompaniment on the pedals and occasionally uses the bars while interplaying with Jimmy Cobb or comping. So it's pretty much Wes Montgomery, right up front, all the time. Most of the tunes are standards except for two. It's accessible music of the funky and soulful variety that Wes purveyed across his career. The music is so smooth that it's almost easy to ignore if Montgomery wasn't so good, and Jimmy Cobb certainly keeps listeners awake on the drum kit. He does the octave picking a little bit, but does more blues-based riffing and plays some very spontaneous figures in the upper register that remind me of alto saxophone technique. "Besame Mucho" is the standout mark of a seasoned professional and Montgomery's own "The Trick Bag" really heats up. From the looks of things, I think Rhyne and Cobb like "Trick Bag," too.