On fashion.

If you want to be a bad motherfucker, buy the candy striped pants.

121. Johnny Griffin, John Coltrane, Hank Mobley / A Blowin' Session (1957)

Blue Note's A Blowin' Session featuring Little Giant, Trane, Hank Mobley, Lee Morgan, Wynton Kelly, Paul Chambers, and Art Blakey sounds exactly as you'd think it would. It's technically a Griffin date, who is leader, composer, and one third of the groups's tenor sax nucleus. But Morgan gets plenty of time, and so do Kelly and Blakey, for that matter as if Blakey's hard to miss. The meeting was a pickup after the Chicago-based Griffin found himself in New York at the same time as the others. With so many good players, it's a jazz buffet. The septet shows its talent in tracks like "The Way You Look Tonight," or the swinging ensemble groove of "Ball Bearing." As two horns who played with Miles Davis so close together, listening to Trane in opposition to Mobley is interesting (see Prestige's Two Tenors or Tenor Conclave for more of Trane and Mobley together). Morgan's licks on "Smoke Stack" set the pace for the rest of the group, though Coltrane feels overburdened, it's still my favorite cut on the album. Thankfully, there is an alternate take on the Blue Note CD that offers him a second chance as well as a wild good performance from Griffin. Why they issued the original take instead of this one remains a mystery to me, unless for the outstanding work by Morgan. As a note, this album also marks th eonly ecorded meeting between Griffin and Coltrane.

65. Clark Terry Quintet / Serenade to a Bus Seat (1957)

Whew! Nice rekkid. If you're wondering, the title is an homage to Terry's tenure in the Duke Ellington band. With Johnny Griffin on loan from Blue Note, a pre-flugelhorn Terry teamed up with Philly Joe, Paul Chambers, and Wynton Kelly to record this loosely swinging romp through the blues, bop, and ballads. It's quintessential hard bop, the kind of album your shelf should feel empty without -- for a comparison, this album feels very similar to Adderley's Somethin' Else, Davis' Steamin', or Sonny Clark's Cool Struttin'. Listen to Griffin and Terry trade fours on "Digits" and "Boardwalk," or the blizzard of unison playing in Charlie Parker's "Donna." There is a lot of familiarity between these musicians, especially the rhythm section which crystallized together under Miles Davis the previous year, and it comes through in the music. "Cruising" is a bluesy gem late on the second side, followed by a short but spicy "That Old Black Magic," which was given a shake of Latin rhythm for good measure. Terry also displays his prowess as composer on cuts like the beautiful the title track, "Boomerang," or "Boardwalk."

07. Johnny Griffin / Johnny Griffin (1958)

This very early Johnny Griffin disc has me under its spell. Griffin imparts the music with a distinctive, bluesy swing that stands out among other luminary reedmen, a serious, down-to-earth style that speaks equally to the heart and gut. His roots in Chicago R&B are prominently displayed in the bouncing "Lollypop" and tough swing of "Satin Wrap," but a gentle finesse with the ballad is displayed in "These Foolish Things," a modly oldie that, surprisingly, does not sound one bit worse for the wear. Throughout the proceedings, Little Giant articulates his affection for musical fireworks by executing blazing runs with superhuman acuity, and fleshes out his phrasing with vibrant splashes of harmonic color. Junior Mance supports on the piano with blocks of chords and twinkling right hand forays, while Wilbur Ware (who gets a spot in "Riff-Raff") and Buddy Smith keep the whole thing afloat, rhythmically. Dear Verve, please put this CD back in print.