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.

25. Coleman Hawkins / In a Mellow Tone (1998)

Prestige had it easier than other labels in the task of compiling Coleman Hawkins' "best" studio recordings. Hawk's output on Prestige, Swingville and Moodsville commenced in 1958 and was completed by 1962, so the difficult job of choosing the most exemplary tracks was simplified. They chose from a diverse variety of small groups with Tiny Grimes, Red Garland, Tommy Flanagan, Major Holley, Ray Bryant, and Kenny Burrell, and others. It's a nice sampling of Hawk's technique and improvisational prowess. "Greensleeves" is done as a heartbreaking blues, and "I Want to be Loved" features Red Garland soulfully blocking the chorus while Hawk blows judicious bouts of syrupy vibrato. On Duke's "In a Mellow Tone," Hawk takes the left channel and Eddie "Lockjaw" Davis takes the right, trading gritty R&B inflected licks that progressively up the ante. The best part of this disc is that it does not sound conceptually disjointed. Hawk's distinctive voice and inventive ideas dominate the proceedings and keep the ear interested across almost five years of recordings with an assortment of players.