169. Ronnie Cuber / Live at the Blue Note (1986)

Live at the Blue Note is fine hard bop by a very strong quartet featuring Cuber on barisax, with Dr. Lonnie Smith on organ and the outspoken Randy Brecker on trumpet. Drums are by Ronnie Burrage. The lineup says it all. Brecker is outstanding, assertive and brassy but so is everyone else. Listeners will recognize Cuber and Smith as an old team. From behind the organ Dr. Smith gives the music a robust buoyancy, working the draw bars like floodgates. Along with Burrage, he bounces between playing his own steely choruses and pointed interplay with Brecker and Cuber. The date is memorable and stands head and shoulders above Cuber's studio dates on Projazz, like Two Brothers. The set is a mix of bop, rhythm, and blues. It gets pretty hot, as with "Philly Blues," or "Blue 'n' Boogie," but practically the whole disc has the same feel. If you can find a copy and the price is reasonable, buy it. The audio is great, too.

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.

137. Arnett Cobb and Eddie "Lockjaw" Davis / Blow, Arnett, Blow! (1959)

This Prestige date was something of a 'return' for Cobb, who had been recently injured and was retired during recovery. Fans of Mr. Davis should enjoy the album thoroughly because it's exactly the same band as the Cookbook sessions, plus Cobb. Every cut is a wild give and take between Cobb and Davis, a battle for sure. Shirley Scott, making heavy use of the drawbars and tremolo, throws gasoline on the fire more than once. The choice of an organist over a pianist makes a big difference in the total sound and Scott definitely has some good licks. The quintet setting is almost too small to contain the horns, and it does get noisy, but the arrangements are tight. It's well worth seeking out for fans of early soul jazz, or Texas tenor, or anyone studying the small group work of Cobb or Davis who were also well known as big band soloists. The opening chestnut "When I Grow Too Old to Dream" is very nice, also take a look at "Dutch Kitchen Bounce" and "The Eely One." I wonder, is that title a reference to Bud Freeman? Maybe someone in the blogosphere can tell me. One word for this album? Hot!

123. Wilton Felder / Forever, Always (1993)

Felder is a hard working session man on the bass and tenor who is deeply reverent of his roots in straight ahead jazz, soul, blues, and R&B. I'm down with that. But on the other hand, this funky, (thanks, Dwight Sills on bass) soul-influenced smooth jazz session is a snoozer. I'm not going to pan it because it's a very slick product with some uncanny melodies and remarkable consistency. Don't take me the wrong way because I like smooth jazz, soul jazz, and fusion. But when I turn on Forever, Always, from the very first note, I find myself looking toward the television for the weather forecast. You feel me? It's one of those records, and a very good one, at that. I find it to be good for the background, good music to listen to if I just want to relax because there aren't many surprises and rhythmically it's all at one depth. Felder's tone is very solid and downright enjoyable, but the music is thin on ideas and while it isn't uninspired, it comes off as routine. Sonically speaking, the mix is creamy and sounds equally at home on speakers or headphones. Did I mention I've retained this album in my iPod? There's a time and a place for everything. So if you're into smooth jazz, 80s soul jazz, or fusion groups without horns, this is the record for you. 

82. Eddie "Lochjaw" Davis Cookbook, Vol. 2 (1958)

The second installment of the Jaws Cookbook is a hot and steamy affair, steeped in the deep blues magic of the proprietor and soulful organ fury of Shirley Scott. She really works those draw bars! The intensity pulses and swells when Jaws takes a chorus, and the floodgates really open when he yields the floor to her. The Side 1 opener "The Rev" and followup "Stardust" really benefit from this treatment. As if to cool things off, or reel them back in, Jaws occasionally hands it over to Jerome Richardson on flute, which adds an additional texture that sounds as natural as the organ and tenor. After the wait, "Skillet" brings out the uptempo mode. Again Arthur Edgehill and George Duvivier take timekeeping duties, and their performances are the cord that hold the whole thing together, playing tightly and concisely . "The Broilers" raises the roof in Basie fashion, Jaws and Scott blowing huge choruses that seem to beg for the brass of a big band. The OJC CD includes "Willow Weep for Me," previously released on the Prestige sampler, The Soul Jazz Giants. Nice disc, overall.

80. Jimmy Smith & Wes Montgomery / The Dynamic Duo (1966)

The arrangements by Oliver Nelson are assertive but don't sound as if they're intruding on the small group which is at the core of this session. Nelson's robust charts quickly give way to the main attraction, a reactive meeting of the Smith and Montgomery schools. If you liked the big band on Smith's The Cat then you'll appreciate this album's similar vibe. There's intense, crispy drumming from Grady Tate, occasionally complemented by Ray Barretto. Montgomery on rhythm is as impressive as he is on lead, like the high-octane percussive comping in "Down by the Riverside." There's a huge contrast between the two leaders. Montgomery's smooth, melodic lines are the ideal foil for Smith's fiery, organ revival. They play off each other well. Things appear to cool off with "Night Train," but a relaxed tempo only stokes the flames! The second side is more standards, first the dark chart of "13," followed by a lighthearted "Baby it's Cold Outside." If I listen to this too soon after Bags Meets Wes, I invariably wish Smith and Montgomery could have called Bags to join them. What if...

77. Nat Adderley / Work Song (1960)

Some corners of hard bop were already getting funky by 1960 but Nat's classic album still sounds ahead of the curve. Selections are like a hard bop stew, highly inspired music expressed in various forms of funkified rhythm and blues, bop, gospel, and truly aching ballad work. Sam Jones makes an impression on me. He slides all over the place and plays his choruses as if he has a guitar sitting on his lap. His doubling on cello and movement to the front line boldly pays big dividends. Wes Montgomery was in on the session, and between these two there's enough bluesy gumption to hold down that part of the fort. This doesn't stop everyone else from contributing, though. The early "Work Song" and Cannonball's "Sack of Woe" are a fine one-two punch, except they're separated by three equally impacting tracks. At times, Adderley breaks the sextet down to a trio or quartet so there's evidence that this group could be effective hitting on all six or with just half its compliment. It's an album with levels that has staying power for a reason, fine music thoroughly worth its salt.

73. The Eddie "Lockjaw" Davis Cookbook, Vol. 1 (1958)

This first installment of the Cookbook is a treat for rhythm and blues fans, but holds sophisticated playing between its grooves and stays aloof from cliches, leaning closer to hard Chicago R&B than the half-cooked tunes I typically associate with items stamped "soul jazz." I should expect as much from the former partner of Johnny Griffin. Here, Jaws is joined by the talented Shirley Scott, who veritably steals the show in pulsing, impassioned choruses and wise use of the draw bars. George Duvivier plays solidly with deft Arthur Edgehill in a concise and unpretentious fashion that adds a feeling of security. There are several of the uptempo numbers in which Jaws excelled ("Have Horn, Will Blow," "Three Deuces") but the big tenor, along with a game Scott, really make their mark in the ballads. "But Beautiful" (pushing 13 minutes and sweating) and "In the Kitchen" are like love letters to the Hawk school, eloquent and hard swinging. You can tell these two get along, especially when Davis steps in after Scott, practically finishing each others sentences.

61. Grant Green / Grant's First Stand (1961)

Green's debut for Blue Note, his first disc as leader, frames him in a swinging organ trio with Baby Face Wilette and Ben Dixon. It's a good crew to support Green, two players who are very much in the same frame of mind. It's not a crowded sound, although everyone is busy, but when one member takes a chorus, the inherently sparse nature of the trio puts the soloist front and center for your enjoyment. Wilette's organ gives bluesy grooves like "Miss Anne's Tempo" or "Blues for Willarene" a heartier texture and emotional urgency that Green balances with velvety smooth and bop influenced melodic runs on the guitar. He's not a chord freak, so his music has a different feel than some other jazz guitarists. Dixon is very active, fleshing out the trio's overall sound and making his presence loud and clear. He's a great drummer who is no stranger to the format, and does an admirable job here, his affinity for the work of Art Blakey rumbling loud and clear. While it isn't really fair to call a guy's first record his best, especially when he made so many others after it, this album may be just that good.

48. Don Wilkerson / Complete Blue Note Sessions (2001)

A nice release from Blue Note, culling tracks from the four LPs they released for Wilkerson from 1960-63. It's a double disc and the remastered sound is on par with the other excellent Blue Note re-releases. Wilkerson was a tenor who worked with a variety of artists including Ray Charles and Cannonball Adderley (no surprise) and was at home playing blues-based and danceable soul jazz that was easily related to ("Senorita Eula," "Drawin' A Tip,"). With a sophisticated sense of melodic variation and good use of legato dynamics, he steps beyond the prereqs for soul jazz and creates a unique blend that rewards if you listen closely. He's also fond of repeated, motivic phrases that carry the groove. The bands he plays with, especially the combo with Graham Greene, know right where he's at, and turn up the heat when he finishes a chorus. Wilkerson's "San Antonio Rose" (with a cooking solo by Greene) stands out to as a particular good take, so does the interesting "Pigeon Peas" which has me listening a few times over to catch what Wilkerson is doing with the drums. It's fine stuff, top to bottom.

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.