Gil Mellé – Patterns in Jazz (1956)

Blue Note – BLP 1517Rec. Date : April 1, 1956 Baritone Sax : Gil MelléBass : Oscar PettifordDrums : Ed ThigpenGuitar : Joe CinderellaTrombone : Eddie Bert Strictlyheadies : 01/25/2019Stream this Album Cash Box : 10/27/1956 This five man combo, headed here by Gil Mellé (baritone sax), swing lightly but persuasively through several Mellé composed numbers and two standards. A noteworthy gift of

Jutta Hipp – At The Hickory House, Volume Two (1957)

Blue Note – BLP 1516Rec. Date : April 5, 1956 Piano : Jutta HippBass : Peter IndDrums : Ed Thigpen Strictlyheadies : 01/24/2019Stream this Album Billboard : 12/02/1957Score of 67 Miss Hipp is impressive in the way she gets around the piano, and for her facility with jazz language. However, the fire and uniformity of performance of the “important” jazz

Jimmy Smith – A New Sound, A New Star, Volume Two (1956)

Blue Note – BLP 1514Rec. Date : March 27, 1956 Organ : Jimmy SmithDrums : Donald BaileyGuitar : Thornel Schwartz Strictlyheadies : 01/22/2019Stream this Album Billboard : 05/26/1956Score of 76 In New York this past winter, Smith occasioned much interest with his unusual jazz work on the Hammond organ. Count Basie and others have found this instrument to have possibilities from a rhythm

Thad Jones – Detroit-New York Junction (1956)

Blue Note – BLP 1513Rec. Date : March 13, 1956 Trumpet : Thad JonesBass : Oscar PettifordDrums : Shadow WilsonGuitar : Kenny BurrellPiano : Tommy FlanaganTenor Sax : Billy Mitchell Strictlyheadies : 01/21/2019Stream this Album Down Beat : 07/25/1956Nat Hentoff : 4 stars Detroit-New York Junction involves former Detroiters Jones, tenor Billy Mitchell, guitarist Kenny Burrell and pianist Tommy Flanagan with drummer Shadow Wilson and bassist Oscar Pettiford. Thad, potentially one of

Jimmy Smith – A New Sound, A New Star, Volume One (1956)

Blue Note – BLP 1512Rec. Date : February 18, 1956 Organ : Jimmy SmithDrums : Bay PerryGuitar : Thornel Schwartz Strictlyheadies : 01/20/2019Stream this Album Billboard : 07/21/1956Score of 77 The Jimmy Smith LP with the title reviewed in The Billboard May 26, 1956, issue was Volume II of a series. The first set more than confirms the earlier impression that

Thelonious Monk – Genius of Modern Music, Volume Two (1956)

Blue Note – BLP 1511Rec. Dates : October 15, 1947, October 24, 1947, November 21, 1947, July 23, 1951, May 30, 1952 Piano : Thelonious MonkAlto Sax : Danny Quebec West, Sahib Shihab, Lou DonaldsonBass : Eugene Ramey, Robert Paige, Al McKibbon, Nelson BoydDrums : Art Blakey, Max RoachTenor Sax : Billy Smith, Lucky ThompsonTrumpet : Idrees Sulieman, George Taitt, Kenny DorhamVibes : Milt Jackson Strictlyheadies : 01/19/2019Stream this Album Liner Notes

Thelonious Monk – Genius of Modern Music, Volume One (1956)

Blue Note – BLP 1510Rec. Dates : October 15, 1947, October 24, 1947, November 21, 1947, July 2, 1948 Piano : Thelonious MonkAlto Sax : Danny Quebec West, Sahib ShihabBass : Eugene Ramey, Robert Paige, John SimmonsDrums : Art Blakey, Shadow WilsonTenor Sax : Billy SmithTrumpet : Idrees Sulieman, George TaittVibes : Milt Jackson Strictlyheadies : 01/18/2019Stream this Album Billboard : 06/02/1956Score of 72 A collection of Monk recordings made

Milt Jackson – And The Thelonious Monk Quintet (1956)

Blue Note – BLP 1509Rec. Dates : July 2, 1948, July 23, 1951, April 7, 1952 Vibes : Milt JacksonAlto Sax : Sahib Shihab, Lou DonaldsonBass : John Simmons, Al McKibbon, Percy HeathDrums : Shadow Wilson, Art Blakey, Kenny ClarkePiano : Thelonious Monk, John Lewis Strictlyheadies : 01/17/2019Stream this Album Billboard : 05/12/1956Score of 76 Basically, this is a re-mastering of a 10-inch LP (BLP 5011), adding

The Jazz Messengers – At the Café Bohemia, Volume Two (1956)

Blue Note – BLP 1508Rec. Date : November 23, 1955 Drums : Art BlakeyBass : Doug WatkinsPiano : Horace SilverTenor Sax : Hank MobleyTrumpet : Kenny Dorham Strictlyheadies : 01/16/2019Stream this Album Cash Box : 07/07/1956 This is the second volume in the well-received first set of the “Jazz Messengers At The Café Bohemia.” The value of the on-the-spot recording can