Roy Brooks: Understanding

  Detroit drummer Roy Brooks’ 1972 Muse album The Free Slave, although not that well received at the time, is now lauded as “of vital importance” (www.allmusic.com) and “one of his best” (thevinylpress.com). The Free Spirit was recorded live in concert at Baltimore’s famed Left Bank Jazz Society in April 1970. Now we have a followup from later that same year, in the same venue. Understanding presents about two hours of music recorded on November 1, 1970, and it’s a valuable and very welcome addition to Brooks’ relatively sparse discography. Trumpeter Woody Shaw and bassist Cecil McBee return from the earlier date, joined here by Harold Mabern on piano and Carlos Garnett on tenor saxophone. Zev Feldman and co-producer Cory Weeds of Cellar Live Records, have done their usual bang-up job of assembling memorabilia and commissioning liner notes (from Mark Stryker, author of Jazz From Detroit) for the 36-page booklet. Weeds had conversations with McBee and drummer Louis Hayes, who recommended Brooks to Horace Silver back in 1959. Feldman interviewed Garnett as well as bassist Reggie Workman who worked with Brooks in the Seventies. There are also short reminiscences by alto saxophonist Charles McPherson (he and Brooks went to the same high school), journalist Herb Boyd (a lifelong friend and another high school pal), and Jahra Michelle McKinney, archivist and Executive Director of the Detroit Sound Conservancy (which will benefit for all proceeds from sales of Understanding). By all accounts, you had to give it all your all when you played the Left Bank or the audiences would let you know that it was not happening. McBee tells Weeds that it was “like playing for family.” I have yet to hear a set recorded there that didn’t stand out for excitement, including releases by Gene Ammons and Sonny Stitt, Stan Getz, and Freddie Hubbard with Jimmy Heath. Add Understanding to the list of excellent Left Bank shows. While the sound is a little shaky at first, it rapidly improves. The band is on fire from the get-go, opening with Brooks’ own Prelude to Understanding segueing into Understanding, forty-odd minutes of hard driving jazz. Taking a brief breather, Brooks introduces the group before they launch into a ferocious 21-minute version of Charlie Parker’s Billie’s Bounce, an intriguing selection for the era, underscoring Brooks and company’s roots in bebop. Brooks is fantastic on this number. Woody Shaw, introduced by Brooks as his “right-hand man,” composed Zoltan. The piece first appeared on Larry Young’s Unity (Blue Note, 1965) and it leads off the second disc. Shaw is magnificent in his bold and brassy solo, and Brooks’ inspired drumming provokes him to greater and greater heights. That ends the first set, and a tired quintet takes a break before returning to the stage for 32 minutes of Garnett’s Taurus Woman. It’s another uptempo scorcher featuring the saxophonist’s best playing of the session and another inventive and furiously exploratory solo by Shaw, propelled by the Mabern-McBee-Brooks juggernaut. A brief but frenzied investigation of The Theme brings the show to a close. It was one hell of a great day at the Left Bank Jazz Society when the Roy Brooks quintet hit the stage at four in the afternoon in 1970, and I’m glad to have the music available for everyone half a century later. I’m sure I’m not the only jazz fan wondering what other treasures lurk in their archives ... 

ReelToReal RTR-CD-007 (also available as a 3-lp set); Woody Shaw (tpt) Cecil Garnett (ts) Harold Mabern (p) Cecil McBee (b) Roy Brooks (d); Baltimore, MD, November 1, 1970; Disc 1 (63:17): Introduction/ Prelude to Understanding/ Billie’s Bounce. Disc 2 (60:15): Zoltan/ Taurus Woman/ The Theme. cellarlive.com

Mingus At 100: The Lost Album From Ronnie Scott's & Mingus Three Deluxe Edition

 

The Charles Mingus Sextet was in the middle of a European tour in the summer of 1972 when the band stopped in London to play at the famed Ronnie Scott’s club. Mingus was signed to Columbia Records at the time, and the company had the final two nights of the engagement recorded for use as a live album. But Columbia dropped all of its jazz signings (except for Miles Davis) unexpectedly in the spring of 1973. Mingus’ widow Sue Mingus has had the multi-tracks since then. So, on the centenary of Mingus’ birth in 1922 and nearly half a century after this music thrilled the British audiences, we have a chance to hear The Lost Album From Ronnie Scott’s. Many of the exemplary historical releases of the past few years have been sourced from radio network archives, often from Europe, which makes this set even more of a treasure. The band that Mingus brought to Europe was a short-lived version of the Jazz Workshop, lasting only as long as this tour. Trumpeter Jon Faddis was on hand, accompanied in the front line by Mingus stalwart Charles McPherson on alto and Bobby Jones on tenor and clarinet. John Foster was at the piano, and also sings on Noddin’ Ya Head Blues. On drums and musical saw was Roy Brooks, himself the subject of a 2021 vault release. While this may not be anyone’s favorite Mingus aggregation, no Mingus performance is without its highlights. The bassist himself, moved way forward in the mix, is in wonderfully propulsive form, and a study of his playing alone over the nearly two and a half hours presented here would be an education all by itself. But of course there’s much more to listen to, especially Brooks’ controlled explosiveness at the drums and McPherson’s unflappable neo-bop solos. Zev Feldman, who co-produced this project with David Weiss, has assembled a typically comprehensive booklet to accompany the music. There are liner notes by veteran British jazz writer Brian Priestley, who actually attended a couple of the sets. He also interviewed Mingus and McPherson at the club, also included. Reminiscences by McPherson, bassist Eddie Gomez, and Ronnie Scott’s widow Mary Scott are also part of the package, which also features an appreciation by bassist Christian McBride. Most surprising of all is an interview with Fran Lebowitz, who met Mingus around 1970 when she worked at Changes, the arts magazine run by Sue Graham, soon to be Sue Mingus. If this had been edited for a live single album, we might never have heard these full half-hour or so versions of Orange Was the Color of Her Dress, Then Blue Silk, Mind Readers’ Convention in Milano, and Fables of Faubus, featuring one of the greatest bass solos you’ve ever heard. So let’s welcome the deluxe expanded edition of the 1972 lp that never was! One of the top historical releases of the year, and strongly recommended. 

Resonance HCD-2063; Jon Faddis (tpt) Charles McPherson (as) Bobby Jones (ts, cl) John Foster (p; vcl on *) Charles Mingus (b) Roy Brooks (d, musical saw); London, England, August 14-15, 1973; Disc 1 (51:37): Introduction/ Orange Was the Color of Her Dress, Then Blue Silk/ Noddin’ Ya Head Blues*. Disc 2 (30:47): Mind Readers’ Convention in Milano (a/k/a Number 29)/ Ko Ko (Theme). Disc 3 (63:10): Fables of Faubus/ Pops (a/k/a When the Saints Go Marching In)/ The Man Who Never Sleeps/ Air Mail Special. www.resonancerecords.org

Charles Mingus would have been 100 on April 22. To mark the occasion, Rhino released a deluxe reissue of Mingus Three, his 1957 trio date for Jubilee Records. Hampton Hawes is at the piano, and Dannie Richmond is on drums. It was near the start of Richmond’s tenure with Mingus, which lasted, with some interruptions, until the bassist’s final recording session in 1973. It’s a rare trio session for Mingus, and there are more standards than original tunes. For Mingus, this was a creative year. He was recording The Clown for Atlantic just before Mingus Three and starting work on Tijuana Moods for RCA just nine days afterwards. Hawes was, arguably, at his best in 1956 and 1957. His deep affinity for the blues makes him a fine partner for the earthy bass of Mingus. Richmond, for his part, largely stays in the background, cutting loose for a solo just once. There’s no doubt that piano and bass are the co-stars with plenty of spirited dialogue. Nat Hentoff noted that in his original liner notes, and frequent Mingus associate Sy Johnson makes the same point in his new notes. The musicians make the peppy swing of the original seven tracks sound so easy, but of course, it takes work to make it sound that way. By chance, according to the press release, the session tapes were recently uncovered in the vaults of London Parlophone. For the first time, we’re treated to no fewer than six alternate takes and two takes of an untitled blues. It’s a delightful and instructive array of songs, highlighted by the bassist’s playing on the untitled blues and Hawes’ rollicking solo on the alternate of Hamp’s New Blues. Mingus fans shouldn’t miss this release. 

Rhino (Lp, CD, & streaming); Hampton Hawes (p) Charles Mingus (b) Dannie Richmond (d); NYC, July 9, 1957; Yesterdays/ Back Home Blues/ I Can’t Get Started/ Hamp’s New Blues/ Summertime/ Dizzy Moods/ Laura/ Untitled Blues (take 1)*/ Untitled Blues (take 2)*/ Back Home Blues (take 6, incomplete)*/ Hamp’s New Blues (take 4)*/ I Can’t Get Started (take 4)*/ Yesterdays (take 2, incomplete)*/ Dizzy Moods (take 2)*/ Summertime (take 3)*; 75:48. Tracks marked with * are previously unissued. store.rhino.com/artist/charles-mingus.html

The music that kept me going in 2021

To say the least, 2021 was another confounding year. At least there was plenty of music to help with distraction and beauty.

Here are twenty releases that stand out.

First, fourteen new recordings: 

Beady Beast (Christy Doran & Franz Hellmüller) - On The Go (Between The Lines)

Benoît Delbecq - The Weight Of Light (Pyroclastic)

Whit Dickey/William Parker/Matthew Shipp - Village Mothership (Tao Forms)

Ben Goldberg - Everything Happens To Be. (BAG Productions)

Masabumi Kikuchi - Hanamichi (Red Hook)

Ochs-Robinson Duo - A Civil Right (ESP-Disk’)

William Parker - Mayan Space Station (AUM Fidelity)

Mario Pavone/Dialect Trio + 1 - Blue Vertical (Out Of Your Head)

Ivo Perelman - Brass And Ivory Tales (Fundacja Słuchaj!)

Ches Smith & We All Break – Path of Seven Colors (Pyroclastic)

Wadada Leo Smith/Jack DeJohnette/Vijay Iyer - A Love Sonnet For Billie Holiday (TUM)

Wadada Leo Smith - Sacred Ceremonies (TUM)

Tani Tabbal Trio - Now Then (Tao Forms)

Natsuki Tamura/Satoko Fujii - Keshin (Libra)

and then there are the previously unreleased gems of the year:

Hasaan Ibn Ali - Metaphysics-The Lost Atlantic Album (Omnivore)

Art Blakey & The Jazz Messengers - First Flight To Tokyo: The Lost 1961 Recordings 

(Blue Note)

Roy Brooks - Understanding (Reel To Real)

John Coltrane - A Love Supreme Live In Seattle (Impulse!)

Roy Hargrove & Mulgrew Miller - In Harmony (Resonance)

Harvie S Trio - Going For It (Savant) 

More Vault Treasures:From Yusef Lateef, Ahmad Jamal, Joe Henderson & Mal Waldron

     Nobody runs a jazz club to get rich. Impresarios like Todd Barkan (Keystone Korner in San Francisco), Max Gordon (The Village Vanguard in New York), and Joe Segal (The Jazz Showcase in Chicago) were all fans of the music they presented on their stages. One of the semi-hidden perks of running a club is having the man in the sound booth tape the show. I should know, because I did precisely that when I worked at Keystone Korner in the late Seventies. By now, it’s no surprise at all, and so many Keystone tapes have been spruced up for official release (including an earlier Resonance release by Jaki Byard and Tommy Flanagan) that it’s hard keeping track of them. It turns out that Joe Segal, who opened his Jazz Showcase in 1947 and subsequently moved the location many times over the years, amassed a collection of between 8,000 and 10,000 tapes. As producer Zev Feldman writes “The path to releasing this material has been long and, at times, complicated ... I’m very lucky to have known Joe over the course of many years ... he always knew I was looking for tapes to release. In 2011, I began to work with him to delve into his archives and go over his collection of tapes, and now, 13 years later here we are.” Working closely with Joe Segal’s son Wayne Segal, who continues to operate The Jazz Showcase, Feldman has settled on an initial four releases, available on vinyl for Record Store Day and on CD one week later. Each booklet in these sets comes with an introduction by producer Feldman, reminiscences by Wayne Segal, and Joe Segal’s neighbor, friend and lawyer Stu Katz, plus some comments by Sonny Rollins on Joe Segal, who he describes as “one of a kind.”

    The earliest music in the batch comes from multi-instrumentalist Yusef Lateef on Alight Upon The Lake: Live At The Jazz Showcase. As Lateef biographer Herb Boyd writes in his liner essay, Lateef put his quartet, with Kenny Barron on piano, Bob Cunningham on bass, and “Tootie” Heath on drums, back together in order to bring some income into his life. Boyd says that “Yusef and his crew settled in for a live recording.” It’s finally out, as a 3-LP/3-cd package. Lateef took an unusual approach to a live record date, starting off with the nearly half-hour excursion through pianist Barron’s The Untitled. Only one tune in the lengthy program, Lateef’s I Remember Webster is under 10 minutes. The band is hitting hard from the start of The Untitled, with Lateef on tenor, but it breaks down in the middle for a very long piano solo before erupting into a wild passage as the drums come in, and Barron and then Lateef steer the piece to a close. I’ve always thought of Lateef’s most successful work as hard bop with a personal slant, and so a burner like his original composition Mutually Beneficial is one of the highlights of the music for me. The tempo is ferocious, the rhythm section is giving it all they’ve got with an explosive Lateef on top. Over the course of the concert, Lateef also plays bamboo and transverse flutes, and oboe. A solo on bamboo flute leads off Roy Brooks’ Eboness, which features a well-recorded arco solo by Cunningham. The second half includes a long look at Kenny Barron’s bouncy Inside Atlantis, followed by I Remember Webster, a beautiful and otherwise unrecorded Lateef original ballad dedicated to Ben Webster. The half-hour long Opus 1 & 2, written by Akira Inoue, sustains the mellow mood as Lateef wields his transverse flute after a long introductory passage featuring Cunningham’s bowed bass. The set winds up with a romp through Nat King Cole’s Straighten Up and Fly Right, and then the oft-recorded set closer and the “going home number” Yusef’s Mood, an r’n’b flavored number that has everybody feeling all right. Your guides to contextualize both the music and the man are producer Zev Feldman, who knew Lateef many years ago, Herb Boyd, and saxophonist Bennie Maupin. Maupin describes Lateef as “a great mentor to me.” The most important things he learned from him, he says were “how to be truthful, to speak your mind creatively ...” The booklet also includes a great photo spread of old Joe Segal concert posters, with an engagement by the Yusef Lateef band on each one. Alight Upon The Lake has plenty to offer for fans of this influential figure in improvised music. 

Resonance HCD-2088 ; Yusef Lateef (ts, fl, oboe) Kenny Barron (p) Bob Cunningham (b) Albert “Tootie” Heath (d); Chicago, IL, June 1975; Disc 1 (55:26): The Untitled/ Mutually Exclusive/ Eboness. Disc 2 (55:28): Inside Atlantis/ I Remember Webster/ Opus 1 & 2. Disc 3 (51:21): Golden Goddess/ Straighten Up and Fly Right/ Yusef’s Mood. resonancerecords.org

    The influential pianist Ahmad Jamal is heard At The Jazz Showcase: Live In Chicago in his usual trio format, with John Heard on bass and Frank Gant on drums. Gant spent over a decade playing with Jamal, mostly with Jamil Nasser on bass. Heard was a member of the trio for just a year. Jamal was a frequent performer for Joe Segal over the years. Jamal, of course, grew famous in the Fifties when he recorded At the Pershing: But Not for Me in Chicago in 1958. He could always be sure of a receptive audience when he played there, and the tracks included here prove it. Jamal’s music was changing in the mid-Seventies, but his innate melodicism and firm touch never abandoned him. The repertoire encompasses Johnny Mandel’s Theme From M*A*S*H (also a Bill Evans favorite in this period), Antonio Carlos Jobim’s Wave, and Herbie Hancock’s Dolphin Dance plus a few standards. At 9:28, Jamal’s solo rendition of Duke Ellington’s Prelude to a Kiss, is a very long prelude to what one hopes is a fantastic kiss. His other solo excursion, a calm and deliberate version of A Nightingale Sang in Berkeley Square, closes the show on a graceful note. Jamal’s frequent tendency on stage to turn the tunes into marathons of twists and turns doesn’t always grab me, and I wish the piano didn’t sound quite so tinny. Eugene Holley, Jr.’s liner notes, John Heard’s memories, and appreciations by pianists Fred Hersch and co-producer Joe Alterman all help to put this concert in perspective. 

Resonance HCD-2085; Ahmad Jamal (p) John Heard (b) Frank Gant (d); Chicago, IL, March 20-21, 1976; Disc 1 (50:08): Ahmad’s Song/ Wave/ Have You Met Miss Jones?/ Theme From M*A*S*H. Disc 2 (52:26): Dolphin Dance/ Prelude to a Kiss/ A Time For Love/ Swahililand/ A Nightingale Sang in Berkeley Square. resonancerecords.org

     Tenor saxophonist Joe Henderson was between labels at the time of Consonance: Live At The Jazz Showcase. No longer a Milestone artist, he would record his sole Contemporary release in 1979. He was probably touring at the time of this show with pianist Joanne Brackeen (her name is on the poster for this gig), adding a new rhythm section in each town. Bassist Steve Rodby and drummer Danny Spencer were called upon in Chicago, and as Rodby told producer Zev Feldman, Henderson “made you sound good just by playing with him.” Rodby was the house bassist at the Jazz Showcase for a spell, and backed many of the headliners. Another interviewee, Danny Spencer, notes that he knew Joe Henderson through his brother Leon, when Spencer and Leon Henderson were both members of the Contemporary Jazz Quintet. Playing with Joe, Spencer feels, was like having a conversation in music on stage. Joanne Brackeen, was Henderson’s pianist of choice from 1972-1975, and obviously performed in his groups after that. She told Feldman these performances “reflect a way we often played, but which was never captured on recordings.” The elements are all in place for an inspired (and long) evening from the quartet. And so it proves to be. They come on strong with an almost impossibly fast and extended version of Coltrane’s Mr. P.C., with solo space for all. The quartet proceeds to tackle a trio of Henderson’s best-known compositions (Inner Urge, Recorda Me, and Isotope), Bird’s Relaxin’ at Camarillo, Monk’s 'Round Midnight, and a few of his favorite standards. Among the high points are Henderson’s unaccompanied opening to the Monk tune, the joyous finger-snapping approach the quartet brings to Softly, As In a Morning Sunrise, and the evolved hard-edged bebop of Relaxin’ at Camarillo. Co-producer John Koenig contributes a set of informative liner notes and there’s an array of photographs of the musicians as well. Henderson was always regarded as a top tenorman by other musicians, but he didn’t really achieve more visibility and recognition until his The State Of The Tenor albums for Blue Note in 1985. He was always a star to those in the know, and this collection of live performances is further proof. Recommended. 

Resonance HCD-2084; Joe Henderson (ts) Joanne Brackeen (p) Steve Rodby (b) Danny Spencer (d); Chicago, IL, February 1978; Disc 1 (80:00): Mr. P.C./ Inner Urge/ Invitation/ Relaxin’ at Camarillo. Disc 2 (79:31): Recorda Me/ ‘Round Midnight/ Good Morning Heartache/ Softly, As in a Morning Sunrise/ Isotope. resonancerecords.org

   Pianist Mal Waldron had a fascinating career. He was first heard on record as a house pianist for the Prestige label in the late Fifties. He was the regular accompanist for Billie Holiday from April 1957 until her untimely death in July 1959. In 1963, he suffered a breakdown from a heroin overdose which left him unable to play or remember any music. But the human brain is remarkable, and through hard work and perseverance, he relearned the piano and returned to the scene. He made a few records in Europe in the late Sixties, with a more obsessive and forceful style than he’d exhibited in the Prestige years. His philosophy was expressed in his ECM album Free At Last, the initial release of the iconic label. By the time of Stardust & Starlight At The Jazz Showcase, Waldron was splitting his time between Europe and the United States. A glance at his recordings in this period reveals that his repertoire on the two continents was equally divided. In February 1979, he recorded Mingus Lives, a solo piano concert in Belgium of original compositions. That April, he appeared at Jazzbuhne Berlin 1979 with European modernists like Manfred Schoof and Gerd Dudek, again playing his own tunes. By contrast, while back in the United States, he was playing standards plus a couple of older originals. On a piece like his much admired Fire Waltz, originally recorded in 1961, the link between his early playing and the freer, more hypnotic style he developed in the second half of his career becomes clear. Waldron was touring as a single, and Joe Segal hired Steve Rodby on bass and the well-established Wilber Campbell on drums. They get to relax for a long stretch of solo piano as Waldron explores the standards I Thought About You and It Could Happen to You, and Monk’s classic ‘Round Midnight. At times during Waldron’s week in Chicago, Sonny Stitt would step up for a couple of numbers, and after a swinging rendition of Stella By Starlight by the trio, Stitt takes over on the final two performances. Old Folks dates back to 1938; and Hoagy Carmichael’s Stardust is older still, composed in 1927. Waldron hadn’t recorded either one in decades, and he supports Stitt’s florid soloing with a minimal touch. Stardust & Starlight presents an almost mainstream side to Waldron’s playing, in contrast to the many European albums of the period, and to an avowed Waldron fan, this music is a true revelation. Liner notes are by the esteemed Howard Mandel, who must have witnessed dozens and dozens of shows at the Jazz Showcase, There’s also an appreciation of Waldron’s sound by pianist Lafayette Gilchrist, plus memories of the week with Waldron by bassist Rodby. Definitely recommended. 

Resonance HCD-2087; Mal Waldron (p) Steve Rodby (b) Wilber Campbell (d) Sonny Stitt (as); Chicago, IL, August 1979; All Alone/ All God’s Chillun Got Rhythm/ Fire Waltz/ I Thought About You/ It Could Happen to You/ ‘Round Midnight/ Stella By Starlight/ Old Folks*/ Stardust*; 67:37. resonancerecords.org
 

McCoy Tyner/Joe Henderson: Forces Of Nature: Live At Slugs’

Forces Of Nature: Live At Slugs’ documents a 1966 club date by the McCoy Tyner/Joe Henderson quartet, with Henry Grimes on bass and Jack DeJohnette on drums. The group played for only one week at Slugs’, on New York’s Lower East Side. DeJohnette, who turned 82 in August 2024, has stopped traveling, giving him time to go through his archives, where he found the tape of this gig. Pianist Tyner and tenor saxophone master Henderson recorded together for Blue Note on a number of occasions in the early Sixties, and they were well-acquainted with one another’s musical predilections. Bassist Grimes played with seemingly everyone on the scene before he suddenly vanished in 1970, only to be rediscovered in 2002. And DeJohnette was equally at home in the Bill Evans trio and the Miles Davis Quintet, among many other credits. This set was taped by Orville O’Brien, who is also credited on such high-profile releases of the period as Alice Coltrane’s Journey In Satchidananda, Freddie Hubbard’s Night Of The Cookers, and Roy Brooks’ The Free Slave. The mix could use more piano sound, but given the quality of his other work, O’Brien was probably working under less than ideal conditions. No matter: the group is swinging hard from the first downbeat, roaring through a 26-minute version of Henderson’s In ‘N’ Out, the title track to a 1964 Blue Note album by a Henderson quintet that included Tyner. The ballad of the night, We’ll Be Together Again, slows things down, with Henderson expounding at length, Tyner playing a lovely solo, and Grimes and DeJohnette holding it all together. Taking Off is a lengthy minor blues improvisation, nearly a half hour long. It starts out pretty fast and stays that way. Henderson blows up a storm for half the length, as the rest of the band rolls and tumbles behind him. Tyner follows with his characteristic powerful attack. A potent drum solo and Grimes’ unflappable bass presence make this a memorable and exciting excursion in pure improvisation. Tyner’s The Believer follows, an early composition that was first recorded by John Coltrane for Prestige in 1958. Tyner never recorded it himself, which makes this passionate performance a true revelation. The set ends with a relatively brief foray into Henderson’s Isotope, first heard on his 1964 Blue Note album Inner Urge. That was a quartet session with Tyner at the piano, and this rendition is distinguished by the lively interplay between saxophone and piano. With liner notes by Nate Chinen, plus reminiscences and commentary by DeJohnette, Jason Moran, Joe Lovano, Joshua Redman, Christian McBride, Nasheet Waits, Terri Lyne Carrington and others, the booklet is the icing on the cake, but the overwhelming power of the music will make it tough to read and listen at the same time. Waits’ metaphor for the strength of this music is that it’s like running “a sprint for a couple of miles.” So when you sit down to listen to Forces Of Nature, be prepared to be both elated and exhausted. The mid-Sixties was a particularly dire time in jazz history, with rock and soul music in ascendance, but this quartet is working hard, thrilling the jazz die-hards in the small club, and now, decades later, thrilling the audience at home. Passionately recommended. 

Blue Note (2 CDs, 2 Lps, or digital); Joe Henderson (ts) McCoy Tyner (p) Henry Grimes (b) Jack DeJohnette (d); NYC, 1966: Disc 1 (41:00): In ‘N’ Out/ We’ll Be Together Again. Disc 2 (45:28): Taking Off/ The Believer/ Isotope. www.bluenote.com