Reggie Workman

Free for All

Art Blakey · 1964

Hub-Tones

Freddie Hubbard · 1962

Reggie WorkmanReggie Workmanレジー・ワークマン was one of John ColtraneJohn Coltraneジョン・コルトレーン's bassists in the early 1961 sessions before Jimmy GarrisonJimmy Garrisonジミー・ギャリソン became the permanent member. He continued recording with Wayne ShorterWayne Shorterウェイン・ショーター and Art BlakeyArt Blakeyアート・ブレイキー, remaining at the forefront of the avant-garde. On Hub-TonesHub-TonesFreddie Hubbard · 1962 he appeared alongside a young Herbie HancockHerbie Hancockハービー・ハンコック.

JuJu

Wayne Shorter · 1965

JuJuJuJuWayne Shorter · 1965 (1964) borrowed John ColtraneJohn Coltraneジョン・コルトレーン's golden quartet rhythm section (McCoy TynerMcCoy Tynerマッコイ・タイナー, Elvin JonesElvin Jonesエルヴィン・ジョーンズ, Reggie WorkmanReggie Workmanレジー・ワークマン) for Wayne ShorterWayne Shorterウェイン・ショーター. Absorbing Coltrane's gravity, Shorter's distinct compositional voice emerged decisively.

— Footprints: The Life and Work of Wayne Shorter, Michelle Mercer, 2004

Speak No Evil

Wayne Shorter · 1966

Night Dreamer

Wayne Shorter · 1964

The 1964–66 Blue Note period was when Wayne ShorterWayne Shorterウェイン・ショーター's compositional voice matured rapidly. On Night DreamerNight DreamerWayne Shorter · 1964 and Speak No EvilSpeak No EvilWayne Shorter · 1966 he established his signature 'mysterious beauty' language. Lee MorganLee Morganリー・モーガン, McCoy TynerMcCoy Tynerマッコイ・タイナー, and Elvin JonesElvin Jonesエルヴィン・ジョーンズ brought it to life.

A Love Supreme

John Coltrane · 1965

Coltrane's Sound

John Coltrane · 1964

My Favorite Things

John Coltrane · 1961

Olé Coltrane

John Coltrane · 1961

The pianist of Coltrane's celebrated quartet didn't leave over any lack of loyalty — he left over where the music was heading. As Coltrane pushed deeper into free jazz in 1965, Tyner walked, saying he simply didn't want to play that way. The irony is that he's right there on Ascension, the very record marking that turn.

— Statement stmt-mccoy-tyner-on-john-coltrane-3

Free for All

Art Blakey · 1964

On Free for AllFree for AllArt Blakey · 1964 (February 1964), Art BlakeyArt Blakeyアート・ブレイキー's ferocious drumming pushed the band to the edge of free jazz, and Freddie HubbardFreddie Hubbardフレディ・ハバード met the pressure head-on. A studio session that crackles with the energy of a live performance — one of hard bop's most violent moments.

Deciphering the Message

Makaya McCraven · 2021

Search for the New Land

Lee Morgan · 1964

Takin' Off

Herbie Hancock · 1962

Free Form

Donald Byrd · 1966

The funky feel of 'Watermelon Man' on Herbie Hancock's 1962 debut Takin' Off came from drummer Billy Higgins, who landed his stroke right between straight eighths and swung triplets. The tune would soon travel far.

— Statement stmt-herbie-hancock-on-billy-higgins