Reference: FSRCD 371
During the 50s Hank Jones earned a reputation for his prodigious activity in New Yorks recording and broadcasting studios and in its night clubs. He was one-fourth of the basic rhythm section used on many studio jazz sessions. Barry Galbraith, Milt Hinton and Osie Johnson were the three other quarters.
As we can hear from these tunes, they grooved like a smooth well-oiled machine, known as The New York Rhythm Section, through a fine selection of titles, showing just why they were in such demand in the Big Apple at the time of this recording.
1. Blues for Sal (Jones)
2. Polka Dots and Moonbeams (Burke-Van Heusen)
3. Jimmy's Tune Cleveland)
4. Minor's Club (Hinton)
5. They Look Alike (Albam)
6. He Was Too Good To Me (Rodgers-Hart)
7. Ain't We Got Fun (Kahn-Egan-Whiting)
8. Wolf Talk (G.Gryce)
9. Milt's on Stilts (Hinton)
10. Mambosies (Johnson)
11. Out of Braith (Galbraith)
12. The Legal Nod (Johnson)
13. Do Nothin' Till You Hear from Me (Russell-Ellington)
14. Hallelujah! (Robin-Grey-Youmans)
15. Sahara (Goodman)
16. Mona's Feeling Lonely (Hinton)
17. Kookin' in the Kitchen (Johnson)
18. Walk Chicken, Walk With Your Head Picked Bald to the Bone (Hinton)
19. Ruby, My Dear (Monk)
20. Koolin' on the Settee (Johnson)
21. Blues (Cleveland)
Recorded in NYC, 1956
"During the second half of the 1950s, pianist Hank Jones, guitarist Barry Galbraith, bassist Milt Hinton and drummer Osie Johnson were constantly in demand for studio dates, recording in a countless number of settings. The music on this CD, which is an entire LP plus a few related selections by the same quartet, features the rhythm section as its own entity. Trombonist Jimmy Cleveland guests on three numbers and there are individual features for Hinton and Galbraith although Jones is generally the lead soloist. The music falls between swing and bop (just like Jones' style), ranging from a variety of melodic and catchy originals to Thelonious Monk's "Ruby, My Dear." The music features each of the musicians in prime form and is particularly valuable for the Galbraith solos since the guitarist did not record often enough in small-group jazz settings. Recommended."
- Scott Yanow
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