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Jazz - Released January 21, 2003 | Blue Note Records

Jazz - Released March 7, 2011 | SINETONE AMR

Jazz - Released May 25, 2013 | SINETONE AMR

Reissued in the Original Jazz Classics but thus far just as an LP, this fine set matches together the already distinctive tenor of Clifford Jordan with veteran trumpeter Kenny Dorham, pianist Cedar Walton, bassist Wilbur Ware and drummer Albert "Tootie" Heath. Other than Duke Ellington's "Don't You Know I Care," the group sticks to originals by Jordan, Dorham and Walton. The music is straight-ahead, and although the tunes are pretty obscure, the solos and high musicianship uplift the music. Recommended to straight-ahead jazz collectors. ~ Scott Yanow

Jazz - To be released November 17, 2017 | School of Jazz Records

Jazz - Released October 28, 2016 | Vinyl and Dust Records

Jazz - Released December 21, 2013 | SantaJazzClause

Jazz - Released August 20, 2013 | Ornithology Rec

Jazz - Released May 25, 2013 | SINETONE AMR

Happily, Blue Note Records and Michael Cuscuna have reissued this wonderfully relaxed recording, which dates from a very fertile period of the renowned jazz label's history. Tenor saxman Jordan was influenced by and shares influences with Sonny Rollins, Dexter Gordon, John Coltrane and Hank Mobley; the early inspiration of Lester Young can also be heard. On this date, the selection of tunes is pleasantly balanced between three originals, two bebop standards, and Ellington's "Sophisticated Lady." Trumpeter Art Farmer's playing is up to his usual high standard -- thoughtful, sensitive and technically brilliant. Pianist Sonny Clark is captured during the most prolific phase of his ten-year recording career; together with bassist George Tucker and drummer Louis Hayes, they create a solid, swinging and simpatico rhythm section. ~ Lee Bloom

Jazz - Released May 25, 2013 | SINETONE AMR

Tenor saxophonist Clifford Jordan was sponsored by Cannonball Adderley on this set for Riverside, reissued on CD under the OJC imprint. At this point, Jordan did not quite have the distinctive sound that he would develop in his period with Charles Mingus, but he was already a strong hard bop stylist. Assisted by pianist Cedar Walton, bassist Spanky DeBrest, and drummer Albert "Tootie" Heath, Jordan performs four originals ("Toy" is best known), an unusual waltz version of "Lush Life," the ballad "Last Night When We Were Young," and the romping Charlie Parker blues "Au Privave." It's an excellent straight-ahead outing. ~ Scott Yanow

Jazz - Released May 25, 2013 | SINETONE AMR

Jazz - Released February 2, 2009 | Blue Note Records

Pop - Released May 24, 2005 | Rhino Atlantic

At first glance, this appears to be a very illogical album. Back in 1965, tenor saxophonist Clifford Jordan recorded a tribute to the late folksinger Leadbelly. The date, originally cut for Atlantic and reissued by Koch in 1999, is actually more successful than one might expect. Jordan performs nine of Leadbelly's originals (including the hit "Goodnight Irene"), turning the music into jazz without lessening the impact of the melodies or their folk roots. Trumpeter Roy Burrowes, trombonist Julian Priester, bassist Richard Davis, and drummer Albert "Tootie" Heath are on most of the selections along with Jordan, while Chuck Wayne (on guitar and banjo) helps out on four tunes, and pianist Cedar Walton is on three. The fine young singer Sandra Douglass is excellent on "Take This Hammer" and "Black Girl." Overall, this project is an unexpected success -- one would not have thought that Clifford Jordan and Leadbelly had that much in common! ~ Scott Yanow

Pop - Released May 24, 2005 | Rhino Atlantic

Clifford Jordan's Soul Fountain was recorded for Atlantic in 1966 and produced by no less a talent than Arif Mardin. It was not released until 1968 and then reissued properly in 1970 on the Vortex imprint, by which time Jordan had become an American expatriate living in Europe as so many other jazzmen had. The bottom line is that there was no good reason for any of it. This may be, like Jordan's Plays Leadbelly album, a recording of deep roots music -- in this case soul -- but as a jazz album with big fat grooves, stellar playing, and arrangements, it's a monster. The bands (a bit different on sides one and two) tell a big part of the story of the album. The first five tracks -- the front side -- feature Jordan on tenor and piano, Jimmy Owens on trumpet and flugelhorn, Julian Priester on trombone, Frank Owens playing both piano and B-3, Ben Tucker on upright bass, Bob Cranshaw on upright and Fender electric bass, drummer Bob Durham, and percussionists Orestes Vilató and Joe Wohletz. The music on side one includes the smoking Ben Tucker jams "T.N.T." and "H.N.I.C.," the first of which is a complete soul-jazz groover with big-boned tenor work by Jordan knotted up in the best Blue Note early three-horn front-line '60s fashion: it's where hard bop met the extrapolated sounds of Latin boogaloo and Ray Charles-styled big-band soul. Tucker's grooves were scorching. The latter tune, written in a minor key, offers more Latin grooves with the same front-line 12-bar blues set up with beautiful call and response, a knotty chorus, and wonderfully seamless harmonies among the horns. Jordan contributes a pair of originals to the side (and three overall). The first is "I've Got a Feeling for You," coming right out of the groove territory with those hand drums popping in and around the piano played by Cliff, and a snarling B-3 workout in the fills by Frank Owens. It's suave, spunky, and swaggering with great trumpet work by Jimmy Owens. Jordan's latter tune on the side is a too-brief little calypso fueled hard bop number. The kit work by Durham is hot and the Jordan solo swings hard and in the pocket. The other tune on the side is a burning funky workout on James Brown's "I Feel Good" with amazing trombone work by Priester, who could have been a part of the '70s J.B.'s in a heartbeat, as his sense of propulsion and rhythm is infectious -- and Durham's breaks are smoking and in the pocket. Side two offers a bit of a change: Big John Patton plays organ, Billy Higgins plays drums, and Ray Barretto replaces Vilató on congas! Three tunes make up the side: one is a reading of Horace Silver's "Senor Blues" that is so full of Latin groove that it drips. Jordan's interplay with the drummers and Patton is rich, wrangling, his best Sonny Rollins in the role and taking it outside -- slightly -- via Coltrane. The breezy "Eeh Bah Lickey Doo," by the saxophonist is a shimmering, lightly funky riff-based blues with Jordan playing flute to change things up -- the tonal contrast between his little woodwind and Patton's B-3 simmering is very hip -- especially when Big John takes his solo. The final track, written by Priester and Abbey Lincoln is called "Retribution." It's the most complex tune here rhythmically, juxtaposing an intensely clave rhythm against a straight cut time and the front-line playing right in between the two signatures. Priester's lyric sense is complex but utterly accessible, and when Jordan takes his solo following that fat downbeat where it all comes together, he can walk between both poles effortlessly. Patton just pushes from the inside out and finds the horn in the corners. Barretto even at this point was offering a dimension on other people's recordings that was singular. He sounded like no one else and his manner of reading the hard bop accents and angles through boogaloo added a hip factor of ten to the side. Priester's solo is brief, followed by Jimmy Owens' before they bring it all back to that melody, closing it out on a very high point indeed. Certainly, Jordan's great accomplishments as a leader -- the two Glass Bead Games volumes and In the World on Strata East, as well as Night of the Mark 7 from the '70s are regarded as high marks in his career, but this side should not be counted out by any stretch of the imagination. Mardin's production work adds the right amount of warmth and Jordan is clearly relaxed and in control, walking the razor's edge between the hard bop past, the present-day soul, and the future openness that he would embrace wholesale a couple of years later. This is a fine set and well worth pursuing whether on wax or via the Wounded Bird reissue (it needs to be said that the latter's program of reissuing Atlantic and Warner jazz from the early '70s is really special in that it highlights work that has been forgotten or was entirely ignored). ~ Thom Jurek

Jazz - Released January 1, 1994 | SteepleChase

This final installment of a 1975 concert in Amsterdam finds tenor saxophonist Clifford Jordan in fine form, joined by Cedar Walton, Sam Jones, and Billy Higgins. The set includes an extended workout of Jones' "Seven Minds," Sonny Rollins' calypso favorite "St. Thomas" (which is marred somewhat by problems with the master tape), and two enjoyable works by Walton. Like the previous two volumes, this one is also recommended. ~ Ken Dryden

Jazz - Released January 1, 1992 | SteepleChase

The second of three volumes recorded in 1975 featuring tenorist Clifford Jordan with Cedar Walton, Sam Jones, and Billy Higgins finds the quartet in top form. Walton's "Midnight Waltz" is the first of three extended performances, the upbeat midtempo waltz featuring a rollicking solo by its composer, while Jordan's suave playing is buoyed by Higgins' driving rhythm. Walton's "Bleecker Street Theme" sounds more like a set closer due to its barely one-minute length; then the focus turns to standards, including a spacious treatment of "I Should Care" that has Jordan taking quite a few liberties with the melody from the very beginning, followed by a glistening interpretation of "Stella by Starlight." The CD reissue adds Higgins' tribute "Alias Buster Williams," which opens with a drum solo and then transforms into an uptempo post-bop setting with a Latin undercurrent as the band is added. ~ Ken Dryden