Wonderful, never-before-released collaborations with the brilliant pianist Georges Arvanitas and his trio, in 1966-67, kicking off with The Hip Walk.

The recording of a performance at Studio 104, Maison de la Radio, recycling One for Juan from Jimmy Heath’s Love And Understanding LP for Muse, and Watergate Blues and Smilin’ Billy, both from the Bros’ recent Marchin’ On LP.

‘That was the first Heath Brothers album. Stanley Cowell had started the Strata-East label with Charles Tolliver, and they engaged us to do a record. It was a family affair, and we adopted Stanley because we thought he was amazing. That was a different type of record for us. We recorded it while we were on tour in Oslo, Norway. We used to get on the train and travel around Europe, and we’d be playing in these cabins on the train. Percy played a bass with a cello body that Ray Brown created, Tootie and I played flutes, and Stanley played a chromatic African thumb piano. People would stop and listen to us on these trains going from one country to the next, and it was something that they liked. It was like a chamber-music group. So we decided to include that sound on the record.’

The version of Smilin’ Billy is a show-stopper.

Recorded in Paris, 1965, at the time of the Vietnam peace talks. ‘Donald Byrd occasionally played with us at the Blue Note, so he came in and helped produce the record.’

A precious glimpse of his undocumented New Jazzmen lineup, with Freddie Hubbard, Jaki Byard, Reggie Workman and Nathan Davis.
“Everywhere we’d go people would say, this is the best Jazz Messengers we’ve heard,” remembers Davis. “And because of the way Jaki would play and Reggie would go, it was like a semi-freedom thing… with Messengers heads, you know… but when we got to soloing…!”
It’s easy to take Freddie Hubbard for granted. One of the very greatest jazz trumpeters of all time; he kills it here. Check him on Blue Moon and the twenty-four-minute rendition of his own composition Crisis.