Johnny Griffin - The Little Giant (Remastered Edition) (2024) [Hi-Res]

The Little Giant is an album by jazz saxophonist Johnny Griffin and his all-star sextet, released on the Riverside label in 1959. It was Griffin’s third album on Riverside.
One of Johnny Griffin’s hard blowing albums as a leader for Jazzland – recorded with a crack lineup that includes Blue Mitchell on trumpet, Julian Priester on trombone, Wynton Kelly on piano, Sam Jones on bass, and Albert Heath on drums! This is the kind of work that the term “hard bop” was coined for – sharp-edged jazz at its best – informed strongly by earlier bop and modern modes, but also played with a deeper dose of soul overall. The six players come together perfectly throughout – working with a tightness that matches most Blue Note work of the time – and titles are a great set of tracks that includes 3 by Chicago pianist Norman Simmons, and 1 by the great Babs Gonzales. Tunes include “Olive Refractions”, “The Message”, “Lonely One”, “Playmates”, and “63rd Street Theme”.
“A bit of an offbeat session for tenor saxophonist Johnny Griffin, The Little Giant features three originals by then-obscure pianist Norman Simmons, a reworking of the pop tune “Playmates,” Babs Gonzalez’s “Lonely One,” and the tenorist’s “63rd Street Theme.” Simmons’ arrangements for the three horns (which include trumpeter Blue Mitchell and trombonist Julian Priester) are colorful; the rhythm section (pianist Wynton Kelly, bassist Sam Jones, and drummer Albert “Tootie” Heath) is state of the art for the period, and Griffin (who is featured in a trio with Jones and Heath on “Lonely One”) is in fine form. An interesting set of obscure straight-ahead jazz.” (Scott Yanow, AMG)
Little Johnny Griffin (1928-2008) was a first-class blower, a tenorman who believed in the inspiration of the moment and reacting to circumstances, as is self-evident on the two albums included in this set. Little Giant is one of those rare items that elicit a visceral response from the listener. Direct and virile, Griffin never allows his supreme command of the instrument to obscure the emotional burden of his playing; he simply compells attention no matter the musical context. Here its provided by Norman Simmons, who composed three pieces and scored them for the three horns, and a quality rhythm section led by pianist Wynton Kelly.