01. Cal Massey 03:52
02. Is It Not True Simply Because You Cannot Believe It? 06:48
03. Thoughts 07:11
04. Equipoise 05:11
05. Synapse 10:12
06. East Harlem Nostalgia 08:43
07. Insight 09:53
08. Awakening 10:01

Musicians:
Sonny Fortune - alto sax
Billy Harper – tenor sax
Stanley Cowell – piano
Reggie Workman – bass
Billy Hart – drums

Great Friends is an artifact. Recorded on July 7, 1986, at Sysmo Studio in Paris, it is the only recorded output of the aggregation that included alto saxophonist Sonny Fortune, tenor saxophonist Billy Harper, Stanley Cowell at the piano, bassist Reggie Workman, and drummer Billy Hart. Until this reissue on the Pennsylvania indie Evidence Music, Great Friends was only available in Europe, on the French label Black & Blue. While led by the bristling tones of Fortune's alto, the recording gives equal time to each musician, allowing its titular egalitarianism to color each of the eight tracks included. Workman's bass solos on Stanley Cowell's "Equipoise" and his own "Synapse," in particular, reveal the clear lines of communication that define this recording. "Equipoise" as a whole is the standout track here; plaintive keys are matched by an urgent, slowly building rhythm that flirts with the saxophone and bass solos, never cresting into the pop crescendo that always seems to lurk just beyond the solo. Billy Harper's "Insight" lets drummer Billy Hart solo for almost a minute before opening up into an incredible interplayed solo between Fortune and Harper. Including as it does some of the fastest playing of the session, "Insight" illustrates the comfortable improvisation between the players. This recording occurred immediately after a European tour, and includes none of the sterility of a studio situation. Fortune, Harper, Cowell, Workman, and Hart hit on all cylinders throughout, often approximating what it must have been like to see these great friends at one of those smoky European clubs. ---Johnny Loftus, Rovi

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1.Trane And Things (5:38)
2.Hanging Out With J.C. (3:44)
3.Africa (6:22)
4.In The Spirit (7:14)
5.Mr. Jones (5:31)
6.Hanging Out With J.C. Again (4:20)
7.Ole (5:47)
8.Say What (5:17)
9.For John (6:22)

Artists:
Sonny Fortune-soprano,alto,tenor saxes
John Hicks-piano
Santi Debriano-bass
Ronnie Burrage-drums
Rashied Ali-drums (# 9)
Reggie Workman-bass (# 9)
Steve Berrios-bata drums (# 7)
Julio Collazo-bata drums (# 7)

A native of Philadelphia, where John Coltrane grew immeasurably as a musician, Sonny Fortune is one of those relentless, tireless saxophone improvisers who fell under the spell of Trane early and has manifested that spirit throughout his career. Inspired by his participation in a superb District Curators concert tribute to Coltrane in '98 at Washington, D.C.'s Lincoln Theatre that had the audience hollering, Fortune goes deep in the shed for this tribute to the master. The specter of Coltrane has consistently enveloped Fortune's horns, even when serving his late '60s Latin jazz apprenticeship with Mongo Santamaria.

Coltrane's influence came into sharper focus during Fortune's stints with McCoy Tyner (recall the blisters he put on the Sahara date) and alongside Elvin Jones' roiling, cursing, thrashing drum machine, where Fortune raised the hairs on the backs of more than a few necks during Jones' residency at Umbria Jazz in summer '98. In the company of those two powerhouses he lived the dream of many a saxman, warming his chops in the ferocious company that upped the ante for so many of Coltrane's historic forays. So it's not as a novice, familiar with Coltrane's oeuvre solely through the magic of stereophonic sound, the tributary writings of spellbound scribes or the hushed recollections of other acolytes, that Fortune travels down this well-journeyed path of homage to Trane.

To accompany him on this trek Fortune recruited the able hands of pianist John Hicks and bassist Santi Debriano. For further immersion in the quintessence of Coltrane, Fortune engaged two of J.C.'s associates, drummer Rashied Ali and bassist Reggie Workman, to authenticate his piece "For John." And for a dose of Afro Cuba, Fortune enlisted the bata drums of Steve Berrios and Julio Colazo for Coltrane's Castillian classic "Ole." The latter is one of two selections from the Coltrane book, the other being "Africa." The remainder of the tunes are Fortune's writings, largely composed as convenient launching pads towards the meat of the matter: saxophone improvisations. "Hangin' Out with JC" is given two readings: first as a high-speed quartet number, later in the manner of Coltrane's blistering dialogues with Rashied Ali, pairing Fortune with Burrage. While the achievement of energy is significant, this type of repeat suggests a paucity of real compositional ideas. But then, I imagine, composition wasn't an issue in Sonny's plans.

For this date, Fortune engages three of his four axes: soprano, alto and tenor saxophone. It is on the alto that Fortune is most distinct and at home, as evident on "Ole" (though the engineer responsible for that tune's egregious fade-out should have his knuckles rapped-hard). The percussive build-up to "Ole" lays down a thick bed of Spanish moss over which Fortune's alto dances determinedly. The closing "For John" is Sonny's exploration of free-period Coltrane as he takes the trio route with Workman and Ali, engaging the nether-reaches of his tenor in heroic fashion. --- Willard Jenkins, jazztimes.com

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01.Sweet Georgia Brown 4:38
02.You And The Night And The Music 7:56
03.Charade 7:12
04.Round Midnight 6:48
05.Besame Mucho 6:37
06.Love Song 6:05
07.The End Of A Love Affair 7:44
08.For Duke And Cannon 5:08
09.BeBop 5:24

Sonny Fortune-saxophone,flute
George Cables-piano
Chip Jackson-double bass
Steve Johns-drums

Although always a bit underrated, Sonny Fortune has been a powerful alto saxophonist since at least the early '70s. His style, while modal-based, is flexible enough to stretch from bop to free. On this quartet date with pianist George Cables, Fortune mostly sticks to familiar standards, other than the two originals. While he plays with plenty of fire on the uptempo tunes such as "Sweet Georgia Brown" and "Bebop," it is on the ballads and slower material that he really excels. Fortune's lyrical and thoughtful style communicates at its best on a number such as "Charade" or "Besame Mucho," where he gets to play with space and make each note count. Recommended. ---Scott Yanow, Rovi

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1. Triple Threat 10:25
2. Nommo 9:38
3. Sunshower 5:14
4. For duke and cannon 2:58
5. Awakening 12:17

Sonny Fortune - alto saxophone, flute, percussion
Charles Sullivan - trumpet, flugelhorn
Kenny Barron - acoustic & electric piano
Wayne Dockery - bass
Reggie Workman - bass (Nommo)
Billy Hart - drums
Chip Lyles - drums (For duke and cannon)
Angel Allende – percussion
+
Clifford Adams - trombone 
Leonard Gibbs – percussion

Sonny Fortune's second LP as a leader is an adequate set of mostly straight-ahead jazz, which sets it apart from many of his fusion-venturing peers of the '70s. With a slate of expert, professional sidemen (Billy Hart, John Hicks, Reggie Workman, Charles Sullivan, etc), Awakening never amazes, but it also never disappoints. Fortune, as usual, offers several spirited solos, while his cohorts incessantly swing. Straight-ahead jazz fans will appreciate this yeoman set. --- Vincent Thomas, Rovi

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1 Long before our mothers cried
2 A tribute to a holiday (billie)       play
3 Sound of silents
4 Five for trane
5 Wayneish

Sonny Fortune, fl, as, ss
Charles Sullivan, trumpet; 
Stanley Cowell, p, elp; 
Wayne Dockery, bs; 
Angel Allende, congas, perc; 
Chip Lyle, ds; 
Mario Munoz, ds, timbales; 
Richie Pablo Landrum, cowbell, shaker

Sonny Fortune is one of the most exciting saxophonists in jazz today, with a searing sound that is all his own. Fortune served as a sideman with a variety of leaders, including Elvin Jones, Mongo Santamaria, Buddy Rich, McCoy Tyner, Miles Davis and Nat Adderley, but it as a leader that he has truly made his mark in music. He currently leads a quartet, is co-leader with Gary Bartz and Vincent Herring of the cooperative group The Three Altos, and has an incendiary duo with Rashied Ali. Fortune also runs his own record label, Sound Reason, which releases his original music.

This is classic Strata-East and classic Sonny Fortune. Most of Fortune's albums feature him switching off between sax and flute, and feature a mix of latin jammers with long exploratory spiritual/modal jazz numbers, and this one pretty much set the prototype for all his albums which followed.

The album makes the most of its host of percussionists, and the two horn combo of Fortune and underrecorded Strata-East label mate Charles Sullivan takes that classical Blue Note modal harmony sound to a new level. The key tracks for me here are the opening Afro-Latin jam title track, and the meditative groover "Sound of Silents."

download (mp3 @320 kbs):

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