1. Diz Related
2. South Side
3. I Wish I Knew
4. Homage to Norman
5. Nascimento
6. S.W.B. Blues
7. Lester Leaps In
8. Bewitched
9. Centerpiece

Al Grey - trombone
Jerome Richardson - tenorsaxophone, flute
Harry Sweets Edison - trumpet
Junior Mance - piano
Ben Brown - bass
Bobby Durham – drums

Recorded live at the Blue Note, New York

Basie-style blues and swing are the foundation of this amiable live set from 1995. This is no surprise, given Al Grey's and Harry "Sweets" Edison's work with the Count -- Grey most notably from 1957-1961 and Edison from 1938-1950. From that base, though, the two take divergent paths here. Renowned though he is for his brassy bravado and skill with the plunger mute, Grey seems too firmly planted in an earlier era, so much so that his playing can come across as nostalgic routines. It is actually elder statesman Edison (at 79, Grey's senior by almost a decade), who -- still working within the swing ethic -- creates some fresh sparks. His warm and slippery tone, technical finesse, and improvisational skills yield a choice handful of timeless statements. Rounding out the front line, Jerome Richardson plays well but his tenor saxophone sounds thin in the mix (Richardson is the only one who gets this treatment; otherwise the sound is quite good). In the rhythm section, pianist Junior Mance, working from a more boppish perspective, injects some drive and harmonic spice into the performances. Bassist Ben Brown and drummer Bobby Durham slug away in classic style and also get in a couple of credible solos each. Most of the music follows a predictable course, with some noteworthy exceptions. These include an energetic romp on "Lester Leaps In"; Barry Harris' "Nascimento," a bossa nova with a welcome flute solo from Richardson; and Edison's title track, a song popularized in versions by Lambert, Hendricks & Ross and, later, by Joni Mitchell. ---Jim Todd, Rovi

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1. Over and Under (3:17)
2. Alex Hardt (6:12)
3. Right And Mellow (3:49)
4. Al Rado (2:36)
5. Al's Mist (3:26)
6. Person To Person (2:55)
7. Alimony Blues (5:43)
8. Open Wider Please (4:51)
9. Seed A Little (5:09)

Musicians:
Trombone – Al Grey
Saxophone [Alto], Vocals – Eddie Vinson
Organ – Wild Bill Davis 
Guitar – Floyd Smith 
Drums – Chris Columbus

Trombonist Al Grey's first session as a leader in seven years, this European date was last available domestically as a Classic Jazz LP. Grey matches wits and swing with altoist/singer Eddie "Cleanhead" Vinson, organist Wild Bill Davis, Floyd Smith (a pioneering electric guitarist who worked with Andy Kirk), and drummer Chris Columbus. The repertoire is comprised exclusively of basic originals by Grey, Davis and Vinson, including "Person to Person," and finds the trombonist in prime form. ---Scott Yanow, Rovi

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01. Nothing But the Truth 
02. Things Ain't What They Used to Be 
03. Open Wider Please 
04. Just Waiting 
05. Three-Fourth Blues 
06. I Got It Bad and That Ain't Good 
07. Don't Get Around Much Anymore 
08. R.B.Q. 
09. How Come You Do Me Like You Do 
10. On Green Dolphin Street 
11. Bluish Grey 
12. The Elder 
13. Bewitched 
14. Kenie-Konie 
15. Tenderly 
16. Salty Papa 
17. Don't Cry Baby 
18. Stranded 
19. Rompin' 
20. When I Fall in Love 

Musicians:
Al Grey (Trombone)
Billy Mitchell (Tenor Saxophone)
Joe Newman (Trumpet)
Bobby Hutcherson (Vibraphone)
Dave Burns (Vibraphone, Marimba)
Art Davis (Bass)
Sonny Payne (Drums)

Al Grey. Born Albert Thornton Grey, 6 June 1925, Aldie, Virginia, USA, d. 24 March 2000, Phoenix, Arizona, USA. Early in his career Grey played trombone in bands in the US Navy but soon after World War II he joined Benny Carter, whom he always credited with extending his musical knowledge. After leaving Carter, Grey played in the bands of Jimmie Lunceford and Lucky Millinder. In 1948, he joined Lionel Hampton with whom he remained for five years. Briefly with Dizzy Gillespie, he then played with Count Basie for four years from 1957-61 - a spell that gave Grey maximum exposure worldwide (he later rejoined Basie from 1964-66 and 1971-77). When he later began touring as a single, and in a long and musically rewarding partnership with Jimmy Forrest, his success was assured. Very popular on the international club and festival circuit, Grey was an exciting and adventurous soloist, specializing in the use of the plunger mute. After Forrest's death Grey teamed up with Buddy Tate and continued touring until Tate's string of accidents and illnesses forced Grey back into solo appearances. He also appeared with his trombonist son, Mike. --- music.us

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