Jimmy Heath Albums (19)
What The Critics Say
Some of Heath's finest, most aggressive playing. He is a standout on soprano, flute, and tenor. ~ Ron Wynn, All Music Guide
'Turn Up the Heath: The Jimmy Heath Big Band'
Release Date 11/6/2006
Tracks 20
Label Planet Arts
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What The Critics Say
One of the best composers and arrangers to emerge during the bop era, though not often ranked as high as he should be, Jimmy Heath proves his worth with this pair of studio sessions. Although Heath takes a few strong solos of his own, he primarily focuses on the abilities of the strong cast assembled for each date. "Big P" is a potent opening blues dedicated to Percy Heath (his late brother and the bassist for nearly the entire history of the Modern Jazz Quartet). Naturally, bassist Peter Washington (likely the first-call bassist of his generation) is prominent in the mix and takes a fine solo, as does the promising young pianist Jeb Patton, who worked with the Heath Brothers. The Afro-Cuban influence that was so prominent in many of Dizzy Gillespie's works is central to Heath's infectious "Heritage Hum," while "One for Juan" is an easygoing samba. "Sources Say" starts out like a bittersweet ballad, then suddenly transforms into a brisk swinger, highlighted by Gary Smulyan's powerful baritone sax. Heath also delves into overlooked gems such as Kenny Dorham's "No End" and an intriguing scoring of Jimmy Dorsey's "I'm Glad There Is You" that has a richly textured background of soft brass backing Heath's tenor sax. While big-band projects often never reach fruition because of funding difficulties, the grants invested in Jimmy Heath's Turn Up the Heath will be paying dividends to jazz fans for generations. ~ Ken Dryden, All Music Guide
What The Critics Say
As was true of most Xanadu dates, the accent is on bebop during this Jimmy Heath LP. Doubling on tenor and soprano, Heath is heard on five of his better originals, including "For Minor's Only," "CTA" and the title cut, plus "Body and Soul." The great tenorman was clearly inspired by the stellar rhythm section (pianist Barry Harris, bassist Sam Jones and drummer Billy Higgins), resulting in one of his best blowing sessions. ~ Scott Yanow, All Music Guide
What The Critics Say
Jimmy Heath is in top form throughout this quartet session, which took place on the day his elder sister died after a lingering illness. Backed by his brother Albert "Tootie" Heath on drums, guitarist Tony Purrone, and bassist Kiyoshi Kitagawa, the tenor saxophonist revisits his fluid blues "The Quota" (which is very appropriately full of interesting quotes, displaying the leader's witty side) and debuts a new work, the enticing "Rio Dawn." He also delves into the works of other important jazz composers, including a lightly swinging treatment of Duke Pearson's "Is That So?," a potent arrangement of Blue Mitchell's lively calypso "Fungii Mama," and an extended workout of Tadd Dameron's "Hot House" that features each of the musicians in the spotlight to good effect. But it is Jimmy Heath's lush rendition of Duke Ellington's ballad "All Too Soon" that leaves the most lasting impression on this outstanding date. ~ Ken Dryden, All Music Guide
What The Critics Say
This is one of Jimmy Heath's more unusual and versatile records, and fortunately it has been reissued on CD. Heath switches between tenor, soprano and flute on a diverse program (five originals plus Duke Ellington's "In a Sentimental Mood") that ranges from hard bop to light funk and R&Bish jazz. Heath's sidemen (trombonist Curtis Fuller, cellist Bernard Fennell, keyboardist Stanley Cowell, electric bassist Bob Cranshaw and drummer Billy Higgins) sound quite inspired by the material and Heath plays at his most inventive throughout the underrated set. ~ Scott Yanow, All Music Guide
'Little Man, Big Band'
Release Date 10/20/1992
Tracks 8
Label Polygram
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What The Critics Say
Bill Cosby produced Little Man Big Band to give journeyman composer and saxophonist Jimmy Heath a larger palette for his work. Most known for his work with small ensembles, especially the Heath Brothers with siblings Percy Heath on bass and Tootie Heath on drums, Jimmy Heath brings to life his compositions, including his greatest hits "CTA" and "Gingerbread Boy," with blaring, upper register trumpets, punchy trombone countermelodies and swirling saxophone ensembles. He is an able practitioner of big band orchestration, concentrating largely on using the band to frame soloists, most prominently himself. The concerto-like pieces "The Voice of the Saxophone" and "Ellington's Stray Horn" are the most adventurous structurally. The band -- made up mostly of members of American Jazz Orchestra -- is stocked with ace sessionmen who execute the charts with aplomb. That's evident on the twisting melodic variations on the opener and "Gingerbread Boy." While Heath is the featured soloist, Roland Hanna gets a chance to show both as a soloist and as an accompanist why he was in a class with Basie and Ellington as a big band pianist. Guitarist Tony Purrone, a regular with the Heath Brothers, and most of the trumpet section provide complementary solo voices. ~ David Dupont, All Music Guide
What The Critics Say
Jimmy Heath's first chance to lead a fairly large group, an all-star ten-piece, found him well featured both on tenor and as an arranger/composer. With such colorful players as cornetist Nat Adderley, flugelhornist Clark Terry, altoist Cannonball Adderley, and either Cedar Walton or Tommy Flanagan on piano, Heath introduces a few originals (including "Big 'P'" and "A Picture of Heath") and uplifts "Green Dolphin Street," "Dat Dere," and "My Ideal," among others. A well-conceived set. [Originally released in 1960, Really Big! was reissued on CD in 2007.] ~ Scott Yanow, All Music Guide
What The Critics Say
While far from unknown, sax player Jimmy Heath has had a low profile relative to the excellence and consistency of his writing and playing. This compilation helps correct that imbalance by spotlighting the seminal hard bopper's sessions recorded for Riverside between 1959 and 1964. The tracks cover small and medium group settings. Seven are Heath originals that highlight his direct, swinging, sophisticated, style. The arrangements are also Heath's. The pieces for septet and nonet call to mind the Dizzy Gillespie band from this era. The quintet numbers are more in a Horace Silver vein. The arrangements that include French horn and tuba tend to be more static than the rest. Trumpeters Nat Adderely, Freddie Hubbard, and Donald Byrd all have satisfying choruses, with Hubbard's being the most distinctive. Pianists Wynton Kelly, Cedar Walton, Harold Mabern and Herbie Hancock are also prominent and effective in soloist and accompanist roles. Heath's moments, though, stand out for their energy and intelligence. His attack is more purely boppish than John Coltrane's, but there are many similarities with that of his close friend, particularly with Trane's sound from his Atlantic period. Strong echoes of Dexter Gordon's balanced, authoritative, sonorous style are also evident. As a compilation, Nice People passes the key test of generating interest in further exploration of Heath's Riverside sessions. A good starting point would be 1964's On the Trail, which is represented by only one track on Nice People -- a strong performance of "All the Things You Are," featuring luminous bop guitar from Kenny Burrell. On the Trail also includes the original version of Heath's "Gingerbread Boy," best known from the version on Miles Smiles. ~ Jim Todd, All Music Guide
What The Critics Say
You've Changed presents journeyman saxophonist Jimmy Heath in an unadorned setting that exhibits his talents in full splendor. Also a noted composer -- three of the pieces here are his -- this session showcases Heath's sound, which is as smoky and sweet as the best whiskey. Heath plays with fluid drive. The composer in him never takes a break as evidenced by the logical flow of his melodic ideas. The band is a pared down version of the Heath Brothers with regulars Tony Purrone and brother Tootie Heath on board joined by bassist Ben Brown. Purrone's smooth, bluesy fretwork provides just the right foil for the leader. ~ David Dupont, All Music Guide
What The Critics Say
The most unusual aspect of this CD is that Jimmy Heath, in addition to his usual tenor and soprano, also plays alto (his original instrument) on two of the six numbers. The material pays tribute to John Coltrane, Sonny Rollins, Ben Webster (an Ernie Wilkins original), and Dizzy Gillespie, and "Ellington's Stray Horn" is included along with a Monty Alexander original. Two songs are played by Heath with guitarist Tony Purrone, bassist Stafford James and drummer Akira Tana; pianist Larry Willis makes the group a quintet on one piece, and trumpeter Tom Williams expands the band to a sextet for the three remaining selections. The largely straight-ahead set benefits from the changing instrumentation and the fresh material, and Jimmy Heath (60 at the time) shows that he was still very much in prime form. ~ Scott Yanow, All Music Guide
