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| 4.045 Ft
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| 1. | Delilah
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| 2. | Say Little Mama Say
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| 3. | Only for the Pure at Heart
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| 4. | Stars Fell on Alabama
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| 5. | Gingerbread Boy
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| 6. | Johhny Red
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| 7. | Smile
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| 8. | Ma Turk
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| 9. | Vida Blue
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| 10. | Riverside
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Jazz / Hard Bop
Jimmy Cobb - Drums
Allan Tucker Mastering
Diego Vainesman Design
Don Mikkelsen Engineer, Producer, Mixing
John Webber Bass
Peter Bernstein Guitar
Richard Wyands Piano
Jimmy Cobb was in his late 60s when he recorded Only for the Pure at Heart, but the veteran drummer was still playing with the type of enthusiasm that had characterized his work with Miles Davis, Wes Montgomery, Cannonball Adderley and other big names 35 and 40 years earlier. Of course, enthusiasm is easier to come by when you have as solid and cohesive a band as Cobb does on this often relaxed bebop date, which employs Richard Wyands on piano, John Webber on bass and the Grant Green-influenced Peter Bernstein on guitar. Cobb called this working band Jimmy Cobb's Mob, although it shouldn't be confused with the Cobb's Mob that Texas tenor saxman Arnett Cobb led in the 1950s (when bassist George Duvivier wrote the song "Cobb's Mobb" for him). However, Jimmy Cobb's Mob of the late 1990s isn't unlike the bands he'd helped bring to life in the 1950s and 1960s, and straight-up bop is exactly what the drummer provides on material ranging from "Smile" and "Stars Fell on Alabama" to Bernstein's catchy "Vida Blue" and Webber's moody "Johnny Red." In fact, much of the CD sounds like it could have been recorded 40 years earlier. Only for the Pure at Heart is the work of an accomplished drummer who, at 68, continued to excel by sticking with the tried and proven. ~ Alex Henderson, All Music Guide
Jimmy Cobb
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Jan 20, 1929 in Washington, D.C.
Genre: Jazz
Styles: Hard Bop
A superb, mostly self-taught drummer, Jimmy Cobb has been a dominant accompanist and outstanding soloist. He approaches the drum kit in both a melodic and percussive fashion, never playing overly-long or rambling solos. He's known for working slightly ahead of the beat, and has anchored many fine sessions as well as spending five years with Miles Davis in the '50s and '60s. Cobb did study briefly with Jack Dennett, a percussionist with extensive symphonic credentials. He played with Charlie Rouse, Leo Parker, Frank Wess, Billie Holiday and Pearl Bailey in Washington, D.C. Cobb left in 1950 to join Earl Bostic, and cut his first recordings with him. He played with Dinah Washington over three years, then worked with Cannonball Adderley, Stan Getz and Dizzy Gillespie. He took over for Philly Joe Jones in the Davis band in 1958, and was on hand for several seminal dates. He finally left, along with Paul Chambers, to team with Wynton Kelly. The trio played and recorded with Wes Montgomery, Kenny Burrell and J.J. Johnson before it disbanded. Cobb played on the film soundtrack "Seven Days In May," and later worked with David Amram. He worked with Sarah Vaughan through the '70s, and was featured on a public television film of a Vaughan concert at the Wolf Trap Jazz Festival. Cobb also worked with Richie Cole, Sonny Stitt, Nat Adderley and Ricky Ford. During the '80s he worked with the Joe Albany trio. Cobb remains active, though there are currently no albums under his name as a leader listed.
---Ron Wynn, All Music Guide |
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