Grant Green recorded so much high-quality music for Blue Note during the first half of the '60s that a number of excellent sessions went unissued at the time. Even so, it's still hard to figure out why 1964's Matador was only released in Japan in 1979, prior to its U.S. CD reissue in 1990 – it's a classic and easily one of Green's finest albums. In contrast to the soul-jazz and jazz-funk for which Green is chiefly remembered, Matador is a cool-toned, straight-ahead modal workout that features some of Green's most advanced improvisation, and remains one of his greatest achievements. Allmusic*****Very rare Japan Promo only Bonus LP for who buy many copies from The Series "Blue Note 1993 4000 Series Ultra Collection Part 10 & 11
Solid is a companion piece to the Grant Green classic Matador, recorded about a month later with the same rhythm section, and also not issued until 1979. Green is once again accompanied by the Coltrane supporting team of pianist McCoy Tyner and drummer Elvin Jones, plus bassist Bob Cranshaw; this time, however, Green is also joined on the front line by James Spaulding on alto sax and Joe Henderson on tenor. ~ AllMusic
THE COMPLETE QUARTETS WITH SONNY CLARK includes the albums NIGERIA, GOODEN'S CORNER and OLEO as well as 3 additional tracks. This two-disc set gathers together the cuts for three Blue Note sessions teaming Grant Green with Sonny Clark. The first, NIGERIA, was originally release posthumously in 1980 and features Green's only collaboration with drummer Art Blakey. GOODEN'S CORNER and OLEO were both only released in Japan in 1979 and 1980, respectively. The latter two sessions featured Louis Hayes on drums along with Sam Jones, the bassist for all three albums. Luckily these sessions have been carefully restored and release for all to hear.
Grant Green, being known mainly as a soul-jazz guitarist, eventually gravitated into the popular boogaloo sound, a derivation of Latin music. The Latin Bit is the natural bridge to that next phase, though a bit premature for most in 1961-1963, even relative to the subsequent bossa nova craze. Pianist Johnny Acea, long an underrated jazzman, is the nucleus of this session, grounding it with witty chops, chordal comping, and rhythmic meat. The Latino rhythm section of drummer Willie Bobo and conga player Carlos "Patato" Valdes personify authentic, seasoned spice, while at times the chekere sound of Garvin Masseaux makes the soup too thick. At its collective best, the group presents a steady, serene, and steamy "Besame Mucho" and the patient, slow, slinky, sultry "Tico Tico.".