Brent Jensen, Rob Walker, New Stories Trio - Art Of The Groove (2004)

The Brent Jensen/Rob Walker Quintet opens in a mellow groove and stays there much of the way on this backward- glancing yet quite contemporary album that wouldn’t have been out of place in the bop-based Blue Note / Prestige catalogs of the late ‘50s–early ‘60s. Alto saxophonist Jensen and trumpeter Walker offer an earnest tribute to their musical predecessors—especially the legendary Miles Davis—without imitating them, choosing instead to invoke the spirit of the bop era while giving it their own modern spin, with substantial help from the dexterous New Stories Trio (Seales, Miller, Bishop), which has been performing as a unit for eighteen years and has mastered the art of discretion. The program consists of five original compositions by Walker, two by Jensen and a couple of handsome showcases for the latter’s burnished alto, the standards “It Could Happen to You” and “You Go to My Head.” The opener, Walker’s “Straight from Miles,” has a bright, bluesy ambiance reminiscent of the classic Davis quintet, underscored by thoughtful statements from Walker, Jensen and bassist Miller. Walker also wrote “Art of the Groove,” “Evan’s Pen,” “Later” and a second explicit tribute to Miles, “Dewey’s Steps,” while Jensen chipped in with the ebullient “Danza Callejera” and wistful “Anne Rose.” ~ by Jack Bowers, AAJ. 

Origin Records, 82427, 2004
Recorded 20th May, 2003 Live to 2-track at Studio X, Seattle, Washington 

Musicians:
Brent Jensen - Alto Sax
Rob Walker - Flugelhorn
Marc Seales - Piano [New Stories Trio]
Doug Miller - Bass [New Stories Trio]
John Bishop - Drums [New Stories Trio] 

Tracks:
1. Straight From Miles {Rob Walker} (5:45)
2. It Could Happen To You {Johnny Burke, Jimmy Van Heusen} (7:50)
3. Art Of The Groove {Rob Walker} (5:26)
4. Evan's Pen {Rob Walker} (5:18)
5. Danza Callejera {Brent Jensen} (4:53)
6. You Go To My Head {J. Fred Coots, Haven Gillespie} (6:01)
7. Dewey's Steps {Rob Walker} (7:53)
8. Anne Rose {Brent Jensen} (4:58)
9. Later {Rob Walker} (5:01) 

Total Time: 53:05 

Credits:
Producer - Brent Jensen, Rob Walker
Executive Producer - Jim DeBlasio
Engineer - Reed Ruddy
Engineer [Assistant] - Sam Hofstedt
Mastering Engineer - Mark Guenther [Seattle Disc Mastering]
Cover & Studio Photos, Layout & Design - John Bishop

LINK

Danza Callejera

Yoshiyuki Yamanaka - Great Time (2000)

Tenor sax player Yoshiyuki Yamanaka was leaving nothing to chance for his first album for Origin. He brought three of the top rhythm players extant into the studio, the inestimable jazz artists Junior Mance, Ben Riley, and Earl May. As much as the fine playing by the tenor sax man, these three contribute to the musical achievements attained on this CD. Over his career, Yamanaka has sampled the styles of the great tenors, including John Coltrane, Stan Getz, and Charlie Rouse, before reaching his own stylistic preference, which combines the light, dry sound and the strong sense of musical form of Lester Young, the melodious improvisation of Stan Getz, the laid-back manner of Paul Desmond, and his own lyrical beliefs. This healthful marriage is heard to good advantage on such tunes as Thelonious Monk's "Let's Cool One." This track also highlights the support given by Mance's piano, May's lightly plucked bass, and the gentle but influential drumming of Riley. Yamanaka shows a pleasurable ballad style on a rarely recorded "Whatever Possessed Me." Typically, rarely played tunes are in that category because they aren't very good. But this Tadd Dameron tune is a gem, given a glowing burnish by Yamanaka and Mance. The tenor sax player pulls out his swinging credentials on "Great Time" and "All the Things You Are." And like many tenor men before him and to come, he gets his membership card punched with the tenor sax psalm, "Body and Soul." Everyone is loose and having a good time on this session. You can get a feel for this relaxed attitude by the back-and-forth patter of the participants at the end of some cuts. Great Time displays the easygoing making of mellifluous jazz music, and is recommended. ~ by Dave Nathan, AMG. 

Origin Records, 82375, 2000
Recorded 13th & 14th October, 1999 at Clinton Studio A, New York City 

Musicians:
Yoshiyuki Yamanaka - Tenor Sax
Junior Mance - Piano
Earl May - Bass
Ben Riley - Drums

Tracks:
1. All The Things You Are {Jerome Kern} (3:57)
2. Make The Man Loves Me {Dorothy Fields, Arthur Schwartz} (5:49)
3. Great Time {Duke Ellington; Arr. Yoshiyuki Yamanaka} (5:30)
4. Who Can I Turn To {Leslie Bricusse, Anthony Newley} (6:13)
5. Charlie {Yoshiyuki Yamanaka} (4:08)
6. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (6:33)
7. Let's Cool One {Thelonious Monk} (7:41)
8. Whatever Possessed Me {Tadd Dameron} (5:46) 

Total Time: 45:37 

Credits:
Producer - Satoshi Inoue
Executive Producer - Yoshiyuki Yamanaka
Recording Engineer - Troy Halderson
Mastering Engineer - Katsuhiko Naito, Katherin Miller
Collaborator - Junko Koike
Post Production Supervisor - Matt Jorgensen [OriginArts]
Art Direction - John Bishop [OriginArts]

LINK

Charlie

Junko Moriya Orchestra - Points Of Departure (2005)

This is the first new album in four years from the highly acclaimed Junko Moriya - a gifted musician who’s previous two releases on the Nippon Crown Ninety-One label earned significant praise. For this project, she leads a big band, once again enlisting Don Sickler - her key collaborator since her debut - as a primary advisor. The repertoire consists of seven original compositions by Moriya alongside four well-known standards. The album is a remarkably fresh and substantial work, showcasing a dramatic, spirited performance that embodies the essence of a contemporary modern big band - skillfully balancing a cool, smart, and refined aesthetic with raw, explosive, and vibrant dynamism. Riding on a rhythmic foundation rich in diverse, groove-laden patterns, the music unfolds as a complex, multi-layered architectural structure. Within this, the ensemble’s intricate, colorfully textured arrangements intersect seamlessly with sharp, emotionally charged, and compelling solos from individual musicians. Together, these elements weave a vivid, narrative-driven storyline full of depth and dynamic peaks and valleys. The brilliance of Moriya’s arranging is on full display; even when the music navigates complex, multi-faceted, and unconventional shifts, the sonic space remains consistently clear, bright, and open—allowing the sound to breathe. Furthermore, the soloists shine brightly: Moriya herself delivers a "bop-inflected" performance marked by a mild, elegant, and poised grace, while the horn section contributes bold, aggressive, and passionate playing. Each soloist demonstrates a keen sense of dramatic structure, naturally balancing this with a fresh, spontaneous, and authentic improvisational spirit. This is a truly accomplished work - refreshing, vibrant, and exceptionally groovy. The original compositions possess a rare, distinctive charm, characterized by an expansive (perhaps even pastoral?) lyricism rendered with a contemporary sensibility. (The contrast with the straightforward, bop-inflected, and bluesy approach taken on the included jazz standards is exquisite.) It is a thoroughly exhilarating and invigorating listen. ~ catfish-records.jp. [Translated From Japanese] 

Spice Of Life, SOL JP-0001, 2005
Recorded 2nd & 3rd February, 2005 at Sound City, Tokyo, Japan 

Musicians:
Junko Moriya - Piano, Arranger
Don Sickler - Conductor
Eric Miyashiro, Mitsukuni Kohata, Akira Okumura, Yoshiro Okazaki - Trumpet
Hideaki Nakaji, Yuzo Kataoka, Haruki Sato, Satoshi Kono - Trombone
Kazuhiko Kondo, Hidenori Midorikawa - Alto Saxophone
Osamu Koike - Tenor Saxophone, Flute
Andy Wolfe - Tenor Saxophone, Flute
Daiji Miyamoto - Baritone Saxophone, Bass Clarinet
Koichi Osamu - Bass
Masahiko Osaka - Drums

Tracks:
01. Highway {Junko Moriya} (6:58)
02. Departure {Junko Moriya} (7:27)
03. I Love You {Cole Porter} (5:10)
04. Wind Farm {Junko Moriya} (6:50)
05. 25% Solution {Junko Moriya} (6:35)
06. All Blues {Miles Davis} (6:19)
07. My Funny Valentine {Richard Rodgers} (3:37)
08. Mobius {Junko Moriya} (5:17)
09. Fragments {Junko Moriya} (5:04)
10. Heartsong {Junko Moriya} (5:23)
11. Fascinating Rhythm {George Gershwin} (5:13) 

Total Time: 63:56 

Credits:
Producer - Junko Moriya, Don Sickler
Assistant Producer - Maureen Sickler
Recording Engineer - Shinichi Tanaka
Mixing Engineer - Jim Anderson
Mastering Engineer - Alan Silverman
Photo - Masataka Ishida
Cover Layout - Takeshi Okuda

LINK

"Highway" Live

Grant Stewart - St. Thomas: Grant Stewart Plays Sonny Rollins (2010)

Great sounds from Grant Stewart -- blowing here in a tribute to Sonny Rollins, with a tone that's got all the bold inventiveness of the master! The album's got a simple, unadorned approach -- perfect for getting back to that classic Rollins groove of the late 50s and early 60s -- with Grant's tenor proudly in the lead, but getting tight rhythm support from the trio of David Hazeltine on piano, Peter Washington on bass, and Phil Stewart on drums! All tunes are either Rollins originals, or tunes he recorded famously as jazz instrumentals -- and titles include "Airegin", "Mack The Knife", "Alfie's Theme", "St Thomas", "Paradox", and "The Most Beautiful Girl In The World". © Dusty Groove, Inc. 

Birds Records, XQDJ-1016, 2010
Recorded 16th March, 2010 at Sear Sound Studio, New York 

Musicians:
Grant Stewart - Tenor Sax, Arranger
David Hazeltine - Piano
Peter Bernstein - Guitar
Peter Washington - Bass
Phil Stewart - Drums 

Tracks:
1. Moritato [Mack The Knife] {Kurt Weill} (5:53)
2. Airegin {Sonny Rollins} (6:12)
3. Alfie's Theme {Sonny Rollins} (6:19)
4. You Are Too Beautiful {Richard Rodgers} (8:43)
5. St. Thomas {Sonny Rollins} (6:29)
6. The Most Beautiful Girl In The World {Richard Rodgers} (6:54)
7. Paradox {Sonny Rollins} (6:42)
8. Manhattan [I'll Take Manhattan] {Richard Rodgers} (8:18) 

Total Time: 55:32 

Credits:
Producer - Shigeyuki Kawashima
Executive-Producer - Masaharu Hori
Recording Engineer - Brian Pugh
Assistant Engineer - David Schoenwetter
Mastering Engineer - Kazuhiro Yamagata
Photography [Musician] - Mayumi Nashida
A&R - Satoshi Miyano
Design - POB Design

LINK

Paradox

Grant Stewart - Grant Stewart + 4 (2004)

"Grant Stewart + 4" is a widely acclaimed mainstream jazz album recorded on October 7, 2004, and released in 2005 by the Dutch jazz label Criss Cross Jazz. It is a premier hard-bop jazz album recorded by Canadian tenor saxophonist Grant Stewart. The "+ 4" backing Stewart consists of an elite New York jazz rhythm section with guitarist Joe Cohn, pianist Bill Charlap, bassist Paul Gill and drummer Willie Jones III. The album is celebrated for its deep swing and tasteful arrangements of classics alongside a few select modern jazz pieces. This is Grant's third Criss Cross date as a leader featuring spirited interplay between the tenor saxophonist and his longtime band mate, guitarist Joe Cohn. Stewart's brawny, expressive solos contrast nicely with Cohn's fleet yet temperate lines. In addition, Bill Charlap also shows on all the pieces what he can do. Overall, it is an excellent example of Grant Stewart's dazzling and powerful saxophone expertise. Well Recommended. 

Criss Cross Jazz, Criss 1269 CD, 2005
Recorded 7th October, 2004 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Grant Stewart - Tenor Sax
Joe Cohn - Guitar
Bill Charlap - Piano
Paul Gill - Bass
Willie Jones III - Drums 

Tracks:
1. You 'N' Me {Al Cohn} (7:34)
2. Yesterdays {Jerome Kern} (8:43)
3. Cohn On The Cob {Joe Cohn} (6:46)
4. Limehouse Blues {Phillip Braham, Douglas Furber} (6:01)
5. The Folks Who Live On The Hill {Jerome Kern, Oscar Hammerstein II} (9:04)
6. Sabiá {Antônio Carlos Jobim} (8:31)
7. Lonely Town {Leonard Bernstein, Betty Comden, Adolph Greene} (7:26)
8. You Leave Me Breathless {Frederick Hollander, Ralph Freed} (6:22) 

Total Time: 60:33 

Credits:
Producer, Cover Design - Gerry Teekens
Executive Producer - K. Hasselpflug
Recording Engineer - Max Bolleman
Mastering - The Masters
Photography - Gildas Boclé
Cover Design - H. Bloemendaal

LINK

Limehouse Blues

Willis Jackson with Pat Martino - Single Action (1978) [vinyl]

Willis Jackson was a tough-toned tenor who came to fame as a honker and screamer with Cootie Williams's big band in the late '40s. Although he calmed down his style a bit through the years, he always has a passionate sound and an accessible style best heard on blues, ballads and standards. This 1978 session that features Jackson with guitarist Pat Martino, organist Carl Wilson and a supportive rhythm section. Although the Barbara Streisand "Evergreen", and "You Are the Sunshine of My Life" may not seem like the best material for the tenor, he uplifts the songs. But best are a pair of hard-driving blues and a warm rendition of "Makin' Whoopee." and “Single Action”. Both give a good example of Jackson playing in a tenor style that (other than Houston Person) was quickly disappearing. ~ Extract by Scott Yanow, AMG. 

Muse Records, MR 5179, 1980
Recorded 26th April, 1978 at Van Gelder Studios, Englewood Cliffs, New Jersey 

Musicians:
Willis Jackson - Tenor Sax
Pat Martino - Guitar
Carl Wilson - Organ
Jimmy Lewis - Bass
Yusef Ali - Drums
Ralph Dorsey - Percussion 

Tracks:
A1. Evergreen {Barbra Streisand, Paul Williams} (4:46)
A2. Bolita {Willis "Gator" Jackson} (8:09)
A3. Makin’ Whoopee {Gus Kahn, Walter Donaldson} (7:01)
B1.  You Are The Sunshine Of My Life {Stevie Wonder} (7:43)
B2. Hittin’ The Numbers {Willis "Gator" Jackson} (5:03)
B3. Single Action {Willis "Gator" Jackson} (6:17) 

Total Time: 38:59 

Credits:
Producer - Willis Jackson
Recording Supervisor - Fred Seibert
Engineer - Rudy van Gelder
Cover Design - Ron Warwell/NJE
Cover Photo - Clarence Eastmond
Liner Notes - Michael Rozek

LINK

Single Action

Charlie Earland - Black Drops (1970)

The late '60s and early '70s were a very productive time for Charles Earland. At his best, the organist delivered five-star gems during that period, such as Black Talk and Living Black -- and at his worst, he provided decent, if unremarkable, albums like Black Drops. Although not in a class with Black Talk or Living Black, this Bob Porter-produced soul-jazz/hard bop LP is satisfying and generally enjoyable. Earland surrounds himself with mostly fellow Philadelphians, including tenor and soprano saxophonist Jimmy Heath, guitarist Maynard Parker, trombonist Clayton Pruden, and drummer Jimmy Turner - in fact, the only non-Philadelphian on Black Drops is trumpeter Virgil Jones. Highlights of the LP range from the driving hard bop of Earland's "Buck Green" and John Coltrane's "Lazybird" to a funky workout on Sly Stone's "Sing a Simple Song" and some mellow, congenial grooving on "Don't Say Goodbye," and Burt Bacharach's "Raindrops Keep Falling on My Head." ~ by Alex Henderson, AMG. 

Prestige Records, P-7815, 1970
Original Jazz Classics, OJCCD-1079-2, 2002
Recorded 1st June, 1970 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Charles Earland - Organ
Virgil Jones - Trumpet
Jimmy Heath - Tenor Sax, Soprano Sax, Flute
Clayton Pruden - Trombone
Maynard Parker - Guitar
Jimmy Turner - Drums 

Tracks:
1. Sing A Simple Song {Sylvester Stewart} (5:44)
2. Don't Say Goodbye {Charles Earland} (7:09)
3. Lazy Bird {John Coltrane} (7:18)
4. Letha {Charles Earland, Leon Fisher} (7:23)
5. Raindrops Keep Falling On My Hand {Burt Bacharach, Hal David} (3:48)
6. Buck Green {Charles Earland, Leon Fisher} (7:17) 

Total Time: 38:42 

Credits:
Producer, Supervisor - Bob Porter
Recording Engineer - Rudy van Gelder
Remastering - Kirk Felton [Fantasy Studios, Berkeley, 2002]
Liner Notes - Sonny Hopson

LINK

Buck Green

Kenny Werner - Paintings (1992)

‘Paintings’ is a highly acclaimed 1994 jazz album composed and led by the world-class American jazz pianist Kenny Werner. It is not a display of physical canvas art, but an audio gallery where each track serves as a musical interpretation of famous painters, art movements, or visual concepts. The track "Kandinsky" earned Werner a Distinguished Artist Award for Composition. The album structure behaves like a walkthrough of an art exhibition with the complex compositions brought to life by a stellar lineup of avant-garde and post-bop jazz musicians. Joining Kenny on piano and synthesisers is trumpeter Tim Hagans, tenorist Billy Drewes, violinist Mark Feldman, cellist Erik Friedlander, bassist Ratzo Harris and drummer Tom Rainey. Othe guests include Richard Martinez on synthesizers, percussionists Cafe Edson Adasilva and Jamie Haddad and vocalist Judi Silvano. Overall, the album is powerful showcase of Kenny's writing and musical skills enhanced by an equally adept group of players. 

Pioneer Records, PICJ-1101, 1994
Digitally recorded April, 1992 at Skyline Studios, New York 

Musicians:
Kenny Werner - Piano, Synthesizers
Tim Hagans - Trumpet
Billy Drewes - Tenor Sax
Richard Martinez - Synthesizers (#1,5)
Ratzo Harris - Bass
Erik Friedlander - Cello
Mark Feldman - Violin
Tom Rainey - Drums
Cafe Edson Adasilva - Percussion (#1,5)
Jamie Haddad- Percussion (#3)
Judi Silvano - Vocals (#6-8) 

Tracks:
1. Light / Hello Dali (6:53)
2. Pablo (5:52)
3. Renoir / Waterlillies (8:07)
4. The Cubists (3:49)
5. One Hundred Flowers (6:14)
6. Fire In The Evening (6:18)
7. Jackson Five (3:55)
8. The Vowel Song (5:16)
9. Kandinsky / Back To Light (4:16) 

All compositions by Kenny Werner 

Total Time: 50:40 

Credits:
Producer - Takao Ogawa
Executive-Producer [Pioneer LDC] - Kunihiko Otsuka
Digital Recording, Mixing & Music Editing, Midi Programming - Paul Wickliffe
Engineer [Assistant] - Dave Schiffman, Hiro Ishikawa
Mastering Engineer - Masayuki Makino
A&R [International, Pioneer LDC] - Hiro Asano
Art Direction, Cover Art, Design - Shinya Isshi
Photography [Artist Photos] - Shinsuke Yamamoto

LINK

The Cubists

Art Farmer with Joe Henderson - Yama (1979) [re-rip]

Forty-four years ago, one of the last of the original CTI releases found its way onto American record-store shelves. But hardly anyone noticed. The shame of it is that Art Farmer and Joe Henderson’s Yama is a terrific record - and one that pointed the way to a new "CTI sound" that could have accorded well in the post-fusion Eighties. Surprisingly, Yama represents the only time trumpeter Art Farmer had ever recorded with Joe Henderson - though, even here, they may not have been in the studio at the same time. The label’s waning fortunes at the time likely prevented any further releases by Joe Henderson on CTI. But you have to wonder what else may have been recorded and remains unreleased. Interestingly, both Farmer and Henderson were born in Iowa. But it’s there the similarities end. Farmer got his chops in Los Angeles while Henderson honed his in Detroit and a later stint in the Army. Farmer had long been in New York by the time Henderson arrived in the early Sixties. How Farmer and Henderson’s paths ever crossed in the first place is something of a miracle. Yama is that miracle, one of two paths that really should have crossed much more often but surprisingly didn’t. The record was recorded in April 1979 (and there is likely much more than the five tracks heard here) and although it was announced as a forthcoming release later in the year, CTI ran out of funding and this and several other discs were not released stateside. Yama was, however, issued in Japan that year but was not released in the US until May 1982. The record’s sound and success - and, most likely, its programming - are due in no small measure to the participation of composer, arranger, producer, keyboardist, percussionist, and, oh yeah, vibes player Mike Mainieri. "In Yoga," the liner notes tell us, "Yama is the first rung on the ladder toward the gateway to self-realization. Yama is also the Japanese word for mountain." According to Julian "Cannonball" Adderley’s approach to his art. "First you get together with yourself. Then you get together with your instrument. Finally, you arrive at direct communication - with the people you are playing with and those you are performing for." For this listener, Yama is a success that leaves you wanting more. And that’s its only fault: Yama ends after a mere 33 breezy minutes. ~ Extract by Doug Payne. 

CTI Records, CTI 9000, 1979
Recorded and Mixed April, 1979 at Power Station Studios, New York 

Musicians:
Art Farmer - Flugelhorn
Joe Henderson - Tenor Saxophone
Don Grolnick, Warren Bernhardt, Fred Hersch - Keyboards
Mike Mainieri - Synthesizer, Vibraphone, Arranger
David Spinozza, John Tropea - Guitar
Eddie Gomez - Bass
Will Lee - Electric-Bass
Steve Gadd - Drums
Sammy Figueroa - Percussion
Suzanne Cianni - Synthesizer Programming

Tracks:
A1. Dulzura {Clare Fischer} (8:21)
A2. Stop [I Think Again] {Barry, Robin & Maurice Gibb} (4:08)
A3. Young And Fine {Joseph Zawinul} (6:26)
B1. Lotus Blossom {Don Grolnick} (6:43)
B2. Blue Montreux {Mike Mainieri} (7:12) 

Total Time: 32:53 

Credits:
Producer - Creed Taylor
Associate Producer, Arranger - Mike Maineri
Engineer - Neil Dorfsman
Mastering - Rudy van Gelder
Cover Illustration - Susannah Kelly
Photography, Design [Inside] - Alen MacWeeney
Design - Neal Pozner
Calligraphy - Bernard Maisner 

An obscure late 70s set from CTI - and a near-lost chapter in the career of both artists in the title! Mike Mainieri arranged and produced the set - and the album's got a sweet, warm fusion approach that's very much like his own work - using a larger group of keyboards, vibes, bass, and percussion to set up backgrounds for solos by Farmer on flugelhorn and Joe Henderson on tenor! The mode's nicely colorful - different than early 70s CTI - and although the tracks have electric components, the main glow in the set seems to come from the horns. Players include Mainieri on vibes, Don Grolnick and Warren Bernhardt on keyboards, John Tropea on guitar, and Suzanne Ciani on electronics - and the approach is actually quite nice, and more sensitive than you'd think - with almost a soundtrack sort of feel overall. Titles include "Blue Montreux", "Lotus Blossom", "Dulzura", and "Stop". © Dusty Groove, Inc.

LINK

Young And Fine

Adrian Mears - New Orleans Hard Bop

KingCake 2012:

I put this one up 2 or 3 years ago but I think it can stand another run. The name of this band may throw you off as I don't really associate their music with any New Orleans style and the only member with any connection to here is drummer Jeff Boudreaux who went to Loyola with my friend Scott. The music does, however, borrow elements of New Orleans jazz and it also shares the fundemental aspect of being a whole lot of fun.

Mears is another lesser known modern trombone player of remarkable talent,which also connects this post to the earlier Marty Cook post, even if the music isn't all that similar.

I can't tell you much about the players as I simply don't know them beyond Mears being Dutch and Boudreaux being from Louisianna. The only player I have any other experience with is pianst Peter Madsen whom I know through his fascinating 'Snuggling Snakes' album.

I've been giving the album a spin while I write and I find each song a fresh and entertaining ride with both strong solo and ensemble playing. I spend so much time listening to older music that it is a joy to find something modern that both grabs and holds my attention. Don't pass this one up!

Rest In Peace KingCake

KC In His Wild Mardi Gras Hat 2021

Tubby Hayes - Return Visit! 1962R.I.P. KingCake

A recovery from the Crypt but with a different review and in FLAC.

Tubby Hayes - Return Visit! 1962
Fontana, 1962


1. Afternoon In Paris 5:46
2. I See My Third "I" 9:27
3. Lady "E" 3:15
4. Stitt's Tune 9:51
5. Medley: If I Had You; Alone Together; For Heaven's Sake 7:24

 Tubby Hayes tenor sax, vibes; Roland Kirk tenor sax, manzello, flute, nose flute, stritch; Jimmy Gloomy tenor sax, flute; Walter Bishop Jr. piano; Sam Jones bass; Louis Hayes drums


"A Saturday morning in June 1962 and Tubby Hayes arrives at the recording studio on West 48th Street in New York City. A session has been slated for later that day with a pick-up group. None of the group has been aware of the date until the night before. One by one they wander in. All have been playing spots in various clubs until the early hours. Introductions are made. One member wonders who Tubby Hayes is, asks if he's a rock `n' roll singer. This is Jimmy Gloomy, not his real name, as he probably shouldn't be there at all - contractual reasons. Memories of Louis Armstrong: "It wasn't me, sir. I won't do it again".

Midday arrives and producer Quincy Jones suggests maybe they get started. But what to play? They don't have a play list, have never rehearsed. Apart from pianist Walter Bishop Jnr, Tubbs has never met any of them. Quincy suggests they warm up with a blues, and they choose `Stitt's Tune`, the theme of Tubb's old band The Jazz Couriers - Tubbs and Gloomy on tenor sax, Roland Kirk providing counter melody on manzello and stritch, his customary hybrid horns. Next it's a minor blues - a Kirk original `I See With My Third "I"', then a ballad medley, including `Alone Together', one of Tubbs' favourites. Next Tubbs switches to vibes for `Afternoon In Paris', with solos from Kirk and Gloomy on tenors and Bishop on piano, and an unrehearsed coda from one-man brass section Kirk on tenor, manzello and stritch. They round off the session with another Kirk original `Lady "E"', with Tubbs still on vibes and Kirk on flute. And then they're through. Just time for bassist and drummer Sam Jones and Louis Hayes to get to Birdland and Kirk to the Five Spot for their first sets, and for Tubbs to return to the UK. In the space of just a few short hours they've recorded an exciting and memorable jazz album. That's how it was and them were the days."
By David Baxter.

Jim Pepper - Polar Bear StompR.I.P KingCake

Certainly Jim Pepper has been one of my feature guys from the earliest days of this blog. When I think of it, Jim Pepper, Roland Kirk and Booker Ervin were the three saxophone voices I was obsessed with in the first year of the Crypt. Here is a re-visitation of a Pepper rarity in a seriously up-graded form with flac's and covers...the whole shebang!

"This trio album was made less than a year before Jim died at age of 50. The show was recorded at an obviously tiny club in Austria and has a real intimate feel to it. I've never heard of bassist Wayne Darling or drummer Bill Elgart but they are both quite good and fill their roles admirably. Darling in particular has some great moments, beginning with his sneaky lead into Greensleeves. The song starts out with what sounds like a bit of tune-up noodling and Pepper joking with someone in the background but Darling keeps going until suddenly he is playing the opening bass line from Coltrane's version on Africa Brass and soon Jim and Elgart jump into a wonderfully free and open version of the song. This album grows on me each time I hear it so if you're not thrilled on first listen, give it a couple more chances. I didn't much like Sonny Rollins' trio stuff at first either but now I love it and this album is charting a similar course for me."

Since I wrote that I've learned to love this album even more as a wonderfully warm and personal statement from a man near the end of his road. Jim's giant soul really shines out of this recording. Thank God this gem was preserved! 

R.I.P KingCake who passed away on July 2 from complications from a stroke. 

This was one of his earliest posts on the resurrected Crypt. ~ grumpy

Al Cohn - Play It Now (1975) [vinyl 24/96]

 

Notes courtesy of KingCake:
Xanadu became the platform for a resurgence by the great tenor player Al Cohn in the mid 70's. You may be more familiar with Al's work as one of the Four Brothers or any of the great duo albums with Zoot Sims but here you have Al in an intimate quartet. Cohn was a decidedly unique player, probably the most complex of The Brothers (Getz, Sims, Marsh and Cohn). Cohn was such a prolific writer and arranger that you would expect this record to feature mostly originals but the session is mostly relaxed standards which reveal Al's tone and personal vision. Barry Harris is here joined by two different but equally talented trio mates - listen to one of the other Xanadu dates where he is with Leroy Vinnegar and Billy Higgins and compare it to this - it is fascinating.

You're My Everything
Lover
Play It Now
Irrestible You
Georgia on My Mind
It's Sand, Man!

Al Cohn (ts) Barry Harris (p) Larry Ridley (b) Alan Dawson (d)
June 19, 1975

George Robert - Wingspan (2005)

George Robert, one of many fine alto saxophonists influenced by Phil Woods, has long been an important player on the European scene, though he has had limited exposure in the U.S. This Blue Note CD, issued only in Europe, features 11 strong originals by Robert, accompanied by an all-European rhythm section consisting of pianist Thierry Lang, bassist Heiri Känzig, and drummer Peter Schmidlin. Starting with the opening track, "Wingspan," Robert's rich alto stands out, with Känzig's arco bassline assisting the piece in taking flight in the introduction, while everyone is generously featured. "The Mountain" is a melancholy ballad with Robert playing soprano sax, dedicated to the memory of Bob Berg, a potent saxophonist who had died a few years earlier in a car crash. "Titi" is also a poignant composition, showcasing the rhythm section for the first third of the arrangement, with the leader making a delayed appearance on clarinet, played with a lyricism that matches his voice on alto and soprano sax. The robust "Blues for Trane" is a richly textured 12-bar blues that builds upon the contributions of the late tenor sax giant. This European import is well worth acquiring. ~ by Ken Dryden, AMG. 

Blue Note Records, 3668932, 2006
Recorded 17th & 18th October, 2005 at Studio La Buissonne, Pernes-Les-Fontaines, France 

Musicians:
George Robert - Alto Sax, Soprano Sax, Clarinet
Thierry Lang - Piano
Heiri Känzig - Bass
Peter Schmidlin - Drums 

Tracks:
01. Wingspan (5:26)
02. Together (5:17)
03. Free Spirit (5:08)
04. The Mountain (4:54)
05. Shu Mei (4:42)
06. Tomorrow (4:33)
07. Titi's Song (5:05)
08. Teo (4:50)
09. Chant For Peace (5:05)
10. Blues For Trane (6:57)
11. New Life (5:40) 

All compositions by George Robert 

Total Time: 58:41 

Credits:
Producer, Liner Notes - George Robert
Executive-Producer - Jim Beach
Recording & Mixing - Gérard DeHaro
Mastering - Thomas Verdeaux
Graphic Design - Nathalie Kucholl
Photography - Philippe Burdel
Liner Notes - Bob Mintzer

LINK

Tomorrow

Alex Sipiagin - Prints (2006)

For his sixth Criss Cross release, trumpeter Alex Sipiagin focuses more heavily on his own writing than on 2005's RETURNING. Clearly rooted in the jazz tradition, Sipiagin's compositions continue to evolve his distinctly modernistic approach to harmony, meter and form. The ever-inventive and ever-supportive bassist Scott Colley is back from RETURNING, as is drummer Antonio Sanchez, who continues to demonstrate a remarkable ability to combine elasticity, reponsiveness and groove. Pianist David Kikoski, a longtime collaborator, broadens the textural palette through his use of the Fender Rhodes on selected tracks, while ubiquitous saxophonist Chris Potter adds both passion and elegance. Eminently approachable despite their inherent depth and complexity, Sipiagin's five compositions remain as focused and lyrical as his playing. Sipiagin reinvents Thelonious Monk's Epistrophy and Bill Evans' rarely covered Orbit (Unless It's You), both seamlessly fitting within his musical universe while remaining true to their essence. PRINTS is a definitive statement from an artist whose star continues to rise. ~ crisscrossjazz.bandcamp.com. 

Criss Cross Jazz, Criss 1292 CD, 2007
Recorded 12th October, 2006 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Alex Sipiagin - Trumpet, Flugelhorn
Chris Potter - Tenor Sax
Monday Michiru - Flute (#3)
David Kikoski - Piano, Fender Rhodes
Scott Colley - Bass, Bass Guitar
Antonio Sanchez - Drums 

Tracks:
1. Path {Alex Sipiagin} (12:34)
2. Bumpy Road {Alex Sipiagin} (9:53)
3. Prints {Alex Sipiagin} (10:21)
4. Mood 3 {Alex Sipiagin} (9:10)
5. Epistrophy {Thelonious Monk} (7:42)
6. Orbit {Bill Evans} (7:52)
7. For You {Alex Sipiagin} (4:44) 

Total Time: 62:16 

Credits:
Producer, Cover Design - Gerry Teekens
Recording & Mixing Engineer - Michael Marciano
Mastering - The Masters [Soest, The Netherlands]
Photography - Gildas Boclé
Liner Notes - Johnny Kelman 

Terumasa Hino - Hip Seagull (1977, 1990)

This is both a blueprint and a definitive masterpiece. Effortlessly transcending eras and genres, Terumasa Hino continues to captivate audiences around the world. His sound and presence are truly top of the tops. Long before Japanese jazz was labeled as “Wa-Jazz”, and even before the rare groove movement emerged, Hip Seagull has been shaking dance floors, stimulating listeners, and fascinating collectors alike. Since his debut album Alone, Alone and Alone, Terumasa Hino has remained at the forefront of the scene, consistently delivering works that can be called masterpieces in every era. Among them, this 1978 recording stands out as one of his signature achievements. From the epic title track “Hip Seagull”, which unfolds from a mystical intro into a jazz-funk journey, to the mellow and cosmic “This Planet Is Ours,” the album is filled with tracks imbued with a truly unique atmosphere. This is both a blueprint and a completed form. Hip Seagull continues to enchant the past, present, and future alike. ~ by Yusuke Ogawa, Universounds, Deep Jazz Reaity. 

Flying Disk, VIJ-6010, 1978
JVC Records, VICJ-23023, 1990
Recorded 10th-11th August, 1977 at Victor Studios, Tokyo;
15th December, 1977 at Sound Ideas Studios, New York 

Musicians:
Terumasa Hino - Trumpet
Kohsuke Mine - Tenor Sax, Soprano Sax
John Scofield - Guitar
Mikio Masuda - Acoustic Piano, Fender Rhodes
Clint Houston - Acoustic Bass, Fender Bass
Motohiko Hino - Drums (#1)
George Ohtsuka - Drums (#2-4)
M'tume - Congas, Percussion, Vocals
Kimiko Kasai - Vocals (#3)
Tawatha - Vocals (#2) 

Tracks:
1. Hip Seagull {Terumasa Hino} (16:07)
2. This Planet Is Ours {Harry Whitaker} (6:57)
3. Fall {Wayne Shorter} (6:31)
4. Life Trip {Clint Houston} (7:38) 

Total Time: 37:14 

Credits:
Producer - Kiyoshi Itoh, Yukio Morisaki
Executive-Producer - Toshinari Koinuma
Recording & Remixing Engineer - David Baker
Engineer [Assistant] - Tamaki Bekku, Yoshiyuki Kubo
Coordinator - Tetsuya Shimoda
Cover Design - Lindow Sasa
Photography - Kazumi Kurigami
Liner Notes - Yohzoh Iwanami

LINK

Life Trip

Ernie Krivda - Ernie Krivda Jazz (1991)

The legendary, if obscure tenor saxophonist Ernie Krivda is heard here performing six originals (including "The Bozo" and "Blues for Two," the latter a duet with bassist Jeff Halsey) and three familiar standards ("Autumn Leaves," "Over the Rainbow," and "Love for Sale") with four different bassists, two different drummers, sometimes guitarist Bob Fraser and, during one song, pianist Joe Hunter. In addition, Pete Selvaggio plays accordion on two songs, and there are guest appearances by trombonist Pat Hallaran and a pair of trumpeters on one song. Krivda, who seems incapable of playing an uninspired solo, is typically high-powered and extroverted throughout this post-bop outing. ~ by Scott Yanow, AMG. 

Cadence Jazz Records, CJR 1049, 1992
Recorded January, 1991 (#1,7,9), March, 1991 (#2), June, 1991 (#3,8,10)
and August, 1991 (#4,5,6) at Midtown Record Studio in Cleveland, Ohio, US 

Musicians:
Ernie Krivda - Tenor Sax
Dennis Reynolds, Mike Hazlett - Trumpet (#3)
Pat Hallaran - Trombone (#2,3,8,10)
Bob Fraser - Guitar (#1,3,7-10), Acoustic Guitar (#2)
Joe Hunter - Piano (#2)
Chris Berger - Bass (#1,7,9)
Gary Aprile - Bass (#3,8,10)
Roger Hines - Bass (#2)
Jeff Halsey - Bass (#4-6)
Paul Samuels - Drums (#2,3,8,10)
Scott Davis - Drums (#1,8,10)
Pete Selvaggio - Accordion (#1,2) 

Tracks:
01. Old Vienna {Ernie Krivda} (8:43)
02. Irv's At Midnight {Ernie Krivda} (7:56)
03. The Bozo {Ernie Krivda} (6:47)
04. Autumn Leaves Variations {Joseph Kosma, Johnny Mercer, Jacques Prévert} (3:54)
05. Blues For Two {Ernie Krivda} (3:33)
06. Other The Rainbow {Harold Arlen, E.Y. "Yip" Harburg} (3:57)
07. The Song Is You {Oscar Hammerstein II, Jerome Kern} (6:33)
08. In Pursuit Of Hip {Ernie Krivda} (6:13)
09. Little Face {Ernie Krivda} (7:33)
10. Love For Sale {Cole Porter} (8:54) 

Total Time: 64:07 

Credits:
Producer - Ernie Krivda
Producer [Cadence Records], Cover - Bob Rusch
Executive-Producer - Tom Lord
Engineer - Pete Tokar
Assistant Editing Engineer - John Koschik
Layout - Susan Rusch
Photography - Randy Norfus
Typography - Hillary J. Ryan

LINK

Irv's At Midnight

Kjell Jansson Quartet - Zonk (2002)

“Zonk” is Kjell Jansson’s fourth album as leader, and consists of nine original compositions and Vernon Duke’s "I Can’t Get Started." It was recorded August, 2002 in concert at the Gerlesborg School of Fine Arts. The music is cleanly articulated but not without spontaneity or passion, and Jansson and his mates comprise a talented post-bop unit that acquits itself well on every number. Jansson’s compositions are more than window-dressing, serving as provocative springboards for lively and rewarding improvisation by each member of the group. There’s humor too, as on "Ant Steps," which Jansson describes as "an abbreviation of Coltrane’s ‘Giant Steps’." Tenor saxophonist Gilbert Holmström sits in for Trane. Holmström and drummer Rune Carlsson take a coffee break on "I Can’t Get Started" and "In the Shadow," a tribute to Duke Ellington’s legendary bassist Jimmy Blanton, where pianist Tommy Kotter plays counterpoint to Jansson’s resonant arco bass. Kjell says "I Can’t Get Started" has been a favorite song of his since he heard it performed by Charles Mingus. "Zonk" is a sixteen-bar blues theme, "Italian Wood" a groover whose title acknowledges its resemblance to the Beatles’ "Norwegian Wood." Jansson wrote the lovely "Morgon" (Morning), introduced by Kotter’s expressive piano, as an homage to nature; the groovy "Movin’ East" denotes the quartet’s move from its home in Gothenburg to a more rural location nearby. "Bassistic" is a thirty-two-bar blues composed from the bass rather than the piano, "For My Lady" an ardent love song to Jansson’s wife of more than thirty years. The quartet earns high marks for resourcefulness and craftsmanship, the album for its excellent sound and generous playing time. This is on a par with much of the contemporary small-group music being played in this country. ~ Extract by Jack Bowers, AAJ. 

Dragon Records, DRCD 384, 2002
Recorded 24th & 25th August, 2002 Live at the Gerlesborg School of Fine Arts, Sweden 

Musicians:
Kjell Jansson - Bass, Composer, Arranger
Gilbert Holmström - Tenor Sax (#1-3, 5-7,9,10)
Tommy Kotter - Piano
Rune Carlsson - Drums (#1-3,5-7,9,10)

Tracks:
01. Zonk {Kjell Jansson} (9:26)
02. Italian Wood {Kjell Jansson} (4:57)
03. The Pearl {Kjell Jansson} (7:19)
04. In The Shadow {Kjell Jansson} (2:21)
05. Ant Steps {Kjell Jansson} (5:18)
06. Morgon [Morning] {Kjell Jansson} (7:39)
07. Movin' East {Kjell Jansson} (8:03)
08. I Can't Get Started {Vernon Duke} (4:04)
09. Bassistic {Kjell Jansson} (7:49)
10. For My Lady {Kjell Jansson} (7:26) 

Total Time: 64:25 

Credits:
Producer, Mixing, Liner Notes - Kjell Jansson
Executive-Producer - Leif Collin
Engineer, Mixing - Åke Linton
Digital Mastering - Kenneth Svensson [Digitalfabriken]
Photography - Rolf Ohlson
Liner Notes [Translation] - Dave Castle

LINK

“Ant Steps”

Stefano D'Anna Quartet - Carousel (1998)

Here is even more music from the Sonny Rollins of Italian jazz. This is perhaps an unfair tag to put on tenor saxophonist Stefano D'Anna. The dub comes not from the fact that D'Anna plays so much like Rollins as much as it is his stature -- the manner in which he carries himself, solos, and leads a band. In this case it is guitarist Fabio Zeppetella, bassist Pietro Ciancaglini, and Roberto Gatto on drums. The band plays a solid program of D'Anna compositions that range from modern spires of post-bop intelligence ("Coolwalk," "Coasting") to romantic balladry that is so sweet only a master could pull it off without sounding maudlin ("La Valse," "Elena"), and D'Anna and his band make these tracks drip with taste, elegance, aplomb, and mid-tempo blues-outs that offer a deeper view into the inner workings of a quartet ("Carousel," "Seven Years," "Have a Nice Day"). Particularly fascinating is the interplay between D'Anna and Zeppetella, who is a very strong and imaginative soloist in his own right. The two rarely square off, but continually mark each other's paces and inspire to new heights the melodic nuances of D'Anna's harmonic construction. The set closes with "Southern Comfort," an eerie ballad of moody reserve and spatial intervals. It's a curious choice to close a recording in that it never really catches fire, but perhaps, sitting on the outer margins of his oeuvre, this is just what it's supposed to do, as guitar and saxophone trade long fours and the rhythm section just shimmies through the ever-changing meters. But it's a beautiful whisper, too -- one that is fragmented and silky at the same time. D'Anna, though fully mature as a saxophonist, is still, like Sonny Rollins, growing into his music and his sound. To be continued. ~ by Thom Jurek, AMG. 

Splasc(H) Records, CDH 666.2, 1998
Recorded 16th & 17th February, 1998 at Coltempo Studio, Rome, Italy 

Musicians:
Stefano D'Anna - Tenor Sax
Fabio Zeppetella - Guitar
Pietro Ciancaglini - Bass
Roberto Gatto - Drums

Tracks:
1. Carousel (7:21)
2. Coolwalk (6:07)
3. Elena (8:35)
4. Coasting (7:08)
5. Seven Years (6:51)
6. Have A Nice Day (6:09)
7. La Valse (7:41)
8. Southern Comfort (5:33) 

All compositions by Stefano D'Anna 

Total Time: 55:28 

Credits:
Producer - Associazione "Macchina di Suoni" for Splasc(h) Records
Recording & Mixing Engineer - Simone Ciammarughi
Graphic Design - Luigi Naro
Cover Art - Peppo Spagnoli
Photography - Antonio Siragusa, Mauro D'Agati, Roberto Randazzo
Liner Notes - Davide Ielmini

LINK

Seven Years