John Handy Concert Ensemble - Projections 1968

This was posted at the old Crypt some 3 years back, it was a contribution from grumpy long before he was an author here and he tells me it came an ancient down load from before the blogging era. It also represents the next step in revisiting the career of Mike Nock.

The Sixties were a great era for John Handy, from his historic 1965 appearance at Monterey on, he rocked the jazz world with a series of terrific and inventive albums.
On this album he has both Michael White and Mike Nock who would shortly leave to form The Fourth Way. The music dances on the edge of free jazz without ever fully crossing over, I would put in the spiritual jazz category if you needed a label for it but mostly it is just great music. The compositions are all originals by members of the ensemble and even today it maintains a wonderful freshness. Sadly Handy would never achieve the level of popularity and recognition he deserved despite having a crossover hit in the 70's with 'Hard Work'. Even today as a jazz educator at San Francisco State he remains criminally under recognized outside of the Bay Area.

Cozy Cole And His All Stars

Hey gang.  This is a wonderful, swingin album filled with exciting, inventive solos and uptempo jazz.  The jacket has no info on the back, simply listings for more titles from Paris Records.  I was under the impression that this was a Cole album, but that's not fully the case.

Big thanks to our Crypt brother yewsta.  He gathered all the info and as it turns out, the album is quite the mash-up of artists.  That said, it's still a worthwhile side with some classic jazz.  Lots of star power throughout which gives us some really inspired soloing, and really tight swing.

I did my best to restore this album, which is far from mint.  Overall it's quite listenable, with varying fidelity due to the source material used by Paris.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Paris Records P-122
Originally released on Plymouth P-12-155
1944, 1945, 1955

November 14 1944 (01 02) - Cozy Cole (New York)
November 21 1944 (03 06) - Cozy Cole (New York)
May 02 1955 (12) - Henri Carels Jean Fanis (Brussels)
August 22 1945 (04 05) - Timme Rosenkrantz and His Barons (New York)
August 1955 (07-11) - Herman Sandy's Quartet (Brussels)

Timme Rosenkrantz - leader (04 05); Charlie Shavers - trumpet (01-03 06); Herman Sandy - trumpet (07-11); Henri Carels - trumpet (12)
Otto Hardwick - alto (04 05); Johnny Bothwell - alto (04 05); Walter Foots Thomas - alto, tenor (01 02)
Coleman Hawkins - tenor (01-03 06); Don Byas - tenor (03 06); Charlie Ventura - tenor (04 05)
Harry Carney - baritone (04 05); Hank D'Amico - clarinet (01-03 06); Roger Asselberghs - clarinet (12)
Red Norvo - vibes (04 05); Clyde Hart - piano (01 02); Johnny Guarnieri - piano(03 06)
Jimmy Jones - piano (04 05); Jean Fanis - piano (07-12); Tiny Grimes - guitar (01 02)
Slam Stewart - bass (01-03 06); John Levy - bass (04 05); Jean Warland - bass (07-11)
Nick Klechkovsky - bass (12); Cozy Cole - drums (01-03 06); Specs Powell - drums (04 05)
Freddie Rottier - drums (07-11); Leon Bodash Demeuldre - drums (12)

Al Grey - Basic Grey

Mwha...MMMwhaaaaaaaa.

That one of a kind, distinct sound was Al Grey's calling card. Infact, he literally wrote the book on it. Grey's career is the stuff of jazz legend, setting the bar for all who follow. He did it all...composer, arranger, player, performer, recording artist, author, educator and all around purveyor of all things jazz.

Al Grey played for years with Count Basie, but luckily for us, set out to lay down his own path. For the most part, he brought his Basie bandmates along forming firstly the Al Grey/Billy Mitchell sextet, and The Basie Wing. During the 60's he recorded several wonderful sides for Argo/Cadet, the jazz arm of Chess Records.


Basic Grey is a collection from his Argo sessions. More specifically, it's actually 3 full length sides released on two LPs. This album was released on the Chess Jazz Masters Series, which took a close look at their jazz catalogue, re-issuing some greats. Unlike many of the two-fers that Prestige or Riverside released, Chess decided to give the listeners the full experience of each album, even keeping the track listings as they originally appeared. We are treated to Snap Your Fingers, The Al Grey/Billy Mitchell Sextet and The Last Of The Big Plungers. "Sextet" is actually a live album, recorded in NYC.

I will keep this review limited to generalizations. Clearly from the list of sidemen, this collection is a monster. Grey favours larger groups as far as the "small" group goes, usually between 6 - 9 players. The front line is generally weighed down with brass and as a result is real, real heavy. Dynamically the impact is just like a big band...fantastic.


All manner of tunes are called upon, but the consistent theme with Al Grey is the blues. It's best fit to his style, and he is relentless during a full on blues jam.


This double set is in NM condition. The fidelity of these recordings is outstanding making these transfers a real joy. Of course, they were ripped at 24/44.1 wav and dithered to 16/44.1 FLAC. The tracks from the live set are best enjoyed with no dead space or cross fade between. I have included all images from the original gatefold, and the notes will help to guide anyone wishing to re-tag these into single sides. And here we go again...Crypt style!! Enjoy!!

Snap Your Fingers:
Al Grey (tb); Billy Mitchell (ts); Dave Burns (tp); Bobby Hutcherson (vibes); Floyd Morris (p); Herman Wright (b); Ed Williams (d) also Al Grey (tb); Billy Mitchell (ts); Donald Byrd (tp); Herbie Hancock (p); Bobby Hutcherson(vibes); Herman Wright (b); Ed Williams (d)

The Last Of The Big Plungers: Al Grey (tb); Bennie Powell (tb); Joe Newman (tp); Billy Mitchell (ts); Charlie Fowlkes (bs); Floyd Morris (p); Ed Jones (b); Sonny Payne (d)

The Al Grey/Billy Micthell Sextet: Al Grey (tb); Billy Mitchell (ts); Henry Boozier (tp); Gene Kee (p); Art Davis (b); Jule Curtis (d); Ray Barretto (c)

Open to the public...

... a place for everything BUT jazz.  Hope to see you there.  No archive - so grab em while they're hot.  The pic is hyperlinked for your convenience.

Bennie Green - Back On The Scene (1958) [vinyl>flac]

It's evident from the opening pair of Latin-flavored performances that Back on the Scene is one of Bennie Green's most diverse efforts. Green's warm, supple tone and fondness for swinging, bop-influenced mainstream jazz and jump blues hasn't disappeared; he's just found new facets in his style. The infectious Latin rhythms on Cole Porter's "I Love You" and "Melba's Mood" are welcome, as is "You're Mine You," which showcases Green's sensitive ballad style. Reviving the standard "Just Friends" emphasizes the trombonist's ties to big band and bop, particularly through tenor saxophonist Charlie Rouse's strong solos. The jumping "Bennie Plays the Blues" and "Green Street" are also terrific, finding Green, Rouse and pianist Joe Knight trading full-bodied solos. Even with this vast array of styles, Back on the Scene retains all the good-natured spirit and humor of his earlier Prestige albums. ~ Stephen Thomas Erlewine, Allmusic.com.

Blue Note, BLP 1587, 1958

Recorded 23rd March, 1958 at Van Gelder Studio, Hackensack, New Jersey

Track Listing:

A1. I Love You {Cole Porter} (6:01)

A2. Melba's Mood {Melba Liston} (5:33)

A3. Just Friends {John Klenner, Sam M. Lewis} (7:00)

B1. You're Mine You {Johnny Green, Edward Heyman} (5:16)

B2. Bennie Plays The Blues {Bennie Green} (8:24)

B3. Green Street {Melba Liston} (5:09)

Personnel:

Bennie Green - Trombone

Charlie Rouse - Tenor Saxophone

Joe Knight - Piano

George Tucker - Bass

Louis Hayes - Drums

Credits:

Producer - Alfred Lion

Recording Engineer - Rudy van Gelder

Bennie Green was one of the few trombonists of the 1950s who played in a style not influenced by J.J. Johnson (Bill Harris was another). His witty sound and full tone looked backwards to the swing era yet was open to the influence of R&B. After playing locally in Chicago, he was with the Earl Hines Orchestra during 1942-1948 (except for two years in the military). Green gained some fame for his work with Charlie Ventura (1948-1950) before joining Earl Hines' small group (1951-1953). He then led his own group throughout the 1950s and '60s, using such sidemen as Cliff Smalls, Charlie Rouse, Eric Dixon, Paul Chambers, Louis Hayes, Sonny Clark, Gildo Mahones, and Jimmy Forrest. Green recorded regularly as a leader for Prestige, Decca, Blue Note, Vee-Jay, Time, Bethlehem, and Jazzland during 1951-1961, although only one further session (a matchup with Sonny Stitt on Cadet in 1964) took place. Bennie Green was with Duke Ellington for a few months in 1968-1969 and then moved to Las Vegas, where he spent his last years working in hotel bands, although he did emerge to play quite well at the 1972 Newport Jazz Festival and in New York jam sessions. ~ Scott Yanow, All Music Guide.

Ruby Braff & Scott Hamilton Concord Session

When Ruby Braff joined the Scott Hamilton quintet in 1985, magic ensued.  Recording for the Concord Jazz label, these two giants laid down enough material for two albums.  A First and A Sailboat In The Moonlight are both treasures in the mainstream/straight-ahead jazz category.

Anyone who was here at the Crypt when I was sharing my Hamilton sides, knows how great this group was.  With Flory on the guitar, the group was a working unit touring and recording together.  With Ruby Braff added to the fray, I dare say that this is a perfect combination of players.  I'll leave that decision up to you guys.

"Moonlight" was ripped from CD using EAC, dithered to 16/44.1 FLAC.  A First was ripped from my LP at 24/44.1 wav and dithered to 16/44.1 FLAC.  The latter has some noise issues which come and go throughout the album.  The vinyl appears perfect, like all of my Concord sides, but clearly has some groove damage.  It's listenable but certainly not up to my standard.  The good news is that it's available for purchase, and I have decided to publish it here at The Crypt to give everyone a taste.  I have not published many great titles in the past because the fidelity is simply not there.  I have quite high standards for the Crypt, as do all of the great authors here.  We only wish the best for our followers.  So now that my novella is complete... enjoy!!!

Concord Jazz CJ 274/296
1985

Bass – Phil Flanigan;  Cornet – Ruby Braff;  Drums – Chuck Riggs;  Guitar – Chris Flory;
Piano – John Bunch;  Tenor Saxophone – Scott Hamilton

____________________________________________________________

A First (CJ-274)

Although it is implied with its title that this was the first collaboration between cornetist Ruby Braff and tenor-saxophonist Scott Hamilton, they had recorded a date back in December 1983 for the Swedish Phontastic label. Accompanied by Hamilton's regular quartet of the period (pianist John Bunch, guitaristChris Flory, bassist Phil Flanigan and drummer Chuck Riggs), Braff and Hamilton inspire each other and play some explosive and consistently passionate solos. Highlights include a surprisingly hard-swinging "Rockin' Chair," "Dinah," "All My Life" and "Bugle Blues." Recommended. - Scott Yanow

        A Sailboat In The Moonlight (CJ-296)

Taken from the same sessions as A First, this collaboration between veteran cornetist Ruby Braff and the relatively young tenor great Scott Hamilton lives up to its potential. With strong assistance from pianist John Bunch, guitarist Chris Flory, bassist Phil Flanigan and drummer Chuck Riggs, Braff and Hamilton are a perfect team on such joyful swing tunes as "A Sailboat in the Moonlight," "'Deed I Do," "Jeepers Creepers" and "Sweethearts on Parade." All eight selections (even the obscure "Milkman's Matinee") are well worth hearing, making this a highly recommended set. - Scott Yanow

Ted Curson & Bill Barron Quintet - Now, Hear This!!

I must start by saying how proud i am to be a part of The Crypt.  Looking down this main page I see a list of wonderfully rare and solid sides.  I also see a community which reaches out to say something, which makes this place a cut above.  Everybody should be really pleased with how redux has turned out, both followers and authors.

Now... much like Impulse! was breaking their modern mold by recording an artist like Basie, Audio Fidelity also enjoyed shaking things up.  Like all of their recordings from this era, this album is a stone cold classic.  As far as Curson and Barron go, this is one of my favorites and arguably one of their best sides.

For anyone lucky enough to be landing on these artists for the first time, buckle up!!  This is a duo of jazz legend - think Morgan/Shorter, Henderson/Shaw or Farmer/Golson.  Now, Hear This! stands up as a bop influenced classic with gorgeous playing and interaction from the entire group.  It's a must hear, so rather than reading my seemingly limitless blathering... grab it and sit down!

The blog formerly known as the Crypt - reduxless that is - had a wonderful archive of Ted Curson and Bill Barron.  Infact, I may be wrong but I think Chris and KC had amassed all of their studio sides.  Hopefully we can bring back a bit of that glory here in reduxland.  This album was ripped from my minty and flawless LP at 24/44.1 wav, and dithered to 16/44.1 FLAC... enjoy!!!

Audio Fidelity AFSD6123
1963

Eddie Davis Trio featuring Shirley Scott (1958) [vinyl>flac]

In keeping with the festive season this LP is quite appropriate to start off a New Year.

The album's reviewer sums this LP up as Simple! Unpretentious! And Joyful!

"Good Cheer is the substance of this album. It opens with a beat and closes with a beat and barrels along from beat to beat with - you guessed it! - a beat. From all of this you might gather that this is a swinging album. And of course it is. Any album by Eddie Davis must be. But it is something more as well: it is a joyful album. There are least two ways to clutter up performances such as these. One is to blow so hard that all sweetness and charm disappear. The other is to turn everything into the first riff that emerges naturally from the melody or the chords. Eddie and Shirley hold firm against both temptations. .......Nobody stays in the background for long in this set. They couldn't. It isn't that kind of show. Eddie and Shirley trade solos constantly. George (Duvivier) has a couple of spots to himself. And Arthur (Edgehill) bangs happily away at everything, showing himself expert in Latin figures and in more straightforward jazz lines. All these performances are happily what they are. They make their points, never perfunctorily, but quickly enough. And that is as it should be. For this is a blowing session, a relaxed one. Listening to it, you cannot help but be of good cheer." ~ Extracts from Liner Notes by Barry Ulanov.

Roulette Records, RS 52019, 1958

Recorded March, 1958 in New York City

Track Listing:

A1. Close Your Eyes {Bernice Petkere} (2:32)

A2. Canadian Sunset {Eddie Heywood, Norman Gimbel} (4:14)

A3. Just One More Chance {Arthur Johnston, Sam Coslow} (2:58)

A4. Night And Day {Cole Porter, Fred Astaire} (3:26)

A5. Snowfall {Claude Thornhill, Ruth Thornhill} (2:18)

A6. Afternoon In A Doghouse {Eddie Davis} (3:21)

B1. A Gal In Calico {Arthur Schwartz, Leo Robin, Johnny Mercer} (3:38)

B2. [Where Are You] Now That I Need You {Frank Loesser, Don Covay} (2:36)

B3. This Time The Dream's On Me {Harold Arlen, Johnny Mercer} (3:00)

B4. There Is No Greater Love {Isham Jones, Marty Symes} (2:52)

B5. What Is There To Say {Vernon Duke, Yip Harburg} (2:27)

B6. Fine And Dandy {Kay Swift, Paul James} (3:10)

Personnel:

Eddie Davis - Tenor Saxophone

Shirley Scott - Organ

George Duvivier - Bass

Arthur Edgehill - Drums

Vic Dickenson Septet

Well I hope everybody had a great New Years!!  Me?  Well I took my family downtown for the 'kids' New Years celebration, which included fireworks at 9:00pm.  We had a great time and with the kids in bed, my wife and I quietly brought in the New Year with some 20 year Scotch.

This album is something I am wildly excited to share.
Compilations/reissues of this kind are exactly what we need as jazz fans.  Taking really rare and pricy albums from the past, and making the music available for a reasonable price.

The liner notes are extremely well written, and tell the whole story behind this comp, so I won't go into too much detail.  What I will say is that there is no doubt this music represents Dickenson's greatest contribution to jazz.  This double LP set, released in 1972, was taken from 4 - 10" LPs recorded in the early 50's for the Vanguard imprint.  What we now call mainstream or small group swing, really got it's beginnings from the players on these tracks.  There was a time when the big band players were in a kind of limbo, in between bebop and Dixie.  They managed to carve a niche for themselves, and Dickenson's septet help lead the charge.

Musically, most of the tunes are laid back with a jam-like feel.  The soloing is top notch and inspired.  Luckily, the fidelity is incredible from vinyl which I would categorize as only being very good.  I cleaned it up and the results are excellent.  I think you'll find there's wonderful clarity and the soloists are up front with lots of immediacy.  From what I can tell, this collection was released to CD at some point but definitely appears to be OOP.  Perhaps somebody can shed some light on that for us.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC...enjoy the first post of 2013!!!

Vanguard VRS 8520/1
1972

Vol. 1

Vol. 2

Record 1 

Tracks 1 - 5

Vol. 3

Vol. 4

Record 2 

Tracks 6 - 12