Sammy Price and his Bluesicians, 1944

Sammy Price was similar to Lonnie Johnson in that he really defied genre classification. My friend Les, who is a trad jazz player, would describe him as a blues pianist who was at home playing jazz as well. The problem with that is he predates the introduction of the piano into Blues. Sammy is a swing and stride era pianist who continued to play effectively in the bop eras but had a special affinity for blues and boogie woogie (styles in which he is considered to be more influential). If you remember the Lucky Thompson series from a year or 2 back, Lucky played with Sammy in the mid 40's too.

These recordings were done for World Broadcasting Systems in 1944 on 16" transcriptions for broadcast purposes only. The final versions first saw public release in 1984 for 2 or 3 seconds. This is the first and only release of the entire session, warts and all. The band is astounding; Ike Quebec, Bill Coleman, Joe Eldridge (Roy's older brother), and a very young Oscar Pettiford.....WHEW!

This release produced just down the block!

Count Basie - Kansas City Suite: The Music Of Benny Carter

Now here's a real classic in the Basie discography.  Penned by Benny Carter, the songs are a thematic nod to Basie's hometown.  The material has an old school big band vibe, from the heyday of the 30's and 40's.  The band handle this with great ease, and add a real modern twist.

The thing I love about these songs, are the incredible dynamics which only a high caliber band like Basie's can deliver.  They shift back and forth from roaring to quiet at the drop of a hat.  Sometimes they spring it on the listener within a beat, and other times they slowly work towards it.  In either case, the playing here is about as interesting as jazz gets.

As the band move through the suite, they are also able to convey so many moods and feelings.  That's why I love Basie so much, behind the top notch playing is always a soulful groove to capture not just your mind , but your heart too.  Sigh...  they don't make 'em like this anymore, but we can still look back.

This was ripped from my minty Forum reissue at 24/44.1 wav and dithered to 16/44.1 FLAC.  Overall it's nice and quiet, and of course has wonderful dynamics.  The bass is really well mixed and even thumps at certain points.  I still have quite a few great Basie sides to share... enjoy!!!

Roulette Records ‎– SR 52056

1960

A1 Vine Street Rumble 3:33
A2 Katy-Do 4:19
A3 Miss Missouri 5:10
A4 Jackson County Jubilee 2:30
A5 Sunset Glow 2:27
B1 The Wiggle Walk 3:53
B2 Meetin' Time 3:23
B3 Paseo Promenade 3:23
B4 Blue Five Jive 3:56
B5 Rompin' At The Reno 2:14

Count Basie (piano); 

Sonny Cohn, Thad Jones, Joe Newman, Snooky Young (trumpet); 

Henry Coker, Al Grey, Benny Powell (trombone); 

Marshall Royal, Frank Wess, Frank Foster, Billy Mitchell, Charles Fowlkes (reeds); 

Freddie Green (guitar); 

Eddie Jones (bass); 

Sonny Payne (drums).

Coleman Hawkins - Wrapped Tight (1966)

Hawkins's last strong recording finds the veteran, 43 years after his recording debut with Mamie Smith's Jazz Hounds, improvising creatively on a wide variety of material on this CD, ranging from "Intermezzo" and "Here's That Rainy Day" to "Red Roses for a Blue Lady" and "Indian Summer." Best is an adventurous version of "Out of Nowhere" that shows that the tenor-saxophonist was still coming up with new ideas in 1965. ~ Scott Yanow, All Music Guide.

As an In expression, “wrapped tight” can have a lot of meanings, all of them superlative. A girl abundantly endowed with Nature’s most attractive gifts is said to be “wrapped tight.” A jaguar swinging down the highway with Count Basie at the wheel is, in a special sense, wrapped is wrapped tight. And among musicians, because of his ability, imagination and universally recognized authority, Coleman Hawkins is assuredly wrapped tight.

The encomium can well be applied to this album, too, because it puts the great tenor saxophonist in contexts that fit him excellently. Wrapped Tight, a Manny Albam original, is one of six arrangements written by Manny that are extraordinarily successful in creating a snug, orchestral atmosphere, and this despite the limited instrumentation. More than mere points of arrival and departure, they serve to enhance the Hawkins improvisations. Enframing and supporting them, they also remove a measure of responsibility from the star’s shoulders, and his playing is in consequence the more relaxed. That he remains perfectly capable of fashioning entire performances himself is very adequately shown on Out of Nowhere and the five-minute Indian Summer, where he is accompanied by the rhythm section only.

In short, then titles wrapped tight by the man for whom the tenor saxophone was invented - Coleman Hawkins.
~ Stanley Dance, from Liner Notes.

Impulse! Records/GRP Records; AS-87/GRP 11092; 1966/1991

Recorded 22^nd February (#1-6), 1965 and 1^st March, 1965 (#7-12) at Van Gelder Studio, Englewood Cliffs, New Jersey

Track Listing:

1. Marcheta {Victor Schartzinger} (3:06)

2. Intermezzo {Pietro Mascagni} (3:38)

3. Wrapped Tight {Manny Albam} (3:27)

4. Red Roses For A Blue Lady {Sid Tepper, Roy Brodsky} (2:25)

5. She's Fit {Coleman Hawkins} (2:44)

6. Beautiful Girl {Arthur Freed, Nacio Herb Brown} (4:27)

7. And I Still Love You {Pauline Rivelli, Ruth Roberts, Stanley Clayton} (3:12)

8. Bean's Place {Bob Hammer, Buck Clayton} (2:54)

9. Here's That Rainy Day {Jimmy van Heusen, Johnny Burke} (5:22)

10. I Won't Dance {Oscar Hammerstein II, Otto Harbach, Jerome Kern} (3:21)

11. Indian Summer {Victor Herbert, Al Dubin} (5:02)

12. Out Of Nowhere {Edward Heyman, Johnny Green} (3:42)

Personnel:

Colemans Hawkins - Tenor Saxophone

Bill Berry - Trumpet (#1,2,3,7,8)

Snooky Young - Trumpet (#4,5,6)

Urbie Green - Trombone (#1,8)

Barry Harris - Piano

Buddy Catlett - Bass

Eddie Locke - Drums

Credits:

Producer - Bob Thiele

Recording Engineer - Rudy Van Gelder

Ramsey Lewis - And His Gentle-Men Of Jazz (1958) [vinyl>flac]

This is LP is the follow-up to Ramsey Lewis’ previous Argo release posted here as Ramsey Lewis - And The Gentle-Men of Swing, in 1956.
It also fills a request for feelingofjaz. Enjoy!

From their first appearance in the Chicago SRO club in the spring of 1957, the Ramsey Lewis Trio was considered, by the public and critics, one of the brightest jazz groups to appear in the jazz scene. Great jazzmen such as Dizzy Gillespie called them “A gust of fresh air on the musical scene,” and Duke Ellington said they were “A bouquet of tonal delight.” A trio with a rare combination of stimulating music and personal magnetism, the group was in the mold of the Modern Jazz Quartet—thoughtful, studious, exploratory, but possessing a quietly throbbing, thoroughly captivating beat.

This out-of-print LP (some of the contents have since come out on CD in the Decca reissue series) was the second one issued under pianist Ramsey Lewis' name and is taken from the same session as his debut. Joined by his longtime sidemen bassist Eldee Young and drummer Red Holt, Lewis plays a melodic brand of swinging bop. This version of "Delilah" (from the film Samson and Delilah) was a minor hit and other highlights include "Please Send Me Someone to Love," "Black Is the Color," "It Ain't Necessarily So" and "On the Street Where You Live." Ramsey Lewis' roots in jazz (which in later years would sometimes be hidden) is very much in evidence throughout this enjoyable trio set. ~ by Scott Yanow, allmusic.com

Argo Records, LP-627, 1958

Recorded 9th February, 1958 in Chicago

Personnel:

Ramsey Lewis - Piano

Eldee Young - Bass

Isaac “Red” Holt - Drums

Track Listing:

A1. Delilah {Victor Young} (5:21)

A2. I Get A Kick Out Of You {Cole Porter} (2:59)

A3. Please Send Me Someone To Love {Percy Mayfield} (4:03)

A4. Brother John {Traditional} (3:50)

B1. Black Is The Color {Traditional} (4:48)

B2. It Ain't Necessarily So {George Gershwin, Ira Gershwin} (2:47)

B3. Seven Valleys {Fred Katz} (5:25)

B4. On The Street Where You Live {Alan Jay Lerner, Frederick Loewe} (3:40)

Elvin Jones - Coalition (1970)

I posted this at the old Crypt a couple of years ago. It still doesn't seem to have made it to CD.

AMG review:
Drummer Elvin Jones' Blue Note sessions have long been underrated, partly because the label itself was declining during the era and also partly due to the rise of the avant-garde and fusion, which overshadowed Jones' passionate and advanced hard bop. In 1970, Elvin's band consisted of George Coleman and Frank Foster on tenors (Foster also plays bass clarinet on one number), bassist Wilbur Little, Candido on conga, and the drummer/leader. This was a particularly creative and often intense ensemble, attached to the hard bop tradition but always looking forward. On four group originals (including Coleman's "5/4 Thing") and "Yesterdays," the quintet generates a lot of heat, with the contrast between the tones of Coleman and Foster making this album (not yet reissued on CD) of particular interest.

01 - Shinjitu
02 - Yesterdays
03 - 54 Thing
04 - Ural Stradania
05 - Simone

George Coleman (ts) Frank Foster (ts, acl) Wilbur Little (b) Elvin Jones (d) Candido Camero (cga, tamb)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, July 17, 1970

Barney and More Barney at The Club St Germain

My buddy Robert (french pronunciation) didn't stop with just the Roy Haynes disc, he also included both volumes of this epic live set from The Club St. Germain featuring American expats Kenny Dorham and Duke Jordan.along with French bassist  Paul Rovere and young Swiss drummer Daniel Humair.

This is some truly lovely music played here. All the participants share a reverence for 'The Song' as opposed to pyrotechnics and gymnastics, the result is quite refreshing. Wilen is by this time 21 or 22 and a more mature player than on the Haynes set. He has scored films, recorded with Miles and several other Giants of Jazz - all in all a rather impressive resume' for such a youngster.

It would appear that these recordings have become somewhat rare since their last reissue, hope you enjoy them.

Mike Bryan And His Sextet

Now here's an album which I stumbled onto.  I have a couple of local thrift shops which I check weekly, and came upon this during my last visit.  Truthfully I had never even heard of Mr. Bryan, so I bought it based on the strength of the Storyville label.  Turned out to be a good move!!

The notes are included, and give the overview of his story, so I won't venture to deep into it.  Firstly, he is a guitar player which threw me for a loop because he's not pictured on the cover of his own album!  Nope, that's Georgie Auld in the foreground and Doc Severinson behind him.  Basically, Bryan played with Benny Goodman for a spell and then while in California, was influenced by the bop movement.  What we get here is a really progressive mainstream side, with leanings towards bop.

Side 1 is a studio session, and side 2 a live set.  Great playing from all... a really tight swing, upbeat, with fun soloing by all band members.  Mike Bryan stretches out on a couple tracks and is an excellent guitarist with a really nice tone.  If you're looking for something "new", this will fill the void.  A really great side with excellent fidelity to boot.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Storyville  SLP-4015
1981

Donald Byrd ~ Getting Down To Business (1999)

Review by Scott Yanow

Trumpeter Donald Byrd's second jazz album during his comeback after years of playing R&B/funk and then totally neglecting his horn finds him starting to regain his former form. The strong supporting cast (altoist Kenny Garrett, tenor saxophonist Joe Henderson, pianist Donald Brown, bassist Peter Washington and drummer Al Foster) sometimes overshadows the leader on this CD but the music overall (modern hard bop) is rewarding. The sextet performs originals by Byrd, Henderson, Donald Brown, Bobby Hutcherson, James Williams and Duke Ellington ("I Got It Bad").

1. Theme for Malcolm
2. That's All There Is to Love
3. Pomponio
4. Certain Attitude
5. Onliest
6. Around the Corner

Donald Byrd (t, flh) Kenny Garrett (as) Joe Henderson (ts) Donald Brown (p) Peter Washington (b) Al Foster (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, October 10 & 12, 1989

Vinyl>flac

Jazz For Playboys

During the 50's, Savoy released quite a few mainstream jam sessions.  They generally revolved around the same batch of players, mostly culled from Basie's band.  The results were excellent and most importantly, consistent.  Jazz For Playboys is no exception and overall is a pleasant ride through jazzville.

You will find that this side gets listed under Frank Wess and Kenny Burrell's names... rightly so.  They appear on all of the tracks and definitely lead the charge as far as soloing is concerned.

I thought this would be a nice break from the Basie project, while still staying in a related sound.  This minty Savoy side is a 1985 reissue, ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Savoy Jazz MG-12095

Count Basie - One More Time

Since everyone seemed to enjoy the last side so much, One More Time seemed a logical choice for our next venture.  It should be also noted that we went a bit off track by posting a Verve album - this project is supposed to be a look at Roullette.

There's a good chance that most of you will find "groovemaker" preferrable to this.  That said, One More Time is a strong album of catchy tunes.  Once again, Quincy Jones was called upon to write, and with glorious results.  The opener, For Lena and Lennie, sums up the difference of this side very nicely, a mid to low tempo statement piece.  From this point however, the band leaps into action with Rat Race - filled with glorious soloing and interaction.  Overall, this is classic Basie serving an interesting and provoking big band session.

This album has some surface noise, which cleaned up nicely.  Ripped from my stereo Forum reissue at 24/44.1 wav, and dithered to 16/44.1 FLAC.  Much like the previous post, we are treated to some wonderful fidelity.  A largely open soundstage with natural reverb between channels.  When the band digs in, the brass has that wonderful bite which only a big band can provide.  One of my favorite line ups...  enjoy!!!

Roullette R-52024
Originally released in 1959
Recorded in New York City on December 18-20, 1958
except #3, 7, 8 & 10 recorded in Chicago on January 23-24, 1959

Bass – Eddie Jones
Drums – Sonny Payne
Guitar – Freddie Green
Piano – Count Basie
Saxophone – Billy Mitchell, Charlie Fowlkes, Frank Foster, Frank Wess, Marshall Royal
Trombone – Al Grey, Benny Powell, Henry Coker
Trumpet – Snooky Young*, Joe Newman, Thad Jones, Wendell Culley
Written-By – Quincy Jones

A1  For Lena And Lennie    3:57
A2  Rat Race     2:57
A3  Quince     3:55
A4  Meet B B     3:35
A5  The Big Walk     2:55
B1  A Square At The Roundtable     2:16
B2  I Needs To Be Bee'd With     3:29
B3  Jessica's Day     4:24
B4  The Midnite Sun     Never Sets 3:34
B5  Muttnik     5:25

Roy Haynes - Modern Jazz Group Swing 10", 1954, France

 My friend Robert is a saxophonist and a Frenchman and a big fan of Barney Wilen. His feeling is that Wilen is the most melodic of players in the hard bop/post bop era. Wilen's improvisations are always close to the bone of the song, he is remarkably UN-selfindulgent in his choices. Through Robert, I have grown to appreciate Wilen too, I think he appeals to me in the same way that John Park does. This rare French 10" was Wilen's first recording, he was 17! Roy Haynes had made his own professional debut at the same age 10 years earlier but this was only his second session as a leader. A lovely little session it is too, Gourley, Renaud and Cameron all have sparkling contributions and of course Roy and Joe Benjamin are impeccable - 20 minutes of bliss.

Roy Haynes - Modern Jazz Group
Swing 10", 1954, France

1. Red Rose
2. A Mountain Sunset
3. Laffin' And Cryin
4. Minor Encamp
5. Subscription
6. Dillon

Roy Haynes,Barney Wilen,Jimmy Gourley,Jay Cameron,Henri Renaud,Joe Benjamin

Donald Byrd ~ Harlem Blues (1987)

R.I.P. Dr Donald Byrd.

Although it is probable that many of the obituaries will focus on Byrd's academic achievements and his commercial success with such as the Blackbyrds, personally I was delighted when he left the desert wastelands of fusion and returned to his roots. "Harlem Blues" was the album that heralded that return and was his first recording after a five year absence from the studios. Currently out of catalogue this is ripped from my original vinyl. If you're lucky enough to get hold of the CD it has an extra track.

Review by Scott Yanow

This Landmark release was trumpeter Donald Byrd's first jazz album in over 15 years after a long (and commercially if not artistically successful) detour into poppish R&B/funk. In the 1980s Byrd had neglected his trumpet playing in order to direct the Blackbyrds and teach. The period away from his instrument shows in spots on this well-intentioned set. Byrd gathered together four excellent players (altoist Kenny Garrett, pianist Mulgrew Miller, bassist Rufus Reid and drummer Marvin "Smitty" Smith) to play four group originals, W.C. Handy's "Harlem Blues" and "Blue Monk." Ironically Byrd's own playing was not at this point up to the level of his sidemen although his chops would improve during the next couple of years.

1. Harlem Blues
2. Fly Little Byrd, Fly
3. Voyage a Deux
4. Blue Monk
5. Alter Ego
6. Sir Master Kool Guy

Donald Byrd (t, flh) Kenny Garrett (as) Mulgrew Miller (p) Mike Daugherty (syn) Rufus Reid (b) Marvin "Smitty" Smith (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, September 22 & 24, 1987

Count Basie - L'il Ol' Groovemaker... Basie!

So I figured it's time to get back on the Basie train, as promised.  I have prepared some really killer sides, but wanted to come out with guns a-blazin!  There's many reasons that Basie was able to stay relevant through the years.  Aside from sheer talent, he also knew the importance of taking cues from other great talent.  All throughout his catalogue you will find collaborations - Basie bringing in a composer and/or arranger to help the band shine.

Quincy Jones was by this point a jazz success,  viewed as the next generation, and lent both his writing and arranging skills to this session.  I can assure you that it was a match made in heaven.  All of the tracks found on "groovemaker" are penned by Jones, and fully arranged as well.

Overall this album has a really great vibe.  Hard swingin and heavy groovin can be found through every track.  I would suggest that everyone read the liner notes, written by Stanley Dance himself.  They really do more justice than I ever could.  It should be noted that the fidelity on this side is exceptional.  The dynamics are as good as they get.  I just love the way the brass cuts through and leaps out of the speakers.  In typical Basie fashion, the band can also play as though they are a mere trio.

Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Don Wilkerson - Preach Brother!

With the release of The Complete Blue Note Sessions, Don Wilkerson seems to have finally received some long overdue recognition.  Firmly planted in the soul jazz style, he stands alongside greats like Fathead Newman, Stanley Turrentine and Hank Crawford.  It's still fascinating to me, that with the incredible popularity and exposure of Blue Note, Wilkerson can still remain a mystery to jazz fans.

You won't find any spiritual or higher powered jazz on Preach Brother!.  The order of the day is fun, upbeat jazz with a heavy leaning towards R&B.  Wilkerson is never at a loss for a funky, groovy chorus - and the band follows suit accordingly.

Obviously, most of you have this album one way or the other, as part of a collection or as a reissue.  I am offering my minty, reissued LP in hopes of capturing the few out there who need an introduction.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Ben Webster - Meets Bill Coleman (1967)

The U.S. jazz scene of the late '60s was dominated by such disparate artists as Miles Davis, John Coltrane, Ornette Coleman, Bill Evans, Stan Getz, Dave Brubeck, and others. The swing players from the '30s and '40s were out of vogue in America, but in Europe audiences still flocked to see them; hence this recording session features a British rhythm section backing tenor legend Ben Webster and trumpeter and singer Bill Coleman. While this music has no surprises, it's delightful in its relaxed swing and joyous delivery. Webster and Coleman play well off each other and the band supports the two horn men with real panache. In particular, the Django Reinhardt-esque guitar playing of Jim Douglas adds a European flair to the proceedings. Highlights include the upbeat "But Not For Me" and the delicate ballad, "For All We Know." ~ by Rovi, allmusic.com

Black Lion, BLCD-760141, 1990

Recorded 27th April, 1967 at Olympic Studios, Barnes, London, England

Track Listing:

1. Proud Horn {Bill Coleman, Ben Webster} (4:56)

2. Moonglow {Eddie DeLange, Will Hudson, Irving Mills} (5:06)

3. Satin Doll {Ellington, Mercer, Strayhorn} (4:54)

4. For Max {Bill Coleman, Ben Webster} (6:22)

5. But Not For Me [Take 3] {George Gershwin, Ira Gershwin} (4:23)

6. But Not For Me [Take 4] {George Gershwin, Ira Gershwin} (4:00)

7. For All We Know {Fred Coots, Sam M. Lewis} (5:41)

8. Sunday {Chester Conn, Nick Drake, Benny Krueger, Ned Miller, Jule Styne} (4:44)

9. Bill Coleman {Bill Coleman, Ben Webster} (6:13)

Track 2 - Previously Unreleased

Track 6 - Previously Unreleased Alternative Take

Personnel:

Ben Webster - Tenor Saxophone

Bill Coleman - Flugelhorn, Trumpet, Vocals

Jim Douglas - Guitar

Fred Hunt - Piano

Roy Rae - Bass

Lennie Hastings - Drums

This one is for PoppaChubby, he's a great lover of Swing. The music provided here was taken from the Limited Edition CD not available now. Like many Black Lion releases the sound quality can be poor. In this instance the disc was ripped to wav and optimized prior to re-encoding to FLAC for this post. The results speak for themselves. Enjoy!