David Friesen - Other Times-Other Places (1989) [vinyl>flac]

The main reason to acquire this Global Pacific release is for the fine playing of Canadian saxophonist Phil Dwyer, who is heard on tenor and soprano. Otherwise, the music has its moments, particularly the interplay between pianist Denny Zeitlin and bassist David Friesen, and there are two vocals by Flora Purim, but the overall results are not all that memorable. Many of Friesen's dates as a leader tend to be on the sleepy and introspective side, fitting into the genre usually championed by Global Pacific but making the music less interesting than hoped for by jazz fans. ~ Scott Yanow, AMG.

This LP is a much overlooked album by the master bassist David Friesen; featuring Denny Zeitlin, Phil Dwyer, Alan Jones, Airto and Flora Purim. The interplay between Denny Zeitlin is quite magical, highlighted on both Song For My Family and Years Though Time. In many ways the album showcases the amazing saxophone skills of Phil Dwyer. It is an exploration of his ability to work seamlessly alongside Friesen and add depth of scale to Friesen’s variant and elusive compositions. Listen to Tyrone's Dedication, Father's Delight, Our 25th Year, Childhood Walk and Above And Beyond for clarification. Both Alan Jones’ and Airto’s contributions render a solid backing to the majority of the tracks and Flora Purim’s vocals add a distinctive fusion-styled interest to Festival Dance and Song For My Daughter. As always Friesen’s bass sets the mood. His dynamically ranging sound is heard across a broad range of self penned tunes, sharing one with Alan Jones. This LP requires a few listens to truly appreciate its value, something which Scott Yanow may have overlooked in his underrated review.

Global Pacific Records, OZ 45245, 1989

Personnel:

David Friesen - Bass, Acoustic Bass, Keyboards, Mixing, Synthesizer

Phil Dwyer - Soprano & Tenor Saxophones

Denny Zeitlin - Piano

Alan Jones - Drums, Percussion, Synthesizer Bass

Airto Moreira - Percussion

Flora Purim - Vocals (#A1,A3)

Track Listing:

A1. Festival Dance {David Friesen} (4:06)

A2. Tyrone's Dedication {David Friesen, Alan Jones} (3:43)

A3. Song For My Daughter {David Friesen} (2:04)

A4. Father's Delight {David Friesen} (3:14)

A5. Song For My Family {David Friesen} (6:30)

B1. Our 25th Year {David Friesen} (3:58)

B2. Childhood Walk {David Friesen} (4:04)

B3. Years Though Time {David Friesen} (4:18)

B4. Above And Beyond {David Friesen} (4:26)

B5. Song For My Son {David Friesen} (3:04)

Credits:

Producer - David Friesen, Jeff Johnson

Executive Producer - Howard Sapper, Howard Morris, Barklie Henry

Mastering - David Mitson, Joe Gastwirt

Photography - Hiroshi Iwaya

Duke Ellington Orchestra- The Great Paris Concert (2LP rip)

Just the Atlantic LPs ripped from my very clean copy.

"This set came about, in part, as a result of Ellington's signing to Frank Sinatra's Reprise label in November 1962, with the ending of his exclusive contract to Columbia. Six numbers from the three Paris dates were initially edited and released by Reprise as part of the ten-song Duke Ellington's Greatest Hits, but the bulk of the performances from those shows didn't surface until many years later as The Great Paris Concert on two LPs. ... The stuff from The Great Paris Concert is raw and largely unedited, and depicts the full Ellington band in extraordinary form, oozing excitement -- from the saxophone showcase on the opener, "Rockin' in Rhythm," the various sections of the band take flight at different points throughout this set, which includes such contemporary numbers as Ellington's theme music for an all but forgotten television series, The Asphalt Jungle, and excerpts from Such Sweet Thunder . Johnny Hodges is showcased in several solos, most notably on "Suite Thursday," a work whose original studio incarnation he missed appearing on; Cootie Williams ("Tutti for Cootie"), Paul Gonsalves ("Cop Out"), Ray Nance ("Bula"), and Cat Anderson ("Jam with Sam") get their own moments in the spotlight. The editing and equalization on the Reprise tracks is considerably smoother and more obtrusive, in terms of closing fades, from that on the Atlantic release, where the sound is rougher and more realistic, and one wishes that original tapes could have been found and the complete 26 numbers from the Paris shows reassembled together in an integrated fashion." AMG

Personally, I've never been all that crazy about the Reprise material added to the CD version - I first experienced this in exactly THIS version and I still prefer it.

The Capp/Pierce Orchestra - Juggernaut Strikes Again!

Here's a re-up for our Crypt brother Jazzjet.  You're gonna enjoy this one buddy...

Sooooo...I think most everyone is familiar with Nat Pierce.  It's fair to say that at this point in his career, he has mastered the big band genre.  Pierce spent most of his career being (unfairly) criticized as a Basie clone.  This album shows that he is so much more.  Of course, any big band will give The Count a big healthy nod, but I think between his book and the stellar arrangements, Pierce IS his own man.

The material is what really stands out on this one.  Wonderfully varied and fresh, it's clear the band are stoked to be playing these numbers.  Standouts for me are Buck Clayton's Chops, Fingers and Sticks and the Billy Preston ballad, You Are So Beautiful.

The soloing really moves around from chair to chair.  Capp and Pierce clearly wanted everyone to have a voice.  Check the track listing on the back cover for solo details on each tune.  I give the nod to Pete Christlieb and Marshal Royal, they just sound fantastic and spirited.  Of course the ensemble work is wildly tight and inspiring, a real joy to listen to.  Overall a fun and enjoyable side by a seasoned group of players.  Not a typical big band album by any means.

CJ-183 is of course mint.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC...let your backbone slide Cryptheads!!  Enjoy!!

Concord Jazz (CJ-183)
1982
Recorded in Hollywood, CA - Oct/Nov 1981

Frank Capp (drums);  Nat Pierce (piano);  Ernie Andrews (vocals);
Bill Green (soprano & baritone saxophones);
Marshal Royal, Joe Roccisano, Jackie Kelso (alto saxophone);
Pete Christlieb, Bob Cooper, Bob Efford (tenor saxophone);
 Johnny Audino, Frank Szabo, Al Aarons, Warren Luening, Snooky Young, Bill Berry (trumpet);
Alan Kaplan, George Bohanon, Buster Cooper, Mel Wanzo (trombone);
Ray Pohlman (guitar);  Bob Maize (bass).

The Joe Farrell Quartet - Someday

My first attempt at ripping this record was filled with a wicked hiss that eventually lead to a second attempt using a cleaning tool that damaged the rip sonically. This time it hasn't been touched and it played clean...better late than never.

The Joe Farrell Quartet - Someday

Real Time Records March 1982 

Joe Farrell (reeds), George Cables (piano), Tony Dumas (bass) and John Dentz (drums).

Tracks: Fun For One; Blue And Boogie; Around Midnight; Epistrophy; Come Rain Or Come Shine; You Stepped Out Of A Dream; Someday My Prince Will Come; On Green Dolphin Street

I had never seen nor heard of this excellent Joe Farrell date until the day I bought it.This record is of impressive quality, heavy cover and vinyl like an expensive Japanese pressing and when I first played it the music positively leaped out of the speakers at me! I hope I've done a good enough job on the transfer that you get a similar experience.

Joe and George had played together a lot both on record and in clubs by the time this was made and it really shows in the relaxed feel of this session which plays like a club date with tracks where Joe lays out and the trio plays punctuating the set. You almost want to look over your shoulder to see if Joe is at the bar during the trio portions. Farrell was all about no nonsense hard bop by this time in his career, the experiments with funk receding in the rear view mirror.

Rusty Bryant - Soul Liberation (1970) [vinyl>flac]

While his manner (Rusty's) may be mild, his tenor sound is distinctive among all other tenor saxophonists. A heavy sound, imagination and his uniquely soulful delivery are the functional components of his style. Were talent the only criteria for making an album, Rusty would be able to handle the chore by himself but he has chosen an all-star cast involving some of the top recording stars in the business to groove along with him.

Joining him are: Virgil Jones on trumpet, Charlie Earland on Organ, Melvin Sparks on guitar and Idris Muhammad on Drums

Inside this cover are five of our most talented musicians at their best. Together they create a forum of excitement. In the five tunes they capture all that is sought by imaginative listeners. If you are one of those dudes that need to get your soul together you have picked a good place to start. On the other hand if you have yourself wrapped tight then you no doubt are aware of Rusty and the boys. In either case, Soul Liberation is for you. ~ Excerpt from Liner Notes by Martin Douglas.

Prestige Records, PR 7798, 1970

Recorded 15^th June, 1970 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Rusty Bryant - Tenor Sax (#A1,A3-B2), Alto Sax (#A2)

Virgil Jones - Trumpet

Charlie Earland - Organ

Melvin Sparks - Guitar

Idris Muhammad - Drums

Track Listing:

A1. Cold Duck Time {Eddie Harris} (6:21)

A2. The Ballad Of Oren Bliss {Rusty Bryant} (6:00)

A3. Lou-Lou {Charlie Earland} (8:13)

B1. Soul Liberation {Charlie Earland} (11:35)

B2. Freeze-Dried Soul {Rusty Bryant} (7:29)

Credits:

Supervisor - Bob Porter

Recording Engineer - Rudy Van Gelder

Liner Notes - Martin Douglas

The Bee Hive Session - Unissued Tunes, Vol. One

On that day when I yearly mark the passage of time, I received this morning a nice little gift from our old friend deGallo. A peak at these covers should have all of you salivating already. Add to this the anticipation of one our friend's perfect rips, and I have to question why you are still reading this instead of getting to the link. Should some of you require yet further prodding, here is what AMG had to say:

"The Bee Hive label was founded by Jim Neumann in Chicago in 1977 and stayed around for about six years. While based in Chicago, most of their players were based in New York City and virtually all the albums were recorded there. There weren't that many albums released, 16 including this one (with red vinyl). But what was lacking in quantity, was made up in quality. Top ranked jazz artists cut albums for this recording company, some of them are represented on this compilation of takes which didn't make it to a regular album. To the label's credit, they gave their artists lots of time to fully work out their approach to the music. The average playing time per tune is about seven minutes.

Why these tracks never made it to a customary release is puzzling, given the high level of artistic execution. Nick Brignola playing alto instead of baritone combines with Pepper Adams on an authoritative version of "Stablemates" for one. Sal Salvador and Eddie Bert uniting with the now baritone sax playing Brignola on an in depth probe of "On Green Dolphin Street" for another. Then there's the pièce de résistance, the master ballad singer Johnny Hartman's treatment of "Moonlight in Vermont" alone with the guitar of Al Gafa. This album should be remastered for CD just for this performance. It would be a good project for an enterprising and caring record company to gather all the Bee Hive albums and release them on CDs. Depriving jazz lovers of this music is criminal."

Now please DO remember to leave some love for our pal deGallo for this jewel.

Baritone Madness - The Nick Brignola Sextet featuring Pepper Adams

A repost by request.

An exciting Bee Hive contribution from Wid - this has been on a private site in flac but here is a different LP rip for The Crypt that is the first public lossless offering.

Nick Brignola Sextet featuring Pepper Adams - Baritone Madness
Bee Hive Records, 1977

01 - Donna Lee 9:40
02 - Billie's Bounce 11:21
03 - Marmeduke 11:36
04 - Body And Soul 7:07
05 - Alone Together 7:05

Nick Brignola - Baritone Sax
Pepper Adams - Baritone Sax
Ted Curson - Trumpet, Flugelhorn
Derek Smith - Piano
Dave Holland - Acoustic Bass
Roy Haynes - Drums

Recorded December 22, 1977 at Blue Rock Studio, New York City.

This album lives up to its title. Nick Brignola is matched up with fellow baritone great Pepper Adams in a sextet also including trumpeter Ted Curson, pianist Derek Smith, bassist Dave Holland and drummer Roy Haynes. The personnel differs throughout the program, with the full group being heard on "Billie's Bounce" and "Marmaduke," Curson sitting out on "Donna Lee," "Body and Soul" being a feature for Brignola, and "Alone Together" showcasing the rhythm section. It is obvious from the song titles that this is very much a bebop jam session date, and quite a few sparks do fly.

(sic) Clean, open, 'live' sound. Highly detailed instruments with 'air' and presence performing in an intimate environment. Very natural sounding. Excellent Bass, Brass with plenty of 'bite' and an open, airy treble. A 3-D soundstage with strong imaging. Wid

KC note: The very first album issued on Bee Hive.