Illinois Jacquet - Flying Home

Without a doubt, "The Kid" was one of the greatest sax players to ever breath life on this great Earth of ours.  His sound was gritty, raw and soulful but never without subtlety when required.  Indeed, his voice is instantly recognizable by jazz fans - "Flying Home" is quite possibly the most famous sax solo of all time.

This CD covers alot of ground while bringing you some of Jacquet's best cuts.  Bluebird  originally recorded all of these as 78's, and they have been expertly remastered here.  The recordings range in date from 1947 - 1967 and in location from Hollywood to NYC.  There are some personnel changes throughout the album, but certainly nothing to disappoint - Shadow Wilson to Jo Jones!!??!  Considering that this is technically a compilation, it plays incredibly well as an album.

And with that said, the band absolutely smokes.  It helps when each member is a seasoned pro - JJ Johnson, Leo Parker, Joe Newman, etc, etc.  It varies in size from track to track, but overall the idea is a "little big band".  One thing you will notice straight away is the weight that this band can produce.  Jacquet has basically put together a small group which can operate as a big band when called upon.  I love it.  And having dual trumpet players is one unique aspect to a band of this size.  The whole thing swings hard and is overall a definite shade of blue.  We are treated to all kinds of fun as the members all get to express themselves here, including Illinois' brother Russ who puts in some vocals on Try Me One More Time.

Flying Home is essentially a "Cole's Notes" of the impeccable Mosaic boxset which captured all of Jacquet's recordings from this period.  For those of you who are fortunate enough to have the boxset, this CD is probably not for you.  However for everybody else, including anybody looking to discover Illinois Jacquet, this album is an absolute gem.  I will include the AMG review which is glowing but curiously only scored the album a 3/5 stars.  I would say this set of classic tunes is without a doubt 4/5.  I have included all the scans and ripped the disc using EAC for 16/44.1 FLAC... enjoy!!!

This is a great selection of Jacquet's late-'40s/early-'50s work, hot on the heels of his success with Jazz At The Philharmonic and his tenure with the Lionel Hampton Band. There's lots of honking and squealing coupled to Jacquet's patented abrasive tone, one of the most exciting in jazz, heard to good effect on "Jet Propulsion." Jacquet's brother Russell vocalizes on "Try Me One More Time," making himself a worthy foil, and stalwarts like Leo Parker, Shadow Wilson and J.J. Johnson are counted up in the mix. The closing track is somewhat of a ringer; recorded live in 1967 at the Newport Folk Festival, it's a high voltage take on the the title cut with Illinois' old boss Hampton making a guest appearance. - Cub Koda/AMG

Bluebird / RCA 1992

1. Jet Propulsion 

2. Try Me One More Time 

3. Riffin' at 24th Street 

4. Symphony in Sid 

5. Jacquet for Jack the Bellboy 

6. Big Foot 

7. Black Velvet 

8. B-Yot 

9. Adam's Alley 

10. Hot Rod 

11. Flying Home

David 'Fathead' Newman - Resurgence! (new 24-48 LP rip)

David Fathead Newman - Resurgence (1980)

Muse 5234, Vinyl LP

1. Everything Must Change 4:35
2. Mama Lou 5:54
3. Davey Blue 9:15
4. Carnegie Blues 8:28
5. Akua Ewie 6:24
6. To The Holy Land 7:04

Marcus Belgrave Trumpet, Flugelhorn
Ted Dunbar Guitar
Louis Hayes Drums
David "Fathead" Newman Flute, Sax (Alto), Sax (Soprano), Sax (Tenor)
Cedar Walton Piano, Piano (Electric)
Buster Williams Bass

This is one of the best David Newman albums you will ever hear and we are talking about a guy with some great albums! All the players compliment each other nicely and the session was recorded beautifully. Add to this that I have a Near Mint copy and I don't see how you can go wrong.

Mr. 'Fathead' leaves the R&B soaked sound of the Ray Charles band behind and really digs deep into some hard bop and soul jazz type material on this fine record.( I wonder what Dave and Jimmy Heath would have sounded like together?) The Walton, Williams Hayes rhythm section is as good as it gets and they shine like gold here. You also get rarer opportunities to hear guitarist Ted Dundar and trumpeter Marcus Belgrave. The version of Everything Must Change is just sublime and Cedar Walton's To The Holy Land is taken for a really satisfying spin. Davey Blue is the kind of late night, smokey, whiskey sippin' Blues that I just love and that David always excelled at. Akua Ewie could easily have come off of a classic mid 60's Blue Note LP. Anyone who can actually sit still during Carnegie Blues probably needs to go to the hospital right away. It has the kind of infectious, head bobbing swing that changes the mood of a room.

Gotta say I like 'em all, All Killa, No Filla

David Friesen & John Stowell - Other Mansions (1980) [vinyl>flac]

Bassist David Friesen teams up with guitarist John Stowell in one of their many successful jazz duo endeavors on this classic Inner City re-release, featuring eight original songs by Friesen.

David Friesen has been widely hailed - and rightly so - for his abilities as a bassist. His command of the instrument puts him in a class with few others (check out the harmonics he gets), but what makes Friesen’s music unique is his heart. All of his music has purpose; there are no flashy solos for solo’s sake. Friesen is at once an awesome instrumentalist, a master storyteller and perceptive ensemble player.

Other Mansions teams Friesen with guitarist John Stowell, who has played on all of Friesen’s previous albums except Color Pool (Muse 5109), which was recorded before they met. Their constantly expanding common language has matured here, not only because of the cumulative nature of experience, but also because this is their first strictly duo outing.

Friesen and Stowell have a complementary empathy which gives the music a band sound that is the envy of many a larger group. What makes this possible - and beautiful - is their mutual respect for one another and a willingness to use structures as foundations without allowing those structures to become barriers. They don’t worry about stepping on each other’s toes, because they are thoughtful about every step they take. There is an ongoing sense of give and take.

They are in a class with few others in that their music projects their personalities forcefully without their personalities forcing the music. [This music] will be inspirational to anyone with an open ear and an open heart. ~ Extracts from Liner Notes by W. Patrick Hinely, February, 1980.

Inner City Records, IC 1086, 1980

Recorded November, 1979 at Producer's Studio, Eugene, Oregon

Personnel:

David Friesen - Acoustic Bass, Bamboo Flute, Bell Tree, Tabla Bass, Piano, Percussion

John Stowell - 6 String and 12 String Guitars, Mandolin, African Thumb Piano, Marimba, Percussion

Track Listing:

A1. Trilogy (7:02)

A2. Roof Tops (4:18)

A3. Tomorrow's Dream (5:33)

A4. My Soul Shall Weep In Secret Places (2:59)

B1. Other Mansions (6:14)

B2. All That Has Breath And Life (4:15)

B3. Bretheren Ascending (4:05)

B4. Land Of The Living (5:36)

All Compositions by David Friesen

Credits:

Producer - David Friesen

Recording Engineer - Steve Diamond

Bass Pickup - Don Underwood

Album Design - Suzanne Hill

Cover Photographs, Liner Notes - W. Patrick Hineley

Billy Higgins - Bridgework (1980/86) [vinyl 24/48]

An mp3 rip of this was posted at the old Crypt, this is from my own LP.

One of the few times drummer, Billy Higgins recorded as a leader. This 1986 Contemporary release is comprised of two sessions: one from 1980, and another from 1986. Billy Higgins is arguably the most recorded drummer in the history of jazz. Having the ability to float between hard bop and free jazz, Higgins was the perfect drummer for the modern world. Never in your face, Billy was always there, subtly conducting his business in amazing ways ~ eat.sleep.vinyl

Review by Scott Yanow:
This LP features drummer Billy Higgins in a rare leadership role at two unrelated sessions separated by six years. The three titles from 1980 match Higgins with the underrated (and generally underrecorded) but talented tenor James Clay, pianist Cedar Walton and bassist Tony Dumas; they perform Thelonious Monk's "Evidence," a standard, and a Walton tune. The equally rewarding later set (cut in 1986) has Higgins, Walton, tenor saxophonist Harold Land, and bassist Buster Williams playing three group originals and a nearly 11-minute rendition of "I Hear a Rhapsody." The music overall is excellent hard bop with some strong moments but no major surprises.

Harold Land (tenor saxophone) Cedar Walton (piano) Buster Williams (bass) Billy Higgins (drums)
Los Angeles, CA, April 23, 1986
1. Deception
2. I Hear A Rhapsody
3. Plexus

James Clay (tenor saxophone) Cedar Walton (piano) Tony Dumas (bass) Billy Higgins (drums)
Los Angeles, CA, January 4-5, 1980
4. Evidence
5. Bridgework
6. Old Folks
7. The Theme

John Handy - New View! The New John Handy Quintet

Well the holiday season is in full swing (no pun intended), and hopefully I can bring some cheer over the next few weeks.  I have posted the last of my 16 bit albums so starting with this post, everything going forward will be in 24 bit/ 48kbps.

John Handy belongs to a circle of jazz artists whom have, for the most part, been grossly overlooked by even the jazz buying community at large.  A musician's musician, he is joined by other sax players like Booker Ervin, Bunky Green, Nathan Davis & Curtis Amy (to name a few) who also belong to this tribe.

It turns out that I couldn't have picked a better recording for the nuanced detail of a higher resolution transfer.  New View! is a gorgeous offering from Handy, combining several styles to create an overall vibe of tremendous space and feeling.  With only three tunes, we are treated to what can only be described as a musical adventure.  Handy pulls the listener in gently, and before you know it, he has strapped you to your seat for a bumpy ride.

His style is best described as inside/outside but I feel that this album goes beyond just Handy himself.  The entire quintet create an atmosphere which is all at once soulful, melodic and at times, tense.  It's this tension and suspended moments of intensity which help set up Handy's voice and ultimately, his message. Wonderful and inspired soloing from all, but particularily Handy who is clearly motivated to get his message across.

This LP is infact a live recording, done at the infamous Village Gate.  The crowd are completely subdued and it's easy to forget the location and circumstances of the recording.  But the fact is, these musicians are truly in the moment and we are getting the best that jazz has to offer - the epitome of the craft.  My record is in great condition and cleaned up really nicely.  That combined with the wonderful fidelity of the recording itself makes for a fantastic listening experience.  The soundstage is surprisingly cavernous which really helps to convey that live atmosphere.  Ripped at 24bit/48kbps and converted to FLAC, this gift is ready for the most scrutinizing of ears... enjoy!!!!

Altoist John Handy's 1967 quintet included vibraphonist Bobby Hutcherson, the up and coming guitarist Pat Martino, bassist Albert Stinson and drummer Doug Sides. They really stretch out on three pieces (John Coltrane's "Naima" and an original), and New View is highlighted by Handy's emotional and episodic "Tears of Ole Miss (Anatomy of a Riot)," which clocks in at 23:45. The inside/outside music is quite picturesque, emotional, and ultimately logical. It is a pity that John Handy did not make more of an impact on the mainstream of jazz, but his three Columbia studio albums still sound fresh decades later. - Scott Yanow / AMG

Columbia CS9497
Recorded live at the Village Gate, New York City, June 28, 1967.

Alto Saxophone – John Handy
Bass – Albert Stinson
Drums – Doug Sides
Guitar – Pat Martino
Vibraphone – Bobby Hutcherson

1. Naima (In Memory Of John Coltrane)  9:34

2. A Little Quiet  13:29

3. Tears Of Ole Miss (Anatomy Of A Riot)  31:00

Steve Kuhn Trio - Watch What Happens! (1968) [vinyl>flac]

Like many pianists, Steve Kuhn seems to put out one quality disc after another but doesn't ever seem to get the attention he deserves. This beautifully recorded studio date from 1968, with bassist Palle Danielsson and drummer Jon Christensen, is a good example. Eschewing the typical easygoing approaches to Michel Legrand's "Watch What Happens," he launches into a very brisk bossa nova arrangement. J.J. Johnson's gorgeous ballad "Lament" was never in better hands as Kuhn delivers a shimmering but poignant performance; the piece segues into Gary McFarland's unjustly neglected "Once We Loved." A mini-medley of Burt Bacharach songs, "Windows of the World" and "Here I Am," with its unusual chanting introduction, has also stood the test of time. Carla Bley's "Ad Infinitum" delves briefly into the avant-garde but quickly reverts to post-bop. ~ by Ken Dryden, AMG.

The perfection and certainty of the Kuhn music are demonstrated by the fact that Steve recorded almost all numbers on this record in one single sweep. ~ Extract taken from Liner Notes by Joachim E. Berendt.

This LP was one of the original Steve Kuhn albums I bought way back in the late seventies. One I always keep coming back to with fresh ears, Enjoy!

MPS/BASF Records, CRM 676, 1971

Recorded 4^th July, 1968 at MPS Tonstudio Villingen/Black Forest, Germany

Personnel:

Steve Kuhn - Piano

Palle Danielsson - Bass

Jon Christensen - Drums

Track Listing:

A1. Watch What Happens {Michel Legrand} (2:47)

A2. Silver {Steve Kuhn} (2:14)

A3. Lament {Jay Jay Johnson}, Once We Loved {Gary McFarland} (6:54)

A4. Tom Jones {John Addison, Mack Davis} (6:37)

B1. Windows Of The World, Here I Am {Burt Bacherach} (4:17)

B2. I Fall In Love Too Easily {Sam Cahn, Jule Styne} (4:03)

B3. Ad Infinitum {Carla Bley} (8:56)

Credits:

Producer - Hans Georg Brunner-Schwer, Joachim E. Berendt

Recording Engineer - Hans Georg Brunner-Schwer

Recording Director - Willi Fruth

Photos - German Hasenfratz

Graphic Work - Heinz Bahr

Cover - Lucio Fontana

Liner Notes - Joachim E. Berendt

Sahib Shihab - Sentiments (vinyl to FLAC rip)

I can think of no higher praise for this album other than to say that more than one person when hearing this "blind" at my house was convinced it was an unknown Roland Kirk album. Now in MY world that is high praise indeed!

Was anyone more lastingly 'touched' by their association with Monk than Sahib Shihab? He always maintained a quirky edge, a 'different' slant that seemed to have it's genesis in his participation in the Blue Note Monk sessions.

On this session it is very clear that our ex-patriot jazzmen had their ears wide open to what was happening here and were making albums of equal depth that would have played well here in the States if we had only known...

Cool Yule Jazz

Cool Yule Jazz by Kingcake on Mixcloud

Red Holloway with Brother Jack McDuff Quartet - Cookin' Together (1964) [vinyl]

Groovy session that features this star tenorist of the Jack McDuff group as the leader, but which also has the same group backing him up - including McDuff on organ, George Benson on guitar, and Joe Dukes on drums. The set list has a good batch of originals, with the same sort of groove and strong sense of humor as the best McDuff recordings from the time. Tracks include "Brother Red", "No Tears", "Shout Brother", and "Something Funny".  © Dusty Groove, Inc.

Allmusic awarded the album 4½ stars stating "The material is comprised of Burt Bacharach's "Wives and Lovers," "This Can't Be Love," and five Holloway originals, which have more diversity than one might expect. An interesting aspect to the soulful and swinging set is that McDuff made his debut on piano for two songs". ~ Wikipedia

Prestige Records, PR 7325, 1972

Recorded 6^th February, 1964 in Los Angeles, California

Musicians:

Red Holloway - Tenor Saxophone

Jack McDuff - Organ (#A1,A3-B1, B4), Piano (#A2,B3)

George Benson - Guitar

Wilfred Middlebrooks - Bass

Joe Dukes - Drums

Tracks:

A1. Wives And Lovers {Burt Bacharach, Hal David} (8:01)

A2. This Can't Be Love {Lorenz Hart, Richard Rodgers} (5:24)

A3. Something Funny {Red Holloway} (7:05)

B1. Brother Red {Red Holloway} (3:27)

B2. Denise {Red Holloway} (6:26)

B3. No Tears {Red Holloway} (7:55)

B4. Shout Brother {Red Holloway} (4:28)

Credits:

Producer - Lew Futterman, Peter Paul

Design, Photography - Don Schlitten

Liner Notes - Michael Gold

Kiyohiko Senba & the Haniwa All Stars

20 years ago my friend Raymond Larrett who worked with me at Winterland Productions gave me a VCR tape of this entire concert and I was quite frankly blown away - the whole show was some 2 hours or more, and my copy was taken by Katrina, but today I discovered that Raymond uploaded some of it to youtube and I just can't resist sharing even tho it has no relation to our subject matter here. That beautiful lady singing is Mishio Ogawa - DO NOT MISS THE ALTO SAX SOLO!!! And for god's sake TURN IT UP!!

Willis Jackson - Gatorade (1971) [vinyl>flac]

The music on this obscure LP was not released until 1982 and quickly disappeared. Tenor saxophonist Willis Jackson plays funky jazz that is very much of the period with organist Carl Wilson, guitarist Joe "Boogaloo" Jones, drummer Jerry Potter and Buddy Caldwell on conga. Jackson performs the current pop tunes "Hey Jude" and "The Long and Winding Road," plus a pair of blues (including his "Pow") and a couple of originals. Fun but not overly substantial music. ~ by Scott Yanow, AMG.

This is yet another non substantial appraisal from our often dionysian Scott.

This is his twenty-fifth LP for Prestige. Willis's music has changed little through the years: his bluesy, hard swinging sound has served him (and his fame) quite well. The music played here is representative of Willis at his best. "Good Bread Alley" is danceable funk while "Ivy" is an attractive 32-bar, minor-key line. "Pow" and Gatorade" are blues. Look for a quote of "Anything Goes" in the former and some stop-time breaks à la Lester Young in the latter. ~ Extract from Liner Notes by Phil Schaap, WBGO-FM, Newark, N.J.

Prestige Records, MPP 2516, 1982

Recorded August, 1971 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Carl Wilson - Organ

Ivan "Boogaloo Joe" Jones - Guitar

Jerry Potter - Drums

Buddy Caldwell - Conga

Track Listing:

A1. Good Bread Alley {Teddy McRae, Charlie Singleton} (7:32)

A2. Hey Jude {John Lennon, Paul McCartney} (4:22)

A3. Ivy {Hoagy Carmichael} (5:56)

B1. Pow! {Willis Jackson} (6:05)

B2. The Long And Winding Road {John Lennon, Paul McCartney} (5:08)

B3. Gatorade {Willis Jackson} (7:48)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Remastering - Gary Hobish, 1982 (Fantasy Studios, Berkeley)

Art Direction - Phil Carroll

Photography - Al Johnson

Andrzej Trzaskowski Sextet feat. Ted Curson - Seant (1966)

Andrzej Trzaskowski was one of the most important figures of Polish jazz, not only in the beginning, but he continued with its development right up until his death in 1998. One of the directions Trzaskowski ventured into within the Polish jazz scene was his own concept of Free Jazz. The most important period of his career was during the 60s, when he was most active as a composer, pianist and director of bands, and his outstanding talent, versatility and innovative concepts were recognized in his country, Europe and America. The breakthrough in his musical thinking came in 1963. By this time his compositions were predominately in hard bop style, then considering that the opportunities for this music were exhausted he developed sound languages radicalising his vision of Free Jazz. During this period Trzaskowski formed a quintet (with Tomasz Stanko, Janusz Muniak, Jacek Ostaszewski, Adam Jedrzejowski), which in 1965 grew into a sextet (Vladimir joined Nahorny and Ted Curson replaced Stanko). This album "Seant" is the result of that collaboration. The music contained on this LP consists of four tunes, the last of which takes up the whole of side 2. Trzaskowski creates tunes with the implementation of a closed composition in an open process. The musical pieces become based on determinants, points of departure, certain rhythmic and harmonic structure-color, which in turn contain instructions for improvisation of individual instruments. As a result there are lots of improvisations perfectly timed and in proportion to the elements of the compositions. This brings about added tension that creates a more dynamic interplay between the musicians enhancing the delivery the tunes. Ted Curson's playing is full of fire and right at home with Trzaskowski's compositions, Enjoy! ~ Extracts translated from biography by Peter Królikowski

Muza, XL 0378, 1966

Recorded Dec. 1965 and Dec. 1966 in National Philharmonic Hall, Warsaw

Personnel:

Andrzej Trzaskowski - Piano

Ted Curson - Trumpet

Wlodzimierz Nahorny - Alto Saxophone

Janusz Muniak - Soprano Saxophone

Jacek Ostaszewski - Bass

Adam Jedrzejowski - Drums

Track Listing:

A1. Seant (9:58)

A2. Wariacja Na Temat “Oj, Tam U Boru” (6:37)

A3. The Quibble (7:58]

B. Cosinusoida (24:45)

All Compositions written by Andrzej Trzaskowski

#2 - Variation On The Theme “Near The Forest”

Credits:

Recording Director - Antoni Karuzas

Recording Engineer - Janusz Pollo

Bosses of the B3, Part 2

Bosses of the B3, Part 2 by Kingcake on Mixcloud

Count Basie - Standing Ovation

This album was actually a request made by papycool.  

The byline on the cover says it all... 3 eras of Basie recorded live.  This album functions as a sort of "greatest hits" from the best bands Basie has put together.  I think alot of people would pass on this by virtue of the front cover.  There's a deluge of crappy Count sides on an equal amount of sub standard labels.  Dot Records has a colourful history and at this point it was a subsidiary of Paramount Pictures.  Dot was certainly not a budget label and put out top notch quality - albeit of sometimes questionable artistry.

The performance on this album is absolutely amazing.  When we look at the personnel, it's clear that this was a band in transition.  There's a few old war horses in the bandstand, but also some young blood like the incredible Oscar Brashear.  They fearlessly tackle the songs and remove certain cliches in order to bring us some fresh ideas.  One O'Clock Jump is actually done twice in order to fulfill this mandate.  Overall it's a shamefully overlooked album in Basie's discography.

Curiously enough, at least as far as I can tell, it's never made it to CD.  That makes this post extra special.  The vinyl is super minty and the fidelity is on par with any modern day live recording.  Indeed, this one is a special treat for Basie fans and jazz fans alike... big band at it's best.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!!

This 1969 recording was subtitled "Three Eras of Basie Recorded Live at the Tropicana Hotel, Las Vegas," and that's what it is. This set features updated takes on the Basie songbook's greatest instrumental hits of the '30s, '40s, and '50s. Engineer Wally Heider set up the stereo mix to match the classic stage formation of the band, resulting in a potent sitting-in-front-of-the-band feeling for the listener. Besides Basie himself, featured soloists include trumpeter Harry "Sweets" Edison, who reunited with the band for this occasion, tenor saxman Eddie "Lockjaw" Davis, and Eric Dixon on flute and tenor. Arranger Sammy Nistico has renovated several of these classics in subtle ways from their original studio recordings. The music is, of course, great, and the players respond to the excitement of the live audience. - Jim Newsome / AMG

Dot Records DLP-25938
1969

A1 Down For Double

A2 Li'l Darlin'
A3 Broadway
A4 Jive At Five
A5 Cherry Point
A6 Jumpin' At The Woodside
A7 One O'clock Jump
B1 Shiny Stockings
B2 Blue And Sentimental
B3 Every Tub
B4 Corner Pocket
B5 The Kid From Red Bank
B6 One O'clock Jump

Joe Bonner - RIP [Muse Albums - Re-Post]

Joe Bonner - The Lifesaver (1975)

Label: Muse Records

Catalog#: MR 5065

On this LP Joe Bonner is fully engaged in creating some marvellous and lyrical excursions into a variety of self-penned tunes. Apart from his evocative piano work he intelligently turns his hand to an assortment of instruments including harmonica and flute creating an intriguing percussive complement to his acoustic piano sounds. A highlight is to hear an original take on his emotive "Little Chocolate Boy". In all, it is a bold solo album that manages to entertain from the start to the finish.

Personnel:

Joe Bonner - Piano, Miscellaneous Instruments, Percussion

Track Listing:

A1. Bonner's Bounce (5:29)

A2. Tatoo (7:42)

A3. Little Chocolate Boy (5:36)

B1. The Lifesaver (4:26)

B2. Native Son (5:40)

B3. The Observer (7:43)

__________________________

Joe Bonner - Angel Eyes (1976)

Label: Muse Records

Catalog#: MR 5134

"Angel Eyes" contains a magical mix of both solo, trio and group tunes. On the title track "Angel Eyes" and "I Do" Bonner plays solo and both are very soul-searching and captivating. "Love Dance" is a blend of both solo and an added rhythm section. Yet, what makes this LP magnificent is the addition of the avant-garde violinist Leroy Jenkins and tenor saxophonist Billy Harper. Both musicians are found on "Variations On The Little Chocolate Boy" and "Celebration", which also includes the superb vocalist Linda Sharrock. The late Jenkins' violin stretches the other players to do more. In this instance Harper clearly showcases his ability to pick up the harmony and run with it. Overall Bonner's playing is incredibly evocative. The album’s highlight is Sharrock’s singing, starting out with a pervasive dark tone that later launches into a wailing mode and then returns anchored by the fusion of the groove being conveyed by the rest of the group. In a lot of ways these two tracks are very bold verging on the avant-garde. The listener cannot but desire more of the same in a follow up album. In the end Bonner concludes this work with a simple but eloquent bamboo flute solo invoking quite a rounding off and spiritual tone to the whole session.

Personnel:

Joe Bonner - Piano, Bells (#A1), Bamboo Flute (#B3)

Billy Harper - Tenor Saxophone (#B1, B2)

Leroy Jenkins - Violin (#B1, B2)

Juni Booth - Bass

Jimmy Hopps - Drums

Linda Sharrock - Vocal {#B2}

Track Listing:

A1. Angel Eyes (5:41)

A2. Love Dance (4:39)

A3. I Do (6:04)

B1. Variations On The Little Chocolate Boy (5:32)

B2. Celebration {Featuring Linda Sharrock} (9:26)

B3. Interlude (3:12)

Gene Ammons - My Way (1971) [vinyl>flac]

Although late in the Prestige jazz funk years, and not in the small combo mode of some of Ammons' best early 70s sides, this is still an excellent batch of tracks - thanks to hip arrangements from Bill Fisher! The format's almost in a Kudu/CTI mode, as larger arrangements envelope Jug's soulful tenor - funking away with a blacksploitation on tracks like "Chicago Breakdown", "Back In Mérida", and a great cover of "What's Going On", all done with tight horns, compressed guitar, and even a bit of strings. There's a few mellower numbers that aren't as great - but these tracks more than make the album worth having! © Dusty Groove America, Inc.

Ammons is joined with some great players on these sessions, in particular Roland Hanna & Ted Dunbar on the 1^st Side. On the 2^nd side Billy Butler does his thing along with Ron Carter and banging away in the background is the mighty Idris Muhammad. Also with brass and strings added there are some very dynamic grooves going down. Even though this is a latter-day album by Ammons he still blows amazing hard right throughout, Enjoy!

Prestige Records, PR 10022, 1971

Recorded 26^th July (#B1-B3) & July (#A1-A3), 1971 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Gene Ammons - Tenor Saxophone

Robert Prado- Trumpet (#A1,A2,B1-B3)

Ernie Royal - Trumpet (#A1,A2,B1-B3)

Garnett Brown - Trombone (#A1,A2,B1-B3)

Richard Landry - Tenor Saxophone (#A1,A2,B1-B3)

Babe Clark - Baritone Saxophone (#A1,A2,B1-B3)

Roland Hanna - Electric Piano (#A1-A3)

Ted Dunbar - Guitar (#A1-A3)

Billy Butler - Guitar (#B1-B3)

Ron Carter - Bass (#B1-B3)

Chuck Rainey - Electric Bass (#A1,A2)

Idris Muhammad - Drums (#A1,A2,B1-B3)

Omar Clay - Percussion (#A1,A2,B1,B2)

Yvonne Fletcher, Patricia Hall, Loretta Ritter, Linda Wolfe - Vocals (#A2,B1,B2)

Unidentified String Section (#A2,B1,B3)

Bill Fischer - Arranger And Conductor

Track Listing:

A1. Chicago Breakdown {William S. Fischer} (9:37)

A2. What's Going On {Renaldo Benson, Al Cleveland, Marvin Gaye} (4:15)

A3. A House Is Not A Home {Burt Bacharach, Hal David} (3:41)

B1. Sack Full Of Dreams {Gary McFarland, Louis Savary} (6:19)

B2. Back In Mérida {William S. Fischer} (4:17)

B3. My Way {Paul Anka, Claude François, Jacques Revaux} (5:58)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bill Fisher

Photography & Design - Tony Lane

Bosses of the B3. pt 1

Bosses of the B3, Part 1 by Kingcake on Mixcloud

Shirley Scott - Now's The Time (1967) [vinyl>flac]

Now's the Time is an album by organist Shirley Scott compiling several tracks recorded between 1958 and 1964 and released on the Prestige label in 1967. "This is early Scott, several takes from different sessions for this Prestige release", Allmusic.

Yes once upon a time jazz was a man's world but with gals like Shirley Scott around some of the cats are beginning to get inferiority complexes. Like isn't a woman’s place in the kitchen! Not when she happens to be Shirley Scott. Her latest cooking is done on a Hammond, not a stove. ~ Extract from Liner Notes by Mark Gardner.

Prestige Records, PR 7440, 1967

Recorded 27th May, 1958 (#A3); 23rd October, 1958 (#B2-B4);
23rd June, 1960 (#B1); 22nd August, 1961 (#A2)
& 31st March, 1964 (#A1) at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Shirley Scott - Organ

Joe Newman - Trumpet (#A2)

Stanley Turrentine - Tenor Saxophone (#A1)

Oliver Nelson - Tenor Saxophone (#A2)

Lem Winchester - Vibraphone (#B1)

Bob Cranshaw - Bass (#A1)

George Tucker - Bass (#A2)

George Duvivier - Bass (#A3-B4)

Otis Finch - Drums (#A1)

Roy Brooks - Drums (#A2)

Arthur Edgehill - Drums (#A3-B4)

Track Listing:

A1. As It Was {Milt Jackson, Shirley Scott} (5:24)

A2. How Sweet {Shirley Scott} (7:22)

A3. Ebb Tide {Robert Maxwell, Carl Sigman} (4:11)

B1. Now's The Time {Charlie Parker} (4:26)

B2. That's Where It's At {Shirley Scott} (3:21)

B3. Cafe Style {Shirley Scott} (4:27)

B4. Out Of This World {Harold Arlen, Johnny Mercer} (4:27)

Credits:

Producer - Ozzie Cadena (#A1)

Producer - Bob Weinstock (#A3)

Producer - Esmond Edwards (#A2,B1-B4)

Recording Engineer - Rudy van Gelder

Liner Notes - Mark Gardner (June 1967)

Ricky Ford - Shorter Ideas (1984) [vinyl>flac]

Ricky Ford explores the music and ideas of Wayne Shorter - a perfect fit for Ford's deeply soulful style of blowing the tenor! The set's actually got a more tightly arranged feel than you might expect - which makes for a nicely fresh take on some of Shorter's greatest numbers from earlier years, and creates some extremely inventive playing between group members that include Jimmy Knepper, James Spaulding, Kirk Lightsey, Rufus Reid, and Jimmy Cobb. Titles include Shorter tunes "Yes Or No", "Miyako", "Dance Cadaverous", and "Pinnochio" – and Ford originals "Wolf Trap" and "Tabloid Blues". © Dusty Groove, Inc.

Ford, who has usually recorded with small groups, here heads an all-star sextet with altoist James Spaulding and trombonist Jimmy Knepper -- an inspired idea that works. They perform four Wayne Shorter numbers, a couple of Ford's originals, and Duke Ellington's "Happy Reunion." Ford takes the lion's share of the solo space and is clearly up to the task, making these sometimes complex compositions seem accessible and logical. Ford has long been underrated (too old to be a Young Lion and too young to be an elder statesman), but based on the evidence of this recording alone he clearly deserves much greater acclaim. ~ by Scott Yanow, AMG.

Muse Records, MR 5314, 1985

Recorded 28^th August, 1984 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Ricky Ford - Tenor Saxophone

James Spaulding - Alto Saxophone, Flute

Jimmy Knepper - Trombone

Kirk Lightsey - Piano

Rufus Reid - Bass

Jimmy Cobb - Drums

Track Listing:

A1. Yes Or No {Wayne Shorter} (5:33)

A2. Miyako {Wayne Shorter} (4:44)

A3. Dance Cadaverous {Wayne Shorter} (6:08)

B1. Pinnochio {Wayne Shorter} (3:30)

B2. Tabloid Blues {Ricky Ford} (4:03)

B3. Wolf Trap {Ricky Ford} (5:05)

B4. Happy Reunion {Duke Ellington} (4:14)

Credits:

Producer, Liner Notes - Michael Cuscuna

Arranger - Ricky Ford

Recording & Mastering - Rudy van Gelder

Cover Photo - Clarence Eastmond

Back Liner Photos - J. Flint

Art Direction - Dick Smith

Conte Candoli with Phil Woods - Old Acquaintance (1985)

I posted this at the old Crypt but this is definitely worthy of resurrection.

I came across this when searching for Muse LPs on a dealers list, and was intrigued by the personnel. What a great record! The tracks with Woods playing clarinet are marvellous, Candoli has always been far more than the stereotypical West Coast trumpeter and Shoemake is the icing on the cake. On the basis of the one vocal track, I'd love to hear more of Mrs Shoemake. I wonder how many more albums of this standard are still buried out there awaiting a CD reissue?

Review by Scott Yanow:
"Trumpeter Conte Candoli and altoist Phil Woods make for a perfect team on this set, which has unfortunately only been released on LP by the now defunct Pausa label. In addition to the principals, the sextet includes vibraphonist Charlie Shoemake, pianist Terry Trotter, bassist Monty Budwig and drummer Bill Goodwin; singer Sandi Shoemake makes a cameo appearance for a chorus of "Don't Worry About Me." The music is essentially modern bebop with such tunes as Bud Powell's "Wail," Fats Navarro's "Nostalgia" and "Just You, Just Me" alternating with a few recent obscurities. Everyone plays up to par during what was one of Candoli's very few opportunities to lead a record session. Unfortunately this LP will be difficult to find."

Chicago Tribune, June 22, 1986 Review by Larry Kart:
"In these days of bebop and postbop revivalism, it`s instructive to hear the real thing, which is more or less what this album has to offer. The leader, trumpeter Conte Candoli, is a secondwave bebop player, originally inspired by Dizzy Gillespie back in the 1940s and later on deeply affected by Miles Davis. While Candoli never has been an improviser of the first rank, his solos always have a strong ``blowing`` feel to them, a sense that the course of the music is perpetually at risk. So now, merely by contrast with today`s relatively sober younger players, Candoli sounds quite daring and fresh.
Candoli also seems to have inspired alto saxophonist Woods, who cuts back on the ``jazzy`` licks that have come to mar his playing, pays close attention to the shape of his evolving lines and produces his best recorded work in some time.
The program is attractive, two bop classics (Bud Powell`s ``Wail`` and Fats Navarro`s ``Nostalgia``), three good standards (``Don`t Worry About Me,`` ``Just You, Just Me`` and ``Nina Never Knew``) and two original tunes. As a bonus, on two tracks Woods plays clarinet, an instrument that tends to bring out his more thoughtful side."

Wail
Don't worry about me (ss vcl)
Just you, just me
Nostalgia (1)
Old acquaintance (1)
Nina never knew (1)
One more Once

Conte Candoli (tp) Phil Woods (as,cl-1) Charlie Shoemake (vib) Terry Trotter (p) Monte Budwig (b) Bill Goodwin (d) Sandi Shoemake (vcl)
Los Angeles, September 30 & October 1, 1985

Sidney Bechet - Jazz Classics Vol. 1 & 2

The discography of Sidney Bechet is enormous.  Proper albums issued by labels are in the minority as there are hundreds of compilations which bring confusion and chaos to any chronological sense.  Many, if not most, add no value to his discography and are infact barely listenable.

So where does a person start if they want to listen to this prolific artist??  Well, they start here at the Crypt.  We have given you a few excellent posts which combined, give a wonderful summary to Bechet's storied music.  Basically, we have listened to tens of crappy albums so you don't have to.

Adding to essential Sidney Bechet listening, we are presenting you with two excellent volumes of Blue Note sides recorded in the late 30's through to the early 50's.  Jazz Classics were originally issued as two volumes both on 10 inch vinyl.  They were reissued in the mid 60's and given the full Blue Note treatment, including hip and modern covers designed by Miles Reid.  Thanks to the 12 inch format, we get some additional tracks which weren't on the original sides.  Between both volumes, the music was recorded in eight different sessions with a wide range of musicians.

The music is top shelf trad as only the great Sidney Bechet can deliver.  We are listening to his "comeback" years as he was supposed to be retired.  Trad jazz enjoyed a wave of interest during the 40's and 50's, so of course Bechet was considered a living legend and was drawn back into the business.  It was during this time that he recorded the infamous cut of "Summertime" for Alfred Lion, and jazz was never the same again.

So this music is important on all fronts - historically, technically... but most important it's just great toe tapping jazz by one of the genre's greatest.  If you aren't a fan of Bechet, or are looking for a starting point to enjoying his music, you have found it.  This pair of LPs were issued in 1968 and are super minty.  Any analog noise that you may hear is in the recording itself.  Wonderful fidelity as to be expected from anything with the Blue Note stamp.  It should be noted that both of these albums share the same back cover, therefore I used the same image for both.  In the album notes you will find the complete session info.  The albums have been remastered from mono to stereo.  These were ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  I hope this adds some warmth to your winter weekend... enjoy!!!

BLP 1201

A1 Muskrat Ramble
A2 Blue Horizon
A3 Weary Blues
A4 Summertime
A5 Blame It On The Blues
B1 Milenberg Joys
B2 Days Beyond Recall
B3 Salty Dog
B4 Dear Old Southland
B5 Weary Way Blues

Bass – John Williams* (tracks: A4), George "Pops" Foster* (tracks: A1, A2, A3, A5, B1, B2, B3, B4, B5)
Clarinet – Albert Nicholas (tracks: A5, B5)
Clarinet, Soprano Saxophone – Sidney Bechet
Drums – Danny Alvin (tracks: A5, B5), Manzie Johnson (tracks: A1, A2, B1, B2, B4), Sidney Catlett(tracks: A4)
Drums, Vocals – Fred Moore* (tracks: A3, B3)
Guitar – Teddy Bunn (tracks: A4, B4)
Piano – Art Hodes (tracks: A1, A2, A3, A5, B3, B5), Cliff Jackson (tracks: B1, B2), Meade "Lux" Lewis(tracks: A4)
Trombone – George Lugg (tracks: A3, B3), Sandy Williams (tracks: B1, B2), Vic Dickenson (tracks: A1, A2)
Trumpet – Bunk Johnson (tracks: B1, B2), Max Kaminsky (tracks: A3, B3), Sidney De Paris (tracks: A1, A2)

BLP 1202

A1 St. Louis Blues
A2 Up In Sidney's Flat
A3 Lord, Let Me In The Lifeboat
A4 Pounding Heart Blues
A5 Changes Made
B1 High Society
B2 Jackass Blues
B3 Jazz Me Blues
B4 Blues For Tommy Ladnier
B5 Old Stack O'Lee Blues

Bass – John Williams* (tracks: A4, B4), George "Pops" Foster* (tracks: A1, A2, A3, A5 to B3, B5)
Clarinet – Albert Nicholas (tracks: B5)
Clarinet, Soprano Saxophone – Sidney Bechet
Drums – Danny Alvin (tracks: B5), Manzie Johnson (tracks: A1 to A3, A5, B3), Sidney Catlett (tracks: A4, B4)
Drums, Vocals – Fred Moore* (tracks: B1, B2)
Guitar – Teddy Bunn (tracks: A4, B4)
Piano – Art Hodes (tracks: A1, B1 to B3, B5), Cliff Jackson (tracks: A2, A3), Don Kirkpatrick (2)(tracks: A5), Meade "Lux" Lewis (tracks: A4, B4)
Trombone – George Lugg (tracks: B1, B2), J.C. Higginbotham (tracks: A4, B4), Jimmy Archey (tracks: A5), Sandy Williams (tracks: A2, A3), Vic Dickenson (tracks: A1, B3)
Trumpet – Bunk Johnson (tracks: A2, A3), Frankie Newton* (tracks: A4, B4), Max Kaminsky (tracks: B1, B2), Sidney De Paris (tracks: A1, A5, B3)

Lou Donaldson - Fried Buzzard (1965)

In the light of Chris' recent posts I couldn't resist sharing this!

I've always felt that Donaldson's Argo/Chess recordings have been unjustly overlooked in favour of his Blue Notes. Now some of his 50s and early 60s Blue Notes are classics - Blues Walk, for example, but many of his later ones were pretty ordinary and the Argo are clearly better!
This particular LP benefits from the presence of the perpetually underrated Hardman. It's also interesting to hear the drummer in his pre-funk days.

01 - Fried Buzzard
02 - Summertime
03 - Peck Time
04 - The Thang
05 - The Best Things In Life Are Free
06 - We

Bill Hardman (t) Lou Donaldson (as) Billy Gardner (org) Warren Stephens (g) Leo Morris (d)
Live "Bon Ton Club", Buffalo, NY, August 6 & 7, 1965

Benny Golson with Curtis Fuller - One More Mem'ry (1981) [vinyl>flac]

New link in comments.

Dusty Groove review:

A really beautiful Japanese-only session from Benny Golson – and proof that, throughout the years, Golson could always continue to turn out wonderful material! Benny's working here with old bandmate Curtis Fuller on trombone – and the pair are supported by a trio who include Bill Mays on piano, Bob Magnusson on bass, and Roy McCurdy on drums – all held wonderfully in command by Golson, who's working here with a tightness that recalls Jazztet years, yet which also has him and Fuller opening up in nice long solos. There's a sense of warmth here that crackles wonderfully – that raspy Golson tone that we first grew to love in the late 50s, and which has only deepened with age by this point. The set includes the wonderful original tune "One More Mem'ry", plus great versions of Golson's "Sad To Say", "Touch Me Lightly", "Five Spot After Dark", "Once Again", and "Out Of The Past".

01 - One More Mem'ry
02 - Out Of The Past
03 - Sweetness
04 - Five Spot After Dark
05 - Touch Me Lightly
06 - Sad To Say
07 - Once Again

Curtis Fuller (tb) Benny Golson (ts) Bill Mays (p) Bob Magnusson (b) Roy McCurdy (d)
A&M Studios LA, August 19 & 20, 1981

Lou Donaldson - Color As A Way Of Life (1977) [vinyl>flac]

Lou Donaldson made two Cotillion albums at the tail-end of the 70s; "Different Scene" and this one. Although not looked upon favourably Donaldson does not disappoint. He is joined by veteran horn players Ernie Royal and Seldon Powell, and just those guys alone bolster the album.

There are some sweet moments here despite the routine arrangements, sterile production and cut-rate roster, close to half of whom count this album as either their only credit or one of less than a handful. Except for drummer Jimmie Young most of the rhythm section were nobodies and both horn and string sections were split down the middle as far as seasoned session vet vs. unknowns is concerned. On the plus side, it's obvious a lot of these guys were going for broke and giving it their best shot, especially William Phipps on the rhodes (check out the sweet washes and nimble solos he sprinkles throughout) and A.C. Drummer on the guitar (this man loves the phased wah-wah sound for better or worse).

A couple cookers, a few ballads and a bit of funk make it worth the minimal fee but don't expect any revelations from Lou, who maintains his standard of techical excellence even though he tends to get buried in the busy arrangements or lost in the mix. Not essential by any means but it will have appeal for the more forgiving fans of LD and those of Jazz-Disco-Funk fusion in general. ~ soundological

Cotillion Records, SD 9915, 1977

Recorded December, 1976 at Groove Sound Studios, New York City

Personnel:

Lou Donaldson - Alto Saxophone

Ernie Royal - Trumpet, Flugelhorn

John Drew Kelly - Trombone, Bass Trombone

Paul G. Bogosian - Trumpet, Flugelhorn

Seldon Powell - Flute, Baritone Saxophone

William Phipps - Fender Rhodes, Clavinet

A.C. Drummer, Jr. - Guitar

Jacob Hunter - Bass

Jimmie Young - Drums

Raphael Cruz - Percussion, Conga

Irving Spice - Violin

Elliott Rosoff - Violin

David Sackson - Violin

Louis Stone - Violin

Jacqueline Copeland - Vocals (#A3)

Track Listing:

A1. Too Much Too Explain {Al Broomfield} (4:15)

A2. Love For Sale {Cole Porter} (5:05)

A3. A Piece Of Your World {Al Broomfield} (4:33)

A4. Passion Fruit {Lou Donaldson, Johnny Brantley, Rick Willard} (4:04)

B1. [Comin' Thru] The Backdoor {Al Broomfield} (3:44)

B2. Ebb Tide {Carl Sigman, Robert Maxwell} (5:24)

B3. Maker's Dream {Lou Donaldson} (4:57)

B4. Walkin' Sally {Lou Donaldson} (4:47)

Credits:

Producer - John Brantley, Rick Willard

Arranger - Mike Goldberg

Engineer - Eddie Youngblood

Mastering - Dennis King (Atlantic Recording Studios)

Notes:

Mixed at Music Farm Studio, New York City