Midnight Trumpet Tales

Some late night trumpet without any Miles or Chet and without anyone playing Round Midnight! This one was enough fun assembling that it may well require a second volume! My goal here was not only a great 'mood', but also to offer some trumpet voices that not everyone will know.

Midnight Trumpet Tales by Kingcake on Mixcloud

The Musical Courage of James Spaulding

Lest We Forget Vol. 8 / The Musical Courage of James Spaulding by Poppachubby on Mixcloud

The Complete Blue Note Blue Mitchell Sessions (1963-67) [flac + full scans]

This classic Mosaic box is long gone...

All Music Guide Review, ~ Scott Yanow:

Blue Mitchell was always a consistent, lyrical, and pleasing trumpeter. Although not as significant during the 1960s as Lee Morgan and Freddie Hubbard (much less Dizzy Gillespie and Miles Davis), Mitchell had his own appealing sound and was a major asset on many modern mainstream dates. This four-CD limited-edition Mosaic box set collects Mitchell's first six Blue Note dates as a leader: Step Lightly, The Thing to Do, Down With It, Bring It Home to Me, Boss Horn, and Heads Up. Three albums are by his quintet, which included tenor saxophonist Junior Cook and usually the young pianist Chick Corea and was formed shortly after he left Horace Silver, and the three others are with larger groups, two of which have arrangements by Duke Pearson. Among the other key sidemen are tenor great Joe Henderson, altoist Leo Wright, baritonist Pepper Adams, and pianists Herbie Hancock and McCoy Tyner. There are just two previously unreleased cuts (both alternate takes), but most of the sets have been somewhat rare for years, and taken as a whole, the swinging hard bop and boogaloo performances are Blue Mitchell's finest recordings as a leader.

Review by Doug Ramsey:

Blue was the perfect nickname for Richard Mitchell. Bright or soft, his tone had a wistfulness about it, and his improvisations inclined toward the harmonic implications of the blues even when he worked with sophisticated material. His trademarks were calm, assurance, and relaxation. They were welcome in an era heavily populated with trumpet players bent on exploiting the instrument's capacity for bravura proclamation.

Mitchell's career with Riverside Records, from 1958 to 1963, coincided with his membership in the Horace Silver Quintet. His own recordings of that period and those with Silver trace the growth of confidence that resulted in a blooming of his lyricism, swing, and narrative ability. By the time of his first Blue Note session, when he was still with Silver, he was a skilled storyteller. With bassist Gene Taylor and drummer Roy Brooks from the Silver band, Mitchell used pianist Herbie Hancock and two saxophonists, Joe Henderson on tenor and altoist Leo Wright. Henderson brought in a new tune, "Mamacita," that would become a classic, and demonstrated why the originality of his playing generated enthusiasm in the New York jazz community. Mitchell's solos on "Sweet and Lovely" and "Cry Me A River" are examples of the maturity and sweetness of his ballad playing.

After Silver disbanded in early 1964, Mitchell continued the group with his frontline partner Junior Cook. Through the remainder of the Mosaic collection, Cook's tenor solos are reminders that he, like Mitchell, rarely gets the credit he plainly deserves. Their partnership, with its stunning ensemble togetherness in "Fungii Mama" and other pieces, dominates the dates that produced the albums The Thing to Do, Down With It! and Bring It Home to Me. The rhythm section is Taylor, pianist Chick Corea, and the 18-year-old Al Foster on drums. Harold Mabern is on piano and Billy Higgins the drummer in the Bring It Home to Me session. Taylor is the only player other than Mitchell who is on every track of the four CDs. He is not a bassist whose notes have long decay times. Rather, the distinctness and intensity of his notes contribute to an inevitability of swing that makes his work notably satisfying.

Corea was a young wonder in the earlier sessions and by the time of the Mitchell octet date of 1966 (Boss Horn) had become a pianist of pronounced originality in harmony, touch, and conception. He also contributed two important compositions, "Tones for Joan's Bones" and "Straight Up and Down," arranged by Duke Pearson. Pearson's chart on "I Should Care" combined with Mitchell's caressing of the melody for a timeless performance. Pearson's master touch continued the following year at the Heads Up! session with his, Jimmy Heath's, and Melba Liston's arrangements for a nine-piece band. They included another perfect ballad performance by Mitchell in "The Folks Who Live on the Hill." Heath's intricate "Togetherness" included side trips into modality, a challenge that Mitchell and Cook met with aplomb. This valuable set from Mosaic preserves some of the best work of a trumpeter who blazed no trails, but played beautifully.

A Deep Blue Vein

A Deep Blue Vein by Kingcake on Mixcloud

Claude Engel - Fantasmagory (1976) [vinyl>flac]

Claude Engel a former member of Magma is quite an enigma, emerging out of the seventies, known primarily as an innovative guitarist, singer and song writer. In many ways it is hard to truly classify his music and in particular what is offered on this album. He employs elements of Jazz-Rock, Pop and Fusion to construct quite an unusual array of sounds showcased on this rare LP. I was lucky to find a well used copy and hence some noticeable detritus. Many would argue this is not truly jazz, but why not open your ears and minds to a classic from the past. Enjoy!

CBS/Marginal Records, KFS 90351, 1976

Personnel:

Claude Engel - Guitars, National Steel Guitar, Bass Fender, String Ensemble ‘Solina’, Percussions (#A5,B1-B4), Arp Odyssey “Locotango”, Hammond Organ (#B2,B4), Singing, Vocals

Christian Leté - Percussion (#A1,A2,A5,B1-B3), Drums (#A2), Exhaust Pipe (#B4)

Georges Rodi - Arp Odyssey (#A1,A2,A5,B4), Piano Fender (#A1), Hammond Organ (#A2,B4)

Anne Vassiliu - Voice “Chateaufort Blues” “Marzom”, “Zom-zom”, Voice and Cello “Tendez-Moi La Main”

Track Listing:

A1. Fantasmagory (7:33)

          Claude Engel - Guitar, Synthesizer

          Christian Leté - Percussion

          Georges Rodi - Synthesizer, Piano [Electric]

A2. Igor (4:28)

          Claude Engel - Guitar, Voice, Bass Guitar

          Christian Leté - Drums, Percussion 

          Georges Rodi - Synthesizer, Organ

A3. Improvisation Sur "Le Thème De "Colchique Dans Les Près" (3:29)

          Claude Engel - Guitar [Spanish]

A4. Chateaufort Blues (3:28)

          Claude Engel - Guitar [Acoustic, Electric], Synthesizer

          Anne Vassiliu - Voice

A5. Locotango (3:12)    

          Claude Engel - Guitar [Spanish], Percussion, Synthesizer

          Christian Leté - Percussion

          Georges Rodi - Synthesizer

B1. Tendez-Moi La Main (4:39)

          Claude Engel - Guitar, Voice, Percussion

          Christian Leté - Percussion

          Anne Vassiliu - Voice

         

Suite Populaire Martienne

B2. 1) Marzom (3:57)

          Claude Engel - Guitar [Acoustic, Electric], Percussion, Organ, Bass Guitar, Voice

          Christian Leté - Percussion

          Anne Vassiliu - Voice

B3. 2) Tikidaï (2:59)     

          Claude Engel - Guitar, Voice, Percussion, Flute

          Christian Leté - Percussion

B4. 3) Zom-Zom (10:06)

          Claude Engel - Guitar [Electric], Voice, Bass Guitar

          Georges Rodi - Organ, Synthesizer

          Performer - Christian Leté

          Anne Vassiliu - Voice

Credits:

Artwork - Allen Weinberg

Written - Claude Engel

Joe Henderson - Punjab (1986) [mp3/flac]

I don't usually post anything here that I haven't ripped myself and I don't usually post mp3s, but an exception, on the off-chance that this is new to KC! An oddity - Joe with an all female rhythm section.

Date: November 27, 1986
Location: Unknown {according to the CD release Bradley's, San Francisco]
Label: Arco

Joe Henderson (ts), Renee Rosnes (p), Marlene Rosenberg (b), Sylvia Cuenca (d)

a. Punjab - 12:26 (Joe Henderson)
b. Homestretch - 12:25 (Joe Henderson)
c. Blue Waltz - 12:10 (Marlene Rosenberg)
d. Friday the Thirteenth - 05:22 (Thelonious Monk)
All titles on: - Arco CD: ARC104 - Punjab

According to Rosnes, this album was not recorded at Bradley's, but rather is a bootleg of a performance in Europe.

I've never been able to find a copy of the CD, many thanks to deGallo for providing a genuine lossless version {link in comments, although you'll need to download the mp3 for scans]

Red Garland - Auf Wiedersehen (1971) [vinyl>flac 24 bit]

Red Garland made his return to recording after a nine year break with two albums for the German MPS label recorded in New York. I was fortunate to obtain the rare Japanese CD issue of ‘The Quota’ (posted back in 2012) although I could never find the CD version of the trio album, I was delighted to unearth this vinyl copy.

Review by Ken Dryden:
Red Garland returned to the recording studio in 1971, after a layoff of nearly nine years, to record this trio set for MPS. Accompanied by bassist Sam Jones and drummer Roy Brooks, Garland is in great form, beginning with Joe Henderson's catchy "Hobo Joe." Garland's sentimental ballad, "Auf Wiedersehen," would make a perfect vehicle for vocalists, if it only had lyrics. The trio's treatment of "A Night in Tunisia" is buoyant, with Brooks altering the pitch of his drums by inflating them with additional air (by blowing through rubber tubes) during his brilliant solo. Garland's "Old Stinky Butt" is a quintessential late-night blues, understated and slow. The leader opens "Stella by Starlight" alone before giving way to his session mates and opening things up. The finale is a brisk rendition of "Daahoud," with all the bells and whistles that one associates with Clifford Brown's hard bop masterpiece. This long out-of-print LP was finally reissued on CD in Japan, though it may be somewhat challenging to find.

1. Hobo Joe
2. Auf Wiedersehen
3. A Night In Tunisia
4. Old Stinky Butt
5. Stella By Starlight
6. Daahoud

Red Garland (piano) Sam Jones (bass) Roy Brooks (drums)
RCA Studios, NYC, May, 1971
Original issue: MPS (G) 15322

Red Garland - The Quota (1971)

From the now out of print Japanese CD reissue.

Dusty Groove review:
A surprisingly wonderful 70s session from pianist Red Garland – thanks to the presence of saxophonist Jimmy Heath on the set! Although Red's most commonly heard in a trio setting, the presence of Heath here really makes the session stand out – as Jimmy's playing with all the best sense of warmth and soulfulness he brought to his own wonderful work of the early 70s – helping Red's rare session for MPS sparkle nicely with his added touches! Heath plays both tenor and soprano sax on the record, and other players include Peck Morrison on bass and Lenny McBrowne on drums.

1. The Quota
2. The Days of Wine and Roses
3. For Carl
4. The Squirrel
5. On a Clear Day (You Can See Forever)
6. Love for Sale

Jimmy Heath (ts, ss) Red Garland (p) Peck Morrison (b) Lenny McBrowne (d)
RCA Studios, NYC, May 3, 1971

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Swingville: It Takes A Village To Raise A Swinger

Lest We Forget Vol. 7 / Swingville: It Takes A Village To Raise A Swinger by Poppachubby on Mixcloud

Mal Waldron w/ Joe Henderson - One Entrance, Many Exits

 I think this is about it for Joe Fest, at least for me - if I think of anything else I'll be sure to post it; meanwhile this is one beautiful album that seems to be overlooked in the torrent of albums Mal made in the last couple decades he was with us. Some have raised issues with the sound mix, but Yanow liked it!

"It is a pity that this album is long out-of-print for the combination of musicians works quite well. Pianist Mal Waldron has an inside/outside post bop style that matches perfectly with tenor-saxophonist Joe Henderson, bassist David Friesen and drummer Billy Higgins. On five Waldron originals plus the standard "How Deep Is The Ocean," Henderson and the pianist are heard soloing in top form. Highlgihts include "Chazz Jazz" (dedicated to Charles Mingus), "Golden Golson" (which is purposely in the style of Benny Golson) and an ad-lib blues for the trio "Blues In 4 By 3." Scott Yanow

Joe Henderson Quartet - Ljubljana (Yugoslavia) 1979

Joe Henderson Quartet
Ljubljana (Yugoslavia)
Krizanke
June 15, 1979, mp3

Joe Henderson ts
Mal Waldron p
Wayne Darling b
Doug Hammond dr

1) 09:18 Inner Urge
2) 08:41 Recorda Me
3) 10:43 Invitation
4) 11:02 And I Love Her (Mediterranean Sun)
5) 07:07 Relaxin´ At Camarillo

Joe Fest - Muse Recordings

Joe Fest continues:
Really an interesting album that borrows some fusion sounds but stays pretty much in a post bop mode that suits Henderson quite well. Sasajima is an interesting and textural guitarist (that and occasional synth are what make me mention fusion) who does not overplay likes so many in the seventies and eighties. While some of the electronics here are a little dated, this is overall a very enjoyable album that Joe Henderson fans need to have. 

There was an American cd issue of this album that included 2 extra tracks -- I only have that one in mp3 form (anyone have it lossless?), but this is the Japanese CD edition with 5 tracks.

This rip comes from a private project a few years back and was contributed by by slantsignature.

Cindy Blackman's debut as a leader finds the talented drummer showing a great deal of confidence and holding her own with her illustrious sidemen: trumpeter Wallace Roney, either altoist Kenny Garrett or (on two songs) tenor saxophonist Joe Henderson, pianist Larry Willis, and Buster Williams or Clarence Seay on bass. The music (which includes an unaccompanied drum solo by Blackman on "Incindyary") is modern hard bop, and all of the musicians play up to par in their concise solos; Blackman, Willis, Williams and Henderson ("Teeter Totter") provided all of the songs. A strong start to Cindy Blackman's productive recording career.


Personnel: Cindy Blackman (drums), Kenny Garrett (alto saxophone), Joe Henderson (tenor saxophone), Wallace Roney (trumpet), Larry Willis (piano), Buster Williams (acoustic bass), Clarence Seay.