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

Sahib Shihab, James Moody, Jeremy Steig & Chris Hinze - Flute Summit

Credits

• Bass – John Lee (3)
• Congas, Percussion – Ivanir "Mandrake" Do Nascimento*
• Drums – Aldo Romano
• Engineer – Norbert Klövekorn
• Flute – Chris Hinze, James Moody, Jeremy Steig, Sahib Shihab
• Piano, Electric Piano [Fender Rhodes] – Joachim Kühn
• Producer – Joachim E. Berendt*

Notes

Recorded live in two concerts Oct. 20/21, 1973
Stereo situation: Hinze left - Shihab half-left - Moody half-right - Steig right

Richard "Groove" Holmes - Shippin' Out

Richard 'Groove' Holmes - Shippin' Out
Muse 5134, 1978
 recorded 1977

1) Feelings
2) Windows
3) Stella By Starlight
4) Where or When
5) Shippin' Out

Groove Holmes organ, David Schnitter tenor sax, Steve Giordano guitar, Idris Muhammed drums, Bobby Caldwell conga

Aren't those the twin towers of the World Trade Center I see off in the distance on this cover shot?

I guess this one is pretty rare since I can't even find mention of it on google. I found my copy at a discogs vendor who specializes in punk rock and when I received it the vinyl looked like some punk rockers had played frisbee with it. Amazingly enough it played thru after cleaning without a skip. It was noisy to be sure but I have calmed that down with Isotope RX.

This is a fine record, Groove is well, Groove and Schnitter and Giordano give fine performances on tenor and guitar in support. as it says in the liner notes: "The players are fine. The music is fine. The recording is excellent. These are the facts."

Kenny Wheeler - Around 6 (1979) [vinyl>flac]

Here’s another LP as a fitting tribute to the late Kenny Wheeler and one of my favourites. It is his third album for ECM and one that is quite unique due to the help of some of the finest Avant Garde/Free Jazz players of that time. On this LP Wheeler presents six pieces of extraordinary beauty and the reed-work of Evan Parker proves to be a creative addition to Wheeler’s great trumpet and flugelhorn sounds. Not to overlook the importance of the rest of the sextet. All members add defining qualities to showcase some of Wheeler’s most elegant of compositions. This rip is from my LP. I managed to find some extra scans and photos from the web, Enjoy!

Kenny Wheeler's third ECM album as a leader is most notable for teaming his trumpet with the innovative tenor and soprano of Evan Parker, a brilliant British avant-garde player who is often overlooked in the U.S. With fine playing from trombonist Eje Thelin, vibraphonist Tom Van Der Geld, bassist J.F. Jenny-Clark and drummer Edward Vesala, the sextet performs six Wheeler originals that combine together advanced swinging with fairly free explorations. Stimulating music. ~ Scott Yanow, AMG.

Like the wordplay of first cut (“Mai We Go Round”) the album as a whole is twice removed: once from the immediate expectations born of past projects, and once more from the often earthly shapes of those projects. This time around, Wheeler is happy to tiptoe over the clouds, reaching for the sun that illuminates their cauliflower topsides. A pliant intro urges us down the rhythmic paths of J.F. Jenny-Clark (bass) and Tom van der Geld (vibes), along which Wheeler crafts the tenderest of songs. At heart a lullaby, it is lively on the surface, so that we always remain half awake, our eyes glazed by an interest in the musical moment. All of this stretches a diffuse canvas across which Parker splashes the enchanting wisdom of an aurora borealis in fast forward. After this dip into limpid waters, Wheeler breaks out the gorgeous “Solo One”. Floating on a studio echo with great care, his tone is tender yet immovable, and moves like a human body after an epic recovery. “May Ride” lays another solid foundation between bass and vibes and the subterranean patter of Edward Vesala on drums. Wheeler stays fairly centered, letting out the occasional squeal, and sets up a fantastic solo - one of the album’s best - from trombonist Eje Thelin. After a few doodles from the horns, “Follow Down” unfolds in a parabolic blade, thereby tilling a nutrient-rich soil for Parker’s brilliance. Vibes curl their reverberant fingers alluringly along the edge of our attention before horns and arco bass fall into line. A splash of water dispels our reveries in the propulsive “Riverrun.” Wheeler and Thelin swing from every branch with an unwavering sense of play, granting Vesala a few moments in the spotlight before ending tenderly, conservatively, with the ballad “Lost Woltz.” A lush and consistent album, around 6 takes on a life of its own with every listen, and deserves a place in any self-respecting jazz collection. ~ ecmreviews.com

ECM Records, ECM 1156, 1980

Recorded August 1979 at Tonstudio Bauer, Ludwigsburg, Germany

Personnel:

Kenny Wheeler - Trumpet, Flugelhorn

Evan Parker - Soprano & Tenor Saxophones

Eje Thelin - Trombone

Tom van der Geld - Vibraharp

Jean-François Jenny-Clark - Double-Bass

Edward Vesala - Drums

Track Listing:

A1. Mai We Go Round (10:30)

A2. Solo One (3:34)

A3. May Ride (7:26)

B1. Follow Down (11:37)

B2. Riverrun (7:36)

B3. Lost Woltz (5:22)

All Compositions by Kenny Wheeler

Credits:

Producer - Manfred Eicher

Engineer - Martin Wieland

Cover Photo [from "Onlookers", 1978] - Christian Vogt

Liner Photos - Signe Mähler

Design - Dieter Rehm

Pete Rugolo & His All-Stars - Out On A Limb

This is a really nice album of mostly originals by the west coast jazzman, Pete Rugolo.  It mostly serves as a vehicle for his compositions and arrangements which are of course, fantastic.  We hear some brief but gorgeous soloing from a nice cross section of west coast talent.

Rugolo was no Basie, but he certainly could put the band to great effect.  There are some stunning moments where he uses the whole brass section, or band itself to emphasize a note.  "Repetitious Riff" is hands down my favorite tune as he finds the best balance between putting down his own material while still allowing the band to shine individually.  There are definitely a few tunes with very little in the way of personal expression from his all stars.

Overall its a nice listen, but certainly not a classic.  The album cleaned up nicely and there was only one issue I couldn't clean up (a small pop for 4 rpm).  Brought to you in glorious mono, this was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  There are some really nice notes on the back cover, which is of course included in hi rez.  Enjoy the golden days of the west coast jazz sound!!

Emarcy (MG 36115)
1957

Recorded in Los Angeles, CA
July 9 -11, 1956

Smoke Gets In Your Eyes:

Harry Klee (alto saxophone, alto flute, piccolo) Ronny Lang (alto saxophone, flute) Gene Cipriano, Dave Pell (tenor saxophone) Chuck Gentry (baritone saxophone) Russ Freeman (piano) Howard Roberts (guitar) Joe Mondragon (bass) Shelly Manne (drums) Pete Rugolo (arranger, conductor)

Don't Play The Melody;  The Boy Next Door:

Pete Candoli, Maynard Ferguson, Ray Linn, Don Paladino (trumpet) Milt Bernhart, Herbie Harper, Frank Rosolino (trombone) George Roberts (bass trombone) John Cave, Vince DeRosa (French horn) Clarence Karella (tuba) Harry Klee (alto saxophone, alto flute, piccolo) Ronny Lang (alto saxophone, flute) Gene Cipriano, Dave Pell (tenor saxophone) Chuck Gentry (baritone saxophone) Larry Bunker (vibraphone, xylophone, percussion, timpani) Russ Freeman (piano) Howard Roberts (guitar) Joe Mondragon (bass) Shelly Manne (drums) Pete Rugolo (arranger, conductor)

Cha-Lito Linda;  Early Duke;  In A Modal Tone:

Same as previous but Don Fagerquist (trumpet) replaces Paladino

Sunday, Monday Or Always;  Ballade For Drums; Nancy (With The Laughing Face);  Repetitious Riff:

Jay McAllister (tuba) Bud Shank (alto saxophone, flute) Bob Cooper (tenor saxophone) Jimmy Giuffre (baritone saxophone) Barney Kessel (guitar) replaces Karella, Lang, Cipriano, Gentry, Howard Roberts

A1 Don't Play The Melody
A2 In A Modal Tone
A3 Early Duke
A4 Nancy
A5 Sunday, Monday Or Always
B1 The Boy Next Door
B2 Cha-Lito Lindo
B3 Ballade For Drums
B4 Smoke Gets In Your Eyes
B5 Repetitious Riff

Dancing In The Garden Of The Muses #6

Dancing In the Garden of the Muses #6 by Kingcake on Mixcloud

Roland Kirk - Complete Recordings 1956-1962

A new cheapo Euro-box with little in the way of covers or notes, but with fresh remastering of some of my favorite albums - ripped from Unkie Cliff's new box set.