Kenny Barron - Golden Lotus (1980) [re-rip]

Solid 1980 session with the always vibrant, challenging pianist Kenny Barron and the underrated saxophonist John Stubblefield in fiery form. Steve Nelson began generating interest on vibes with his playing on this session ~ Ron Wynn, All Music Guide.

A great Kenny Barron side for Muse, one of the best from a label that has a lot of remarkable sleepers on it. Like the best Muse sides, this set does a great job of straddling the line between forward looking modal playing and relaxed soul jazz, combining the best elements of both. And as you might imagine from the title, there is a bit of spiritual and eastern influence creeping in on some of the numbers. ~ Dusty Groove.

Muse Records, MR 5220, 1982

Recorded 4^th April, 1980 (#B1) at Downtown Sound New York City;

18^th April, 1980 (#A1-A3,B2) at Sound Heights Studio, Brooklyn, New York

Musicians:

Kenny Barron - Piano

John Stubblefield - Soprano Sax (A1,B2) & Tenor Sax (#A2,A3)

Steve Nelson - Vibraphone

Buster Williams - Bass

Ben Riley - Drums

Track Listing:

A1. Golden Lotus {Kenny Barron} (5:58)

A2. Dewdrop {Kenny Barron} (6:32)

A3. Cinco {Kenny Barron} (8:58)

B1. Darn That Dream {Jimmy Van Heusen, Edgar DeLange} [Solo] (9:16)

B2. Row House {Kenny Barron} (10:43)

Credits:

Producer - Michael Cuscuna

Recording and Mixing Engineer - Fred Miller

Mastering Engineer - Joe Brescio at The Master Cutting Room, New York City

Cover Photo - Neil Lavey

Liner Photo - Tom Copi

Album Design - W. Dale Cramer

Kenny Barron - Lucifer (1975) [re-rip]

Totally excellent Kenny Barron album on Muse, and one of his hardest to find! There's a killer cut on here called "Hellbound" that's got Kenny playing this fantastic electric piano and moog stuff on top of overdubbed acoustic piano, which provides a rhythmic underpinning. The track is long and spacey, with an excellent modal groove that would make an excellent sample, but which also grooves beautifully on its own! Lots of other cool cuts too, all with more instrumentation, and a nice soulful funky sound. Titles include "Lucifer", "Spirits", "Firefly", and "Ethereally Yours" – and players include James Spaulding, Bill Barron, and Billy Hart. Beautiful! ~ Dusty Groove, Inc.

Kenny Barron recorded this album in 1975, at the age of 32 with the help of his brother and host of heavy jazz cats. The result is pure bliss. Not unlike his previous album "Peruvian Blue", Lucifer hands us a bit of a mixed bag as far as styles go. There are some scorching jazz-funk numbers, a spiritually tinged acoustic affair and an almost avant-garde fusion cut. Kenny even coined a term to describe his music called “Electracoustic Fusion” which is talked about in length on the back cover. Regardless of what its called, the music is surely one of the bright spots in Kenny’s career as a leader.

This album was recorded just as Barron was leaving Yusef Lateef’s band. The liner notes on the back are all about Barron’s thoughts and experiences with Fusion and electronic instruments as opposed to Bop, which was Barron’s roots having played with Dizzy Gillespie in the mid-1960s. I don’t know what the big deal was though, because his other albums from the time period all had electric instruments on them as well, but let’s focus on the actual music. The reason to check for this album is the opening Spirits, a fine piece of funky Soul-Jazz with a nice rhythm and a series of solos. Hellbound is also a good Fusion piece with a distorted bass line over which Barron plays electric and acoustic piano as well as clavinet.

Muse Records, MR 5070, 1975

Recorded 28^th April, 1975 at Bell Sound, New York City

Musicians:

Kenny Barron - Piano (#A1,A3,B1,B2,B3), Electric Piano (#A2,B1)
String Synthesizer (#A2,B1), Clavinet (#A1), Cowbell (#A1,B2)

Charles Sullivan - Trumpet (#A1,A2,B2)

James Spaulding - Bass Flute (#A2,A3), Alto Saxophone (#A1,B2)

Bill Barron - Soprano Saxophone (#A1,A2,B2)

Carlos Alomar - Guitar (#A1,B2)

Chris White - Electric Bass (#A1,A2,B1,B2)

Billy Hart - Drums (#A1,A2,B2)

Track Listing:

A1. Spirits {Kenny Barron} (8:56)

A2. Firefly {Kenny Barron} (8:45)

A3. Ethereally Yours {Kenny Barron} (5:45)

B1. Hellbound {Kenny Barron} (12:58)

B2. Lucifer {Kenny Barron} (5:32)

B3. Oleo {Sonny Rollins} (5:03)

Credits:

Producer - Michael Cuscuna

Engineer - Malcolm Addey

Mixing - Tony May

Cover - Ron Warwell

Kenny Barron - Peruvian Blue (1974) [re-rip]

One of Kenny's best albums from the 70s - a moody set of piano tracks - both electric and acoustic - that features backing by Ted Dunbar, David Williams, Sonny Morgan, and Albert Heath. Most of the tracks have a very nice warm 70's soul jazz sound - laidback, but exploratory and always opening up on new levels - and the mixture of piano and guitar that graces most of the album makes for an unusual departure from some of Kenny's other albums. Titles include "Peruvian Blue", "The Procession", "Two Areas", and "In The Meantime". ~ Dusty Groove, Inc.

Barron has continued to compose, and his works have found their way into repertoires of many leading musicians including Lateef and James Moody. Similarly, his playing has taken on degrees and shades of sophistication and complexity that have made him one of the most impressive of all the younger pianists. He has technical brilliance, a sense of adventure that leads him to explore the freedom of the New Thing, and a balancing sense of tradition that informs everything he plays with the essence of jazz. Peruvian Blue is an album full of that essence. And in Blue Monk it offers a minor masterpiece. ~ Extract from Liner Notes by Doug Ramsey.

Muse Records, MR 5044, 1974

Recorded 14^th March, 1974 at RCA Studios, New York City

Musicians:

Kenny Barron - Piano (#A2-A3,B2), Electric Piano (#A1,B1,B3), Clavinet (#B3)

Ted Dunbar - Guitar (#A1-B1,B3)

David Willians - Bass (#A1,A3,B1), Fender Bass (#B3)

Albert "Tootie" Heath - Drums (#A1,A3,B1,B3), Flute (#A1)

Richard 'Pablo' Landrum - Conga (A1,B1,B3), Percussion (A1,B1,B3)

Sonny Morgan - Percussion (A1,B1,B3)

Track Listing:

A1. Peruvian Blue {Kenny Barron} (9:47)

A2. Blue Monk {Thelonious Monk} (8:38)

A3. The Procession {Kenny Barron} (4:49)

B1. Two Areas {Ted Dunbar} (9:43)

B2. Here's That Rainy Day {Jimmy Van Heusen, Johnny Burke} (8:04)

B3. In The Meantime {Kenny Barron} (5:46)

Credits:

Producer - Don Schlitten

Recording - Paul Goodman [RCA]

Liner Notes - Doug Ramsey

Kenny Barron - Sunset To Dawn (1973) [re-rip]

One of the series of very, very excellent soul jazz albums Barron cut for Muse in the early and mid 70s, with Kenny playing mostly electric piano. The vibe is spacious and totally grooving throughout, even on the more swing based bop numbers, and Barron gets complementary backing by Bob Cranshaw on bass, Freddy Waits on drums, Warren Smith on vibes, and Richard Landrum on percussion for a hornless but very full sounding group. The set includes the great groover "Swamp Demon" and the very well-sampled "Sunset", plus "Al-Kifha", "Delores St S.F.", and "Dawn". ~ Dusty Groove.

Muse Records, MR 5018, 1973

Recorded 2^nd April, 1973 at RCA Studio in New York City

Musicians:

Kenny Barron - Piano (#A2,B1,B2), Electric Piano (#A1,A3,B3), Percussion (#A3)

Warren Smith - Vibraphone (#B1,B3), Percussion (#A1,A3,B2,B3)

Bob Cranshaw - Electric Bass (#A1,A3-B3), Percussion (#A3)

Freddie Waits - Drums (#A1,A3-B3), Percussion (#A3), Flute (#A1)

Richard 'Pablo' Landrum - Conga (#A1,A3,B2,B3), Percussion (#A1,A3,B2,B3)

Track Listing:

A1. Sunset {Kenny Barron} (9:05)

A2. A Flower {Kenny Barron} (6:48)

A3. Swamp Demon {Kenny Barron} (4:40)

B1. Al-Kifha {Freddie Waits} (6:12)

B2. Delores Street, S.F. {Kenny Barron} (6:37)

B3. Dawn {Kenny Barron} (5:59)

Credits:

Producer - Don Schilitten

Engineer - Paul Goodman

Mastering Engineer - Joe Brescio {The Cutting Room, New York City}

Design - Signature Graphics

Coleman Hawkins With The Ramblers - The Hawk In Holland

This album is a must have for any fan of the Hawk.  These sides were cut with The Ramblers, a really excellent Dutch swing band.  Hawkins however, is truly given the spotlight and shines as bright as you could imagine.

Overall, the vibe is upbeat and fun.  There are a couple tracks that include the vocals of Annie De Reuver, and that adds a nice dimension to the pace of the album.  Coleman Hawkins really delivers on his solos and makes excellent use of his time.  Inventive, witty and soulful chorus' all the way through.

The recording itself is really quite excellent considering its age, 1935 & 37.  My LP is actually NM but there is analog noise throughout - this is there from the transfers that Decca performed.  Frankly, it's the last thing you will be thinking about once you click play.  I ripped this at 24/48 wav and transferred to 24/48 FLAC... enjoy!!!

GNP Crescendo Records
GNP-9003
1968

Don Patterson with Sonny Stitt - Donny Brook (1969) [re-rip]

Organist Don Patterson and saxophonist Sonny Stitt recorded together frequently between 1961 and 1969. On this LP from their last session, they are joined by guitarist Grant Green -- the only date Green ever recorded with them. Regular Patterson collaborator, drummer Billy James, completes the group. It's good organ jazz, although not the best performances in this style from the three lead players. Green's title track is the highlight. It's a two-chord vamp that sounds as if at any moment it's going to break into the melody from Classics IV's hit, "Spooky." What's impressive is how the players drive off from this very basic tune to produce sophisticated, imaginative solos. The group's readings of Tad Dameron's "Good Bait" and Sonny Rollins' "St. Thomas" are not definitive, but they yield satisfying choruses from Stitt, Patterson, and Green. Patterson can usually be counted on for a stylish, soulful, slow blues. For this set, it's "Mud Turtle" -- close to ten minutes of steaming solo work all around. The Patterson ballad feature "Starry Night" starts off in roller-rink territory, but soon develops into a highly dramatic and progressive piece. ~ by Jim Todd, AMG.

Prestige Records, PR 7816, 1970

Recorded 15^th September, 1969 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Sonny Stitt - Tenor Saxophone [Varitone]

Grant Green - Guitar

Billy James - Drums

Track Listing:

A1. Donny Brook {Grant Green} (8:25)

A2. Mud Turtle {Don Patterson} (9:58)

B1. St. Thomas {Sonny Rollins} (5:32)

B2. Good Bait {Tadd Dameron, Count Basie} (8:32)

B3. Starry Night {John H. Densmore} (5:53)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder
Photo - Al Johnson
Design - Don Schlitten
Liner Notes - Nat White (September, 1970)

Extracts From Liner Notes:

A donnybrook is a fight. This donnybrook is a bit different, however, because the participants are merely supporting each other and results are much mellower than the knock-down drag-out one might expect. For many years, I have listened to and enjoyed the straight-ahead swing of Don Patterson-a gifted young man. Hearing Don is always a joy but hearing him in the company of burner extraordinaire Sonny Stitt is an added bonus. Don, Sonny, and Billy James worked up and down the country for several years and they know what to expect from each other. The addition of Grant Green can only add some spice to an already together congregation.

This album is an example of the affirmation of jazz in these times of social unrest-at home and abroad. Noting that indifference and conflict have invaded many of the arts, it is a pleasure to know that jazz, the only true American art form, has not fallen to the depths of mediocrity. It has broadened its horizons, expanded its viewpoint, and survived with its best feature intact. Men like Don Patterson will be in the vanguard of change for the music and it is a good thing because a man like Patterson has deep roots in modern jazz. Good hard-cooking music will not fade from the scene if he has anything to say about it. ~ by Nat White.

Jerome Richardson - Going to the Movies

AllMusic Review by Ken Dryden

Movie themes, along with songs from Broadway, have long been fodder for jazz musicians. This United Artists LP features Jerome Richardson leading his working quintet during a live engagement, though the venue is unidentified. The extended workout of Duke Jordan's "No Problem" (from the film Les Liaisons Dangereuses) showcases Richardson's robust baritone sax and Les Spann on flute, with the leader adding a tag at the end on piccolo. Richardson switches to tenor sax and Spann to guitar for a rather brisk arrangement of "Moon River." "Tonight" (from West Side Story) is a bit unusual in that it features both musicians on flute. The potent rhythm section includes pianist Richard Wyands, bassist Henry Grimes, and drummer Grady Tate. Richardson's recordings as a leader after the early '60s were rather sporadic, but this early effort gives a strong indication of his potential. Long out of print, this LP will be difficult to acquire.

Lou Donaldson - At His Best (1966) [vinyl]

No, it's not a compilation but one of a series of eight albums recorded for Cadet in the mid-60s.
As vinyl rips go this took some work! But comparing with an mp3 rip I have it seems worth it.

1. Greasy Papa
2. Tangerine
3. Wig Blues
4. Blues #3
5. Win, Lose Or Draw
6. Be Anything But Be Mine
7. Day By Day

Lou Donaldson (as) Bill Hardman (t) William Gardner (org) Calvin Newborn (g) Grady Tate (d)
RCA Studios, New York City, August, 1966

James Moody - Cookin' The Blues (1961) [vinyl>flac]

The genius of Moody! It's an album like this that you need to prove to your friends that Moody was way more than a simple bopper. The set was recorded live in San Francisco in 1961, and it's got a hip mix of soul jazz, filtered through some modernist ideals, all played by a great little group that includes Bernard McKinny on trombone, Howard McGhee on trumpet, Musa Kaleem on baritone, and Sonny Donaldson on piano. Eddie Jefferson sits in for 2 numbers - "Disappointed" and "Sister Sadie" - and other tracks include "One For Nat", "Bunny Boo", "Moody Flooty", and "Home Fries". © Dusty Groove, Inc.

“Cookin’ the Blues”, features his septet recorded live at the Jazz Workshop in June 1961, during his tour on the West Coast. Moody, wonderfully relaxed and in good form, fronts a band (with trumpeter Howard McGhee in his come back to the coast) offering inspired performances and more musical content than groups with a bigger name. Eddie Jefferson was also was one of the moving forces behind the whole show, with his humorous, and happily frantic singing. ~ Fresh Sound Records.

This album was recorded live in San Francisco and the band sound on good form with well worked and, most likely, well-rehearsed ensembles. The opening blues, The Jazz Twist, has Moody playing alto although he sounds equally at home on this or tenor sax. These are very well cooked blues and Moody is on sparkling form on both this and the studio set that follows. He digs into the blues on the opening selection and again on Bunny Boo, measuring his solo phrasing carefully as the rhythm section pulses along beside him. Moody Flooty has the leader showing how well he can perform on flute, his tone strong and his ideas forming unimpeded. The rhythm section plays well throughout. Arnold Enlow, who is aka Buddy on some discs, is steady on all selections. Moody is the only soloist but the group sound overall, is impressive. ~ Derek Ansell (Jazz Journal, March 2015)

“Cookin’ the Blues” finds Moody with a medium sized group which includes trumpeter Howard McGhee unfortunately none of the group get to solo except pianist Sonny Donaldson. Moody plays alto, tenor and flute, on alto he displays his debt to Parker but on tenor and flute he is more his own man. This is a live recording and may have been exciting in person but this does not transfer to the recording. Apart from “It Might As Well Be Spring” all the compositions are originals and includes to vocals by Eddie Jefferson in his vocalese style. ~ Roy Booth, Jazz Views.

Argo/Cadet Records, LPS-756, 1965

Recorded at the Jazz Workshop, San Francisco, 1961

Musicians:

James Moody - Tenor & Alto Saxophones, Flute (#A4)

Howard McGhee - Trumpet

Bernard McKinney - Trombone

Musa Kalleem - Baritone Saxophone

Sonny Donaldson - Piano

Steve Davis - Bass

Arnold Enlow - Drums

Eddie Jefferson - Vocals (#B2,B3)

Track Listing:

A1. The Jazz Twist {James Moody} (6:36)

A2. One For Nat {Gene Kee} (5:53)

A3. Bunny Boo {James Moody} (5:32)

A4. Moody Flooty {James Moody} (4:16)

B1. It Might As Well Be Spring {Richard Rodgers, Oscar Hammerstein II} (5:55)

B2. Disappointed {Eddie Jefferson} (2:10)

B3. Sister Sadie {Horace Silver} (2:50)

B4. Little Buck {James Moody} (2:12)

B5. Home Fries {Gene Kee} (6:17)

Credits:

Supervisor, Producer - Jack Tracy

Sound Engineer - Paul Gayten

Photography [Cover] - Don S. Bronstein

Design - Michael Reid Design

Liner Notes - Ira Gitler

New York Jazz Quartet - Surge

The 70's is in so many ways, the "runt" of the chronological jazz litter.  There were of course, many cringe worthy aspects - perhaps enough to call a majority.  But in spite of this, there were alot of amazing things happening too.  Those incredible musical happenings tend to get overlooked, as many fans write off this decade.

When thinking about "the tradition" in 70's jazz, we can put things into two categories:  solid, straight ahead keepers of the flame;  and progressive innovators.  I think the New York Jazz Quartet fall into the latter.  They were certainly rooted in the familiar, but when you look at the entire picture, you get composition, arrangement and masterful playing.

All four members contribute compositions, with Wess & Hanna being more dominant.  The melodies and arrangements are as beautiful as they are advanced.  The only tune that reflects the sound of the times, would be the Hanna penned "Big Bad Henry".  That said, it's aged perfectly and is more than listenable today.  The group also share in the solo spotlight quite equally, showing that the lesser known Pratt is up to the task.

The entire quartet express themselves wonderfully throughout Surge, but I really feel that Mraz takes the crown.  His playing is quite frankly , beyond words.  Take his solo during Big Bad Henry for example.  His speed and accuracy are incredible, and yet this technical bravado never diminishes the feel or soul of his statement.  Mraz's note selection is perfect, and his tone is clear and articulate... to sum it up, his entire performance is masterful.

I also want to note that Wess' flute work on this session, is some of his best.  He definitely pulled it out on the right tunes, and in the right spots.  His sound is so emotive... beautiful.

Anyhow people, this album is definitely a winner!!  Of course, the minty vinyl has been captured in 24/48 wav and transferred to 24/48 FLAC for your convenience.  Enjoy!!!

___________________________________________________________

Inner City Records ‎– IC 3011

1977

A1 Surge 5:49
A2 Placitude 7:05
A3 Big Bad Henry 9:52
B1 87th Street 6:17
B2 What, Does It Matter? 4:48
B3 Tee Piece 7:10

Bass – George Mraz

Drums – Richard Pratt
Flute, Saxophone – Frank Wess
Piano – Roland Hanna

James Moody - Hey! It's James Moody (1959) [vinyl>flac]

It remains remarkable, how fresh James Moody sounds, even when some of the arrangements show their age. Indeed, some of these tracks have passed into jazz lore, including "Last Train from Overbrook (the salute to Moody's return to the scene) with Eddie Jefferson's ebullient vocal. The leader excels on tenor, but his full-bodied, soulful and technically sure flute playing deserves special mention. He shines on a languid "Indian Summer that is far too short, and "Trouble In De Lowlands finds him appropriately mournful. "Tali is a bit too precious, but Moody almost salvages it with a far-too-short swinging segment. On tenor, Moody soulfully explores "Don't Blame Me, taking his time to build a compelling solo. On "Woody'N You (aka "Algo Bueno), Dizzy Gillespie's tribute to Woody Herman, he soars again on tenor, using fragments of the melody to launch segments of blowing choruses. His tenor playing, individualised with gruff, acidic traces, is always compelling. This release is a snapshot of James Moody's output from the late '50s. Here and there it can sound a bit dated, however Moody's warm, passionate, focused voice, however, stands out. Whether in the studio or in the band box, he was then - and remains now - exciting, soulful and expressive. ~ extracts from review by Andrew Rowan, allaboutjazz.com

Argo Records, LP-666, 1960

Recorded 29^th December, 1959 at Ter-Mar Recording Studios, Chicago, Illinois

Musicians:

James Moody - Tenor Saxophone (#A1,A3-A5,B2,B3), Flute (#A2,B1,B4,B5)

Johnny Gray - Guitar

Eldee Young - Bass

Clarence Johnson - Drums

Eddie Jefferson - Vocals (#A4,B4)

Track Listing:

A1. Stella By Starlight {Victor Young, Ned Washington} (3:05)

A2. Indian Summer {Al Dubin, Victor Herbert} (2:36)

A3. Don't Blame Me {Jimmy McHugh, Dorothy Fields} (4:28)

A4. Last Train From Overbrook {James Moody} (2:32)

A5. Please Say Yes {Tom McIntosh} (3:58)

B1. Blue Jubilee {Tom McIntosh} (6:15)

B2. Woody'N You {Dizzy Gillespie} (3:12)

B3. Trouble In De Lowlands {James Moody} (2:23)

B4. Summertime {George Gershwin} (2:29)

B5. Tali {Tom McIntosh} (2:48)

Credits:

Supervision - Jack Tracy

Recording Engineer - Ron Malo

Cover Photo - Chuck Stewart

Cover Design - Don Bronstein

Liner Notes - Leonard Feather

Hampton Hawes - Universe (1972) [vinyl]

Review by Scott Yanow AMG:
In 1972, Hampton Hawes began to fully explore electric keyboards. Although his longtime fans were not happy with the temporary move, Hawes' music at the time was actually more creative than it was often rated... Hawes deserves credit for his willingness to take chances, and even if this album (consisting of seven moody originals) is not as significant as most of his boppish trio dates from the 1950s, it deserves to be reevaluated, for it is better than often thought.

Little Bird
Drums For Peace / Love Is Better
Josie Black
Don't Pass Me By
Universe
J.B's Mind

Oscar Brashear (trumpet) Harold Land (tenor saxophone) Hampton Hawes (piano, electric piano, organ, synthesizer)
Arthur Adams (guitar) Chuck Rainey (electric bass) Ndugu (drums)
Los Angeles, CA, June, 1972

NB The track times on the sleeve for side one are clearly wrong!

Shirley Scott - Latin Shadows (1965) [vinyl>flac]

A great album from Shirley Scott - with some excellent arrangements by Gary McFarland! We've always felt that Shirley plays best when she's not leading the group - when someone else is handling the arrangements, so that she can groove mightily on her own - and this album is a perfect illustration of that fact! The album has a sparkling bossa and 60s groove finish - similar to McFarland's albums for Verve at the time - and Shirley's light touch on the Hammond really makes the whole thing dance nicely! Tracks include a sweet version of "Soul Sauce", plus covers like "Can't Get Over the Bossa Nova", "Downtown", and "Dreamsville". Also includes "Latin Shadows", a great original by McFarland! © Dusty Groove, Inc.

Impulse! Records, AS-93, 1965

Recorded 21^st (#A2,A4,A5,B2-B4) & 22^nd (#A1,A3,A6,B1,B5), July, 1965 in New York City

Personnel:

Shirley Scott - Organ

Gary McFarland - Vibraphone

Jerome Richardson - Flute (#A1,A3,A6,B1,B5)

Jimmy Raney - Guitar

Bob Cranshaw - Bass (#A2,A4,A5,B2-B4)

Richard Davis - Bass (#A1,A3,A6,B1,B5)

Mel Lewis - Drums

Willie Rodriguez - Percussion

Strings: [#A1,A3,A6,B1,B5]

Charles McCracken, Edgardo Sodero, Joseph Tekula - Cello

Aaron Rosand, Arnold Eidus, Charles Libove, Harry Cykman, Leo Kruczek - Violin

Arranger, Conductor - Gary McFarland

Track Listing:

A1. Latin Shadows {Gary McFarland} (3:12)

A2. Downtown {Tony Hatch} (3:18)

A3. Who Can I Turn To? {Leslie Bricusse, Anthony Newley} (2:37)

A4. Can't Get Over The Bossa Nova {Eydie Gorme, Steve Lawrence} (2:42)

A5. This Love Of Mine {Sol Parker, Hank Sanicola, Frank Sinatra} (3:23)

A6. Perhaps, Perhaps, Perhaps {Osvaldo Farrés} (2:39)

B1. Soul Sauce {Dizzy Gillespie, Chano Pozo} (2:50)

B2. Hanky Panky {Gary McFarland} (4:16)

B3. Noche Azúl {Shirley Scott} (2:46)

B4. Dreamsville {Ray Evans, Jay Livingston, Henry Mancini} (3:14)

B5. Feeling Good {Leslie Bricusse, Anthony Newley} (3:37)

Credits:

Producer - Bob Thiele

Recording Engineer - Bob Simpson

Front Cover Painting - Mel Cheren

Back Cover & Liner Photos - Charles Stewart

Liner Design - Joe Lebow

Liner Notes - George Hoefer, Jazz Magazine

Jerome Richardson - Roamin' With Richardson

As good as the previous album was, this one is even more interesting to me. At least in part I'd attribute that to the fact that there is only 1 flute track and the rest of the record features Richardson's considerable talents on tenor and baritone saxophones. This one is a quartet date  so there is plenty of space for Jerome to display his talents along with strong performances from Richard Wyands, George Tucker and Charlie Persip. The connection between Wyands and Red Garland has never been more evident to me than on this date - were I doing a blindfold test, I would surely have guessed it was Red.

Having already a lot of exposure to Richardson as a flutist and tenor player, it is the 3 tracks featuring his baritone work here that are really eye opening. I'm surprised he wasn't more in demand as a soloist on the big horn because his nimble and expressive solos here put him in a class with the likes of Sahib Shihab, Leo Parker and Pepper Adams; just killer! Perhaps the only flaw that I'd point out in the album is that they probably could have used a couple extra takes of the George Tucker's opening composition "Friar Tuck". It just doesn't seem to quite jell and were this a Blue Note session, for example, I think they would have tried it a couple more times to get it right.

Once again this is from the out of catalog Japanese CD issue which sells for ridiculous $ these days.

Jerome Richardson - Midnight Oil

If you come here with any regularity, you are likely a Jazz collector and, as such, I'm certain that the majority of you have some albums with this man as a sideman. His lovely flute work graces more than 75 albums from the mid 50's through the 60's and 70's and he appears in many a horn section from Mingus to Lionel Hampton to Thad Jones/Mel Lewis playing tenor, alto, baritone and clarinet, all with singular proficiency, but if you are anything like me, you probably haven't heard his work as a session leader. That isn't all that surprising since there there aren't even a full handful of albums to explore.

This 1958 Prestige/New Jazz and one the following year for the same label are the first two albums that I've explored and I've got to say they are first class! This one features frequent partner Kenny Burrell and trombonist Jimmy Cleveland as the other soloists and a terrific rhythm section lead by the great Hank Jones. Richardson plays tenor on the first track and flute and piccolo on the rest of this session on which features 3 originals, an Artie Shaw tune and the Ellington/Tizol warhorse Caravan. The whole session cooks with a cool fire much like that lamp on the front cover. I wish I could say this was a vinyl rip like most of what we feature here at the Crypt, but this comes from the now out of catalog CD.

Prestige 1959

Where there is the rarefied air of studio perfection around the Blue Note version of 1959, there is the relaxed smokey funk of the nightclub oozing about these Prestige offerings from the same year. Pour a drink, perhaps light up, sit back and enjoy the ride.

Prestige 1959 by Kingcake on Mixcloud

The Changing Face Of Harlem (24/48 vinyl rip)

An utterly terrific set that would cost a minor fortune to replicate! Almost like taking a walk down 52nd Street in 1944. The close proximity of recording dates on the majority of these sessions (mid to late 1944) suggests to me that they are part of the rush to the studios at the end of the first musician's union ban on recording.

"This double LP from 1976 features 32 selections taken from the later years of World War II, when swing was gradually turning into bop. There are sessions by the Buck Ram All-Stars, altoist Pete Brown, trumpeter Hot Lips Page, tenor-saxophonists Ben Webster and Herbie Fields, guitarist Tiny Grimes, singer Miss Rhapsody and trumpeter Benny Harris. The sidemen feature many illustrious names including trumpeters Frankie Newton and Emmett Berry, trombonists Tyree Glenn and Vic Dickenson, altoist Earl Bostic, Don Byas, Budd Johnson and Ike Quebec on tenors, vibraphonist Red Norvo, pianists Teddy Wilson and Johnny Guarnieri and (on two of the Tiny Grimes recordings) altoist Charlie Parker. Since the contents of this very enjoyable and historical two-fer have not been coherently reissued on CD, this is one to search for." AMG

Phil Woods, Tommy Flanagan, Red Mitchell - Three For All (1981) [vinyl]

RIP Phil Woods

Although this has been reissued on CD, it's now out of catalogue and this is from my pristine vinyl LP. It really is a beautiful album with marvellous contributions from all three players.

AMG review ~ Ken Dryden:
This is a bit of an unusual outing for Phil Woods, as Tommy Flanagan and Red Mitchell are his only musical partners for these 1981 sessions. The lack of drums enables the musicians to take a few extra liberties as they respond to one another. Woods is in top form, engaging his partners in a three-way conversation that seems effortless. His robust "Reet's Neet" benefits from Flanagan's fluid lines and Mitchell's potent bass, while Woods' touching ballad "Goodbye Mr. Evans," a tribute to the late pianist Bill Evans (who died a few months prior to these sessions), begins with a hauntingly beautiful piano solo, with Mitchell making a delayed entrance just prior to his solo and the composer waiting until just past the five-minute mark to add his emotional statement, which conveys his admiration for Evans' music. Flanagan's driving "Three for All" has a Latin undercurrent, with plenty of sparks flying among the players. Mitchell contributed three originals, including the loping ballad "It's Time to Emulate the Japanese," the lyrical "Talking," and the upbeat "You're Me," which features Woods on clarinet, though the CD credits fail to mention the instrument.

1. Reets Neet
2. It's Time to Emulate the Japanese
3. Talking
4. Three for All (aka Solacium)
5. You're Me
6. Goodbye Mr. Evans

Phil Woods (as, cl) Tommy Flanagan (p) Red Mitchell (b)
Munchen, West Germany, January 6 & 7, 1981

Wardell Gray - Easy Swing 1946-1955 [24/48 vinyl rip]

An excellent collection of lesser heard Wardell Gray sessions ranging from his first session as a leader in 1946 (with Dodo Marmarosa) to his final session in 1955 (with Tate Houston on a bass sax), only 4 months before he would be found dead in the Nevada desert with a broken neck. In between are a pair of nice sessions with Al Haig which supply the lion's share of sides 2 thru 4, and a pair of blues influenced sessions with Ivory Joe Hunter and Little Willie Littlefield. For someone looking to complete a Wardell Gray collection, this double LP is essential to fill in the holes in his discography.

I should add that this is a French version of the double LP and it has one extra track on side B making a total of 27 - the CD version only includes 19.

Ellis Marsalis Trio (w/ James Black) - Syndrome 24/48 rip

A fine piano trio album and one of the last from the great drummer James Black.

Lennie Tristano, Buddy DeFranco, Bill Harris - Crosscurrents 24/48 Vinyl Rip

"Even though the music on this LP has yet to be made available on CD, it gets the highest rating because the performances are so unique. Pianist Lennie Tristano is heard with his finest group, a sextet with altoist Lee Konitz, tenor-saxophonist Warne Marsh, guitarist Billy Bauer, bassist Arnold Fishkin, and either Harold Granowsky or Denzil Best on drums. Their seven selections include some truly remarkable unisons on "Wow," memorable interplay by the horns on "Sax of a Kind," and the earliest examples of free improvisation in jazz: "Intuition" and "Digression." In addition, the set features clarinetist Buddy DeFranco with vibraphonist Teddy Charles in a sextet on three numbers and backed by a big band for two others; the radical "A Bird in Igor's Yard" was composed and arranged by George Russell. This essential LP (which is subtitled Capitol Jazz Classics Vol. 14) concludes with a feature for trombonist Bill Harris on Neal Hefti's "Opus 96." Consistently brilliant and advanced music." AMG

Brothers And Other Mothers - Savoy 2LP - 24/48 Vinyl Rip

BROTHERS AND OTHER MOTHERS – (LINER NOTES) Part One® 1976 by Mark Gardner CODA Magazine

"Tides of musical influence are virtually impossible to monitor with complete accuracy. And in jazz, a young music still and one that has always been in a hurry, the problem is even more complex. Names and styles pass rapidly before our eyes and ears with disconcerting speed. This is not the scene for the leisurely, scholarly chronicler who likes ordered, out-and-dried developments, easy to trace.

So if an inquiring spirit poses the question, "Who was the first saxophonist to latch on to what Lester Young was into in the late 1930?" There is only one honest answer, "Who knows?" Influences are absorbed, often unconsciously, at other times deliberately (though perhaps not admitted), frequently quite casually. The process of widespread musical assimilation of new ideas in a constantly shifting artistic area like jazz is remarkably swift. One can notice significant changes, accepted and incorporated into the styles of numerous players, within months, even weeks.

There will always be the imitators, the mimics who can copy in meticulous detail the work of a true creator. But in jazz outright imitation is not as widespread as we may sometimes feel. Indeed, one of the fascinating aspects of the music is to view the innovations and to listen to the myriad ways they are expressed by various jazz practitioners who may not be originators but who do possess individualistic qualities.

There is nothing especially admirable about a musician who switches completely from one style to another which is coming into vogue. But an established player who shows he has been keeping his ears open for new things that he likes, and demonstrates the fact with a particular phrase, a tonal inflection, maybe just the choice of a certain tune, is informing us that he and the music are alive and growing.
The phenomenon of Lester Young's enveloping influence on young saxophone players between 1940 and 1950, and beyond has, perhaps, been over-simplified. The shadow of Pres was cast far beyond the generation of white tenor players who emerged from the wartime big bands, a refuge for many who were either too young or too clever to be drafted. The young, and not-so-young, black players were equally touched by Lester whose conception, let it be noted. penetrated deeply into all corners of jazz and was by no means an exclusive source for reedmen. Trumpeters, pianists. trombonists, singers and drummers all learned invaluable lessons from digging Young gliding out of the Basie section or riming those deceptively nonchalant gems behind Billie.

One can only generalize about how, why, when and where Pres seemed to permeate jazz and help to lead the music from swing into bebop in the most relaxed and logical way. Charlie Parker was on hand to crystallize and extend the direction, and meanwhile Pres went right along his own easy and supple path. His music changed, too, and young guys picked up on those shifts. But, unquestionably, Wardell Gray, Dexter Gordon, Teddy Edwards. James Moody, Gene Ammons and Sonny Stitt were just as aware of/and affected by Pres as were their white contemporaries Stan Getz, Al Cohn, Zoot Sims, Allen Eager, Brew Moore and Herbie Steward. So too were older men like Flip Phillips, Illinois Jacquet, Buddy Tate and Georgie Auld.
Perhaps the key difference between, say Dexter and Getz, was that Gordon had also listened profitably to Hawkins, Webster and Byas, while Stan appeared to be a Pres man and a Dexter Gordon admirer! Ideas were exchanged more readily in those days and to unravel the cross-pollination of musical thought that went on between the guys involved would be impossible now.
But we can examine a goodly slice of recorded evidence, enjoyable clues and pointers and fine music to boot, within the covers of this key reissue. In this set can be heard a superstar in embryo (Stan Getz). a living legend (Allen Eager), two departed legends (Brew Moore, Serge Chaloff), Mr. Swing (Zoot Sims), and the complete musician, composer/arranger/soloist (Al Cohn), They all happened to be saxophonists who came to prominence immediately after the war. Four-Cohn, Getz, Sims and Chaloff-were Brothers in the famous Herman bebop hand. Moore (he never worked with Herman) was a brother by adoption while Eager had been a member of Woody's saxophone section in 1944...."
CONTINUED