(Keno Duke) Jazz Contemporaries - Reasons In Tonality (1972

A re-post request fulfilled. 

This one was a gift from our friend wid who hasn't been around for quite awhile now.

(Keno Duke) Jazz Contemporaries - Reasons In Tonality (1972 Strata-East 1972-2)

01 - Reasons In Tonality
02 - 3-M.B.

George Coleman - Tenor Sax
Julius Watkins - French Horn
Clifford Jordan - Tenor Sax
Harold Mabern - Piano
Larry Ridley - Bass
Keno Duke - Drums
John Sadler - Recording Eng.

Recorded Live at the Village Vanguard, NYC, Feb. 13, 1972One of the greatest Strata East albums, and one of the few albums ever by Keno Duke (and all of them are great). Duke leads a crack group of soul jazz players, featuring Clifford Jordan and George Coleman on tenor, plus Julius Watkins on French horn, and Harold Mabern on piano, who is in excellent excellent form, and who really drives the whole thing with beautiful crashing chords. Two extended tracks, both of them over 20 minutes in length. Beautiful!

The Three Sounds - Out Of This World (1962) [vinyl>flac, 24 bit/48 khz]

Out of This World relies less on originals than before, concentrating on standards which sound startlingly fresh. It's the loose, flexible groove that's the key. Simpkins and Dowdy keep things on track, while Gene Harris plays -- he can be nimble, he can pound, but he keeps the music flowing at a nice, easy pace. He has a good sense of the groove, and he stays within the groove even as he plays a lot of notes; it's truly an individual style. Despite the R&B-flavored arrangements on "Girl of My Dreams" and the swinging, gospel-inflected "Sanctified Sue," Out of This World is a particularly light and breezy record from the Three Sounds. They're just as comfortable stretching out with the groove as they are with keeping things short, simple, and concise -- either way, it's thoroughly enjoyable music. But no matter how easy the group is to enjoy, they have true style, as Harris' bluesy flourishes and the rhythm section's supple support illustrate. It's hard to sound this light and easy, and the Three Sounds pull it off with grace. ~ by Stephen Thomas Erlewine, AMG.

Go out of the world with The Three Sounds on this sweet little set for Blue Note - as the trio are at their early best, and working with a care of craft that you won't find on other 60s albums for labels like Verve or Mercury! The mighty Gene Harris is in the lead on piano, moving between a great blend of lyrical and more soul-based styles - given great accompaniment from Bill Dowdy on drums and Andy Simpkins on bass - the latter of whom is an overlooked genius, with this round tone and solid touch that really holds the group together! Titles are a nice mix of exotic standards and gutbuckety originals - and tunes include "My Silent Love", "Just In Time", "Out Of this World", "Out Of the Past", "Sanctified Sue", and "Girl Of My Dreams".  © Dusty Groove, Inc.

Blue Note, BST-84197, 1965

Recorded 4^th February (#A1,A3,B3), 7^th March (#A4,B4)
and 8^th March (#A2,B1,B2), 1962 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Gene Harris - Piano

Andrew Simpkins - Bass

Bill Dowdy - Drums

Track Listing:

A1. Girl Of My Dreams {Sunny Clapp} (2:59)

A2. Out Of The Past {Benny Golson} (6:29)

A3. Just In Time {Betty Comden, Adolph Green, Jule Styne} (6:19)

A4. I'll Be Around {Alec Wilder} (3:39)

B1. My Silent Love {Edward Heyman, Dana Suesse} (6:58)

B2. Sanctified Sue {Gene Harris} (3:34)

B3. Out Of This World {Harold Arlen, Johnny Mercer} (6:32)

B4. You Make Me Feel So Young {Mack Gordon, Josef Myrow} (4:20)

Credits:

Producer - Alfred Lion

Recording Engineer - Rudy van Gelder

Photography [Cover] - Reid Miles

Design [Cover] - Reid Miles

Liner Notes - Leonard Feather

Notes:

American Model on Cover Lee Henderson

Gigi Gryce/Hall Overton/Duke Jordon - Signals (24/48 vinyl rip)

A new rip in 24/48! Sounds pretty good to me.


The story of these rather extraordinary records dates back to a short lived label called Signal (thus the title). Signal was the brain child of Jules Colomby, brother of Harold Colomby who was Monk's manager. Colomby had the idea that they would make records of a soloist over a crack rhythm section and put that on one side of the record, while on the other side the soloist would be deleted, leaving space for the home player to now play over the rhythm section. Kind of a cool idea. Jules got his brother Harold and Don Schlitten to become his partners and they found a silent partner investor for capitol. The investor eventually wanted his money back and the label was folded and sold to Savoy.

Sides one and two here are the quartet sides from Jazz Laboratory - Do It Yourself Jazz, volumes 1 and 2. On side one Gryce plays in front of the jaw dropping rhythm team of Duke Jordon, Oscar Pettiford and Kenny Clarke! Side two features Phil Woods in front of Hall Overton, Teddy Kotick, and  Mick Stabulas. Both sessions are quite nice but I think Phil's tone sounds a bit muddy next to Gryce's.

The second record gets REALLY interesting. I'm not sure if these two sessions were ever presented in the format described above or even intended to be, but each is half a record so who knows what they had in mind. Side three is a lovely large band set with Gryce sounding glorious in front of a large portion of the Oscar Pettiford Orchestra of that time. Side four is the BIG payoff though...four tracks of Gryce in a quartet with Thelonious Monk, Percy Heath, and Art Blakey!!! Can you imagine if they DID make a second side without Gryce and you got to try to play over those guys? This second record was later released as Nica's Tempo.

Gigi Gryce - Duke Jordan - Hall Overton – Signals
Label:Savoy Records – SJL 2231, Format:2 × Vinyl, LP, Reissue
Country:US, Released:1978, Genre:Jazz, Style: Bop, Swing

A1         Sometimes I'm Happy        
A2         Embraceable You        
A3         Jordu        
A4         Oh Yeah!        
B1         Pennies From Heaven        
B2         Yesterdays        
B3         It's Only A Paper Moon       
B4         You'd Be So Nice To Come Home To        
C1         Speculation        
C2         In A Meditation Mood        
C3         Social Call        
C4         Smoke Signal        
C5         (You'll Always Be) The One I Love        
C6         Kerry Dance        
D1         Shuffle Boil        
D2         Brake's Sake        
D3         Gallop's Gallop        
D4         Nica's Tempo        

   Alto Saxophone – Gigi Gryce (tracks: A1 to A4, C1, C2, C4, C6, D1 to D4), Phil Woods (tracks: B1 to B4)
    Baritone Saxophone – Cecil Payne (tracks: C3, C5), Danny Bank (tracks: C1, C2, C4, C6)
    Bass – Oscar Pettiford (tracks: A1 to A4, C1, C2, C4, C6), Percy Heath (tracks: D1 to D4), Teddy Kotick (tracks: B1 to B4)
    Drums – Art Blakey (tracks: C3, C5, D1 to D4), Kenny Clarke (tracks: A1 to A4, C1, C2, C4, C6), Mick Stabulas* (tracks: B1 to B4)
    Executive Producer – Steve Backer
    French Horn – Gunther Schuller (tracks: C1, C2, C4, C6), Julius Watkins (tracks: C3, C5)
    Mastered By, Recorded By [Original Recording] – Rudy Van Gelder
    Piano – Duke Jordan (tracks: A1 to A4), Hall Overton (tracks: B1 to B4), Horace Silver (tracks: C1, C2, C4, C6), Thelonious Monk (tracks: D1 to D4)
    Producer [Original Sessions] – Jules Colomby
    Reissue Producer – Bob Porter
    Trombone – Eddie Bert (tracks: C3, C5), Jimmy Cleveland (tracks: C1, C2, C4, C6)
    Trumpet – Art Farmer (tracks: C1, C2, C4, C6)
    Tuba – Bill Barber (tracks: C1, C2, C4, C6)
    Vocals – Ernestine Anderson (tracks: C3, C5)

Side 1 Recorded In Hackensack. March 7, 1955.
Side 2 Recorded In Hackensack. February 8, 1955.
Side 3 Recorded In Hackensack. October 22 & 30, 1955.
Side 4 Recorded In Hackensack. October 15, 1955.

Keno Duke Jazz Contemporaries - Sense of Values (24/48 vinyl rip)

As you will see in the comments, there was a request for a re-up and I decided to try a 24/48 re-rip. The last time I re-ripped this to 16/48 there was unquestionably a significant improvement in the depth and clarity - this time the improvement is more subtle - if you listen carefully to the cymbals for example you will hear a little more evidence of the actual note the cymbal is tuned to. I had to listen carefully and frankly I'm not entirely convinced that the degree of improvement is worth doubling the file size, but in the end I do believe it is slightly audibly better.

Keno Duke Jazz Contemporaries - Sense of Values

Strata East, 1974, Vinyl LP rip

A1 Sense Of Values 4:47
Written-By – K. Duke*
A2 Mirage 9:25
Arranged By – F. Strozier* Written-By – L. Slessinger*
A3 Tibiron 5:46
Written-By – F. Strozier*
B1 Too Late, Fall Back Baby 6:55
Written-By – H. Mabern*
B2 D.R.T. 8:15
Written-By – F. Strozier*
B3 Bajan-Bajan 6:05
Written-By – K. Duke*

Drums – Keno Duke, Flute, Alto Saxophone – Frank Strozier, Piano – Harold Mabern, Tenor Saxophone – George Coleman, Bass – Lisle Atkinson, Painting [Cover] – Roland Bloch

I don't think it would be overstatement to call this a post-bop / modal jazz masterpiece. I listen to Big George here and it makes me wish Miles had given him just a little more time, not that I would miss out on even a second of Miles with Wayne mind you.

By this, the second album, this band had clearly become a single organism with 5 voices all driven by a shared mind. This is one serious Jazz Album! All original music played with passion and intelligence and with a fabulous pair of front line voices in Coleman and Strozier but don't sleep on Harold Mabern or Lisle Atkinson because their contributions are huge too. (Lisles' eerie bowed bass line as the album closes is unforgettable) Duke's talents as a drummer and obviously as a band leader leave me wondering how he remained so obscure. This is a no-brainer here folks.

Prestigeous 1955

It really is amazing the insights you get through these kinds of exercises. My initial guess was that 1955 would be a better starting point for my 'Birth of Hard Bop' concept than my previous voyage through 1956. If you listen to these, I think you will find something quite different than you might expect. At least at Prestige, 1955 was a pretty thin year - the sessions are around 25% fewer than 1956 and the style is some sort of cool jazz/be-bop fusion. Late in the year you hear the spark of a new thing that becomes Hard Bop.

Prestige 1955, pt. 1 by Kingcake on Mixcloud

Prestige 1955, pt. 2 by Kingcake on Mixcloud

Rusty Bryant - For The Good Times (1973) [vinyl>flac]

One of Rusty Bryant's last albums for Prestige - recorded in that more-electric mode that graced the label's albums of the year 1973 - but in a style that's still pretty darn nice! The group's still a small combo - with Rusty on tenor and alto, plus with Hank Jones on electric piano, and the twin guitars of Joe Beck and Hugh McCracken. The rhythm team of Tony Levin and Steve Gadd is still pretty tight too - and there's some nice numbers on the set that cook with a warm electric soul jazz groove. Titles include the mellow "Theme From Deep Throat", a nice soundtrack groover, plus "The Last One Out", "Night In Tunisia", "Killing Me Softly", and "Appalachian Green". © Dusty Groove, Inc.

This album finds Bryant combining pop and soul-jazz with the aid of electric pianos and funky guitars. Things get started with tepid versions of the title track and Roberta Flack's "Killing Me Softly With His Song," both veering dangerously close to Muzak territory. The pieces are salvaged, however, by Joe Beck and Hugh McCracken's guitar work and Hank Jones' steady hand at the keyboards. Bryant turns in his best solo on a groovy version of "Theme From Deep Throat" that's propelled forward by bassist Tony Levin and drummer Steve Gadd. The album provides a backward glance at the strange world of jazz circa 1973. It also offers a chance to hear Bryant cut loose on a number of popular songs. ~ by Ronnie D. Lankford, Jr., AMG.

Prestige Records, P 10073, 1973

Recorded 9^th March, 1973 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Rusty Bryant - Tenor & Alto Saxophones

Hank Jones - Electric Piano

Joe Beck - Guitar

Hugh McCracken - Guitar

Tony Levin - Bass, Electric Bass

Steve Gadd - Drums

Track Listing:

A1. For The Good Times {Kris Kristofferson} (5:02)

A2. Killing Me Softly {Norman Gimbel, Charles Fox} (5:29)

A3. The Last One Out {Rusty Bryant} (6:22)

B1. Appalachian Green {Don Hales} (4:57)

B2. A Night In Tunisia {Dizzy Gillespie, Frank Paparelli} (5:31)

B3. Looking Through The Eyes Of Love {Billy Barberis} (3:49)

B4. Theme From Deep Throat {Robert Whitaker} (4:25)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Art Direction - Tony Lane

Photography - Lee Friedlander

Teddy Charles - Three For Duke (1957) [vinyl>flac]

"As for Duke's music," Oscar concluded, "I haven't heard anything bad by him yet. In terms of adapting some of his works for a trio, I did make some suggestions; because, having worked with Duke so long, I had a kind of insight on how he does things. So I sort of pulled their coats a little from time to time. Anyway, write whatever you want about the session; I just dig playing the music." From Nat Hentoff's liner notes (Jubilee). - "There was no drum used at all. It is a lasting tribute to the genius that was Oscar Pettiford that he was able to integrate his playing into everything that was going on and still keep the tempo going." ~ from Liner Notes by Nat Hentoff.

For the "Three For Duke" session, of 1957 on the Jubilee label, Teddy Charles was reunited with his friend and mentor Hall Overton in a trio rounded out by the master bassist Oscar Pettiford. Six Ellington compositions were recorded including a nine-minute exploration of “Sophisticated Lady,” taken at very slow tempo, but notably avoiding the common ballad crutch of doubling the tempo. Charles had some trepidation about doing this album without a drummer, but Pettiford's strength and taste rendered such concerns unnecessary. With sketches by both Overton and Charles, the music is faithful to Ellington's legacy and thoughtful and moving solos are provided by all three participants. The concepts of group rapport and contextual appropriateness so important to all of Charles's work are ever present. This is an album that definitely merits reissue. Extract from New Directions Revisited - The Rich and Unique Legacy of Teddy Charles by Noal Cohen.

Jubilee Records, JLP 1047, 1958?

Recorded 29^th May, 1957 in New York

Personnel:

Teddy Charles - Vibraphone

Hall Overton - Piano

Oscar Pettiford - Bass

Track Listing:

A1. Main Stem {Duke Ellington} (4:57)

A2. Do Nothing 'Til You Hear From Me {Duke Ellington, Bob Russell} (5:11)

A3. Sophisticated Lady {Duke Ellington, Mitchell Parish, Irving Mills} (9:40)

B1. Don't Get Around Much Anymore {Duke Ellington, Bob Russell} (5:32)

B2. Sherman Shuffle {Duke Ellington} (6:52)

B3. The Mooch {Duke Ellington, Irving Mills} (6:11)

Credits:

Producer - Lee Kraft

Cover Design - Tom Hannan

Liner Notes - Nat Hentoff

Woody Herman - The Fourth Herd

As some of you may or may not know, I am a collector of the Jazzland label.  I began the project by firstly seeking out the sides which were issued under the labels imprint.  After acquiring the low hanging fruit, I still have a handful of sessions to find.

The Fourth Herd has crossed my path before, but in horrid condition so I was forced to pass.  My patience was rewarded when I found this copy through a local dealer.  The album is just fantastic - Herman at his best.  All of the tunes are hard swingin and uplifting, wonderfully positive vibes.  The featured players all play their asses off, particularily Adderley.

The idea of Woody's Fourth Herd was to have a band within a band.  So when the orchestra pulls back, there is a core octet to pick up the tune - this is where the featured guests really come in.  It worked out quite nicely, and of course when the full band comes in they hit hard.  Super tight, bright and brassy - a huge dynamic punch to the gut!!  The whole album is a winner, filled with excitement and interesting twists and turns.

As far as I know, this album was paired with another for a CD release by Mobile Fidelity Sound Labs (MOFI) and is the only instance of a digital release.  I haven't heard it but we can assume it would be excellent.  Well I would put this transfer against anything that may be out there.  The mono vinyl is minty, ripped at 24bit / 48kHz wav and converted to FLAC.  It's wonderfully dynamic and open... enjoy!!!

This CD is quite a bit different than most audiophile releases for it contains rare rather than famous recordings. 1959's The Fourth Herd (which features an all-star group of studio musicians and Woody Herman alumni along with his octet of the time) was only put out briefly by Jazzland while the music on 1962's The New World of Woody Herman was never available commercially before; both were originally cut for the SESAC Transcribed Library and were available only to selected radio stations on a subscription basis. The earlier session has solo spots for tenors Zoot Sims, Al Cohn and Don Lanphere, trumpeters Nat Adderley and Red Rodney, vibraphonist Eddie Costa and Herman on clarinet, a bit of alto and two vocals; Cohn and pianist Nat Pierce wrote most of the colorful and diverse arrangements. By the later session (which has charts by Pierce, Gene Roland, Phil Wilson and Bill Chase), Woody Herman once again was leading an exciting big band of his own. Trombonist Phil Wilson, Duke Ellington's tenor Paul Gonsalves (filling in for the temporarily absent Sal Nistico) and Herman are the solo stars and (as with the first date) the music swings hard and contains its share of surprises. - Scott Yanow / AMG for CD release of The Fourth Herd & the New World of Woody Herman

Jazzland JLP-17
July 31 & Aug 1, 1959

A1 Panatela
A2 Lament For Linda
A3 Misery, Stay Away From My Door
A4 In A Misty Mood
A5 Catty' Corner
A6 The Thirteenth Instant
B1 The Magpie
B2 Blues For Indian Jim
B3 The Devil And The Stoker
B4 The Swing Machine
B5 Summer Nights
B6 Johnny On The Spot

Bass – Milt Hinton
Clarinet – Woody Herman (tracks: A1, A4, A5, B2, B4, B6)
Cornet – Nat Adderley (tracks: A1, A4, A5, B2, B4, B6)
Drums – Don Lamond
Guitar – Barry Galbraith
Piano – Nat Pierce
Reeds – Al Cohn (tracks: A2, A3, A6, B1, B3, B5), Dick Hafer (tracks: A2, A3, A6, B1, B3, B5), Don Lanphere (tracks: A2, A3, A6, B1, B3, B5), Gene Allen (tracks: A2, A3, A6, B1, B3, B5), Sam Markowitz* (tracks: A2, A3, A6, B1, B3, B5), Zoot Sims (tracks: A2, A3, A6, B1, B3, B5)
Tenor Saxophone – Zoot Sims (tracks: A1, A4, A5, B2, B4, B6)
Trombone – Bob Brookmeyer (tracks: A2, A3, A6, B1, B3, B5), Frank Rehak (tracks: A2, A3, A6, B1, B3, B5), Jim Dahl* (tracks: A2, A3, A6, B1, B3, B5), Jimmy Cleveland (tracks: A2, A3, A6, B1, B3, B5)
Trumpet – Bernie Glow (tracks: A2, A3, A6, B1, B3, B5), Burt Collins (tracks: A2, A3, A6, B1, B3, B5), Ernie Royal (tracks: A2, A3, A6, B1, B3, B5), Irvin Markowitz* (tracks: A2, A3, A6, B1, B3, B5), Red Rodney (tracks: A2, A3, A6, B1, B3, B5), Reunald Jones (tracks: A2, A3, A6, B1, B3, B5)
Vibraphone [Vibes] – Eddie Costa (tracks: A1, A4, A5, B2, B4, B6)

Johnny Lytle - Good Vibes (1981) [vinyl 24/48]

One for KingCake that was missing from the Muse blog.


Review by Craig Lytle, amg:
The ever-gregarious Johnny Lytle never cared too much for categorizing his music; he just loved to play all kinds, and this album is one of those outings. If he feels a beat or melody, he just goes with it. This can be witnessed on "Aaron's Theme," awhere the vibes master just palpitates his way over the groove. His rendition of the Miles Davis classic "So What" sets the mood for an uptown jazz scene, as Lytle's mallets gently patter the bars of the vibraphone. His steady rhythm is polished by the precise chords and solo of pianist Neal Creque. The Ohioan adds his own flavor to the Peabo Bryson-penned "Turn the Hands of Time." His buoyant take on the pop standard "New York, New York" illuminates with every stroke of the vibraphone, augmented by a bouncy rhythm. Lytle's cool approach to "After Supper," a mellow blues number, is contrasted by Houston Person's wailing saxophone.


So What
Turn The Hands Of Time
New York, New York
Didn't We
After Supper
Aaron's Theme

Houston Person (tenor saxophone) Johnny Lytle (vibraphone) Neal Creque (piano) David Braham (synthesizer) Melvin Sparks (guitar) Jimmy Lewis (bass) Idris Muhammad (drums) Ralph Dorsey (percussion)
NYC, October 8, 1981

Rusty Bryant - Friday Night Funk For Saturday Night Brothers (1972) [vinyl>flac]

A sweet sweet change for Rusty Bryant - as electric piano moves in on the usual Hammond heard on most of his funky sessions - with a resulting groove that's outta site! The change in keys makes for more of a soundtrack funk feel than a rough-edged one - not smooth at all, but more in a 70s class sort of area - partly CTI, but still with lots more of that loose energy that makes the Prestige jazz funk sessions so great. Unlike later dates of this nature, the group's still small, and very unified - with Khalid Kenneth Moss on electric piano and a bit of organ, Harold Young On guitar, Fred Masey on drums, and Norman Jones on percussion. Titles include "Friday Night Funk For Saturday Night Brothers", "Have You Seen Her", "Blues for a Brother", and "Mercy Mercy Mercy". © Dusty Groove, Inc.

Prestige Records, PR 10053, 1973

Recorded 17^th July, 1972 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Rusty Bryant - Alto & Tenor Saxophones

Khalid [Kenneth Moss] - Electric Piano, Organ

Eddie Brookshire - Electric Bass

Fred Masey - Drums

Norman Jones - Conga, Percussion

Track Listing:

A1. Friday Night Funk For Saturday Night Brothers {Kenneth Moss} (6:33)

A2. Down By The Cuyahoga {Fred Masey} (8:27)

A3. Have You Seen Her? {Barbara Acklin, Eugene Record} (5:36)

B1. Mercy, Mercy, Mercy {Joe Zawinul} (6:53)

B2. Blues For A Brother {Rusty Bryant} (8:06)

Credits:

Producer - Ozzie Cadena

Engineer - Rudy van Gelder

Photography - Burt Goldblatt

Eiji Kitamura - Seven Stars

If you have been around the Crypt long enough, you will recall the great run of early Concord Jazz albums we did a couple years back.  The first 300 sides they issued are all great albums, if not classic.  Seven Stars falls into the great category.  Not a rare album, but generally overlooked when thinking about Concord's catalogue.

Eiji Kitamura is by no means a jazz master, but he has a wonderfully soulful style.  He plays with lots of feeling and always retains a superb swing.  If you enjoy this album I would suggest looking for some of his other titles.  He is still actively recording and performing.

I don't have too much to say about this album.  Overall it's an excellent mainstream affair, enjoyable from start to finish.  All the players dig in at some point, even if only for a couple tracks.  The vinyl itself is mint and as per usual Concord style, the recording is glorious.  Ripped at 24bit / 48kHz and transferred into FLAC, the quality is as good as it gets... enjoy!!!



Concord Jazz ‎– CJ-217

1983

Bass – Bob Maize
Vibes - Cal Tjader (tracks 1, 3, 6)

Clarinet – Eiji Kitamura
Drums – Jake Hanna
Guitar – Eddie Duran
Piano -  Teddy Wilson

Vocals - Ernestine Anderson (track 7)

1. Avalon

2. Misty
3. Old Lads
4. Stardust
5. The World Is Waiting for the Sunrise
6. Satin Doll
7. Someone to Watch Over Me
8. I Wanna Go Home

Cal Tjader - Soul Burst (1966) [vinyl>flac]

Already an incredible musical amalgam - Swedish-American, sideman to both Dave Brubeck and George Shearing, Latin-jazz pioneer - Cal Tjader's Soul Burst on the scene with unprecedented excitement in 1966. More jazz-oriented than his Soul Sauce, utilizing repertoire from Clare Fischer, Dizzy Gillespie, and Kurt Weill (and Oliver Nelson arrangements), this record features three jazz flutists, a young Chick Corea, and terrific Latin percussionists, including Patato Valdes.

Very groovy! This is one of Cal's great Verve sides from the 60's! As with most of Cal's best, the grooves are a mix of jazz vibes and Latin rhythms – and the whole session's arranged by Oliver Nelson with impeccable skill. Players include Chick Corea, Atilla Zoller, Richard Davis – and a host of Latin percussionists like Patato Valdez, Jose Mangual, and Victor Pantoja. Titles include "Descarga Cubana", "Morning", "Oran", "Curacao", and "Chuchy Frito Man". Very nice! © Dusty Groove, Inc.

You will find Soul Burst an album containing the magnetism of the fresh, colorful, sensitive, and thoroughly dynamic and stimulating music of Cal Tjader - a lively synopsis of the history and development of North American improvisational concepts and Afro-cuban percussion. ~ Extract from Liner Notes by Herb Wong [KJAZ-FM, San Francisco]

Verve Records, V6-8637, 1966

Recorded 9^th, 10^th, 11^th February, 1966 at Van Gelder Studios, Englewood Cliffs, New Jersey

Personnel:

Cal Tjader - Vibraphone

Jerry Dodgion, Seldon Powell, Jerome Richardson - Flute

Chick Corea - Piano

Atilla Zoller - Guitar

Richard Davis, Bobby Roriguez - Bass

Carlos "Patato" Valdez - Conga, Vocals

Jose Mangual - Timbales

Victor Pantoja - Percussion

Track Listing:

A1. Cuchy Frito Man {Ray Rivera, Vin Roddie} (2:21)

A2. Descarga Cubana {Osvaldo Estivill} (2:56)

A3. Soul Burst [Guajera] {Cal Tjader} (4:39)

A4. The Bilbao Song {Kurt Weill, Bertolt Brecht } (2:16)

A5. Manteca {Gil Fuller, Chano Pozo, Dizzy Gillespie} (6:34)

B1. It Didn't End [Nao Se Acabou] {João Donato} (3:55)

B2. My Ship {Kurt Weill, Ira Gershwin} (3:01)

B3. Morning {Robert Cazimero, Clare Fischer} (2:57)

B4. Oran {Chick Corea} (3:59)

B5. Curacao {Cal Tjader} (6:16)

Credits:

Producer - Creed Taylor

Arranger - Chick Corea

Recording Engineer - Rudy van Gelder

Director of Engineering - Val Valentin

Cover Design - Acy Lehman

Cover Photograph - Bruce Friedle

Liner Notes - Herb Wong

Joe Pass - Intercontinental (24/48 vinyl rip)

Joe Pass (born Joseph Passalaqua) knew how to conjoin melody and chords. Moreover, he brought the walking bass line into the jazz guitar repertoire, as heard in his duo performances with Ella Fitzgerald. Since the American had a first-class bassist in Eberhard Weber at his side during his June 1970 MPS session in Germany’s idyllic Black Forest, Pass could concentrate on playing the melody and the chords. Weber, who comes from Stuttgart, Germany, would soon develop his own electric bass, but at this point he was still playing the traditional acoustic contrabass. Third in the group was British drummer Kenny Clare (not to be confused with American drummer Kenny Clarke). Pass chose the program for the recording, mixing standards with originals. It’s amazing how such typical big band pieces as “Stompin’ at the Savoy” and “Lil’ Darlin’” sound in trio; Pass and company swing like they were Count Basie and his orchestra. The 1970 liner notes designate “I Love You” as the album’s high point: “It is a small jewel for guitar, bass, and drums. Eberhard Weber has a short but exciting solo. Kenny Clare attacks with elaborate brush work throughout. Joe Pass plays with a feather-light sense of swing. His refined lines have a singable quality to them, and he often phrases as if he were a saxophonist.”

Prestigeous! 1956 Hard Bop

Prestige 1956, pt 1 by Kingcake on Mixcloud

Prestige 1956, pt 2 by Kingcake on Mixcloud

Urbie Green - The Fox (1976) [vinyl>flac]

Smooth and silky jazz funk from trombonist Urbie Green - a record that's much more in a mainstream R&B fusion mode than his earlier work - yet also arranged by David Matthews in a soulful style that still keeps things pretty real on the best cuts! The group's a good one for the mellow groove of the material - and includes Mike Mainieri on keyboards, Eric Gale on guitar, Jeremy Steig on flute, and Toots Thielemans laying down a bit of harmonica - all kicking back in classic 70s CTI styles. Titles include the nice modal groover "Mertensia", plus "Manteca", "Foxglove Suite", "Another Star", and "Goodbye". © Dusty Groove, Inc.

CTI Records, CTI 7070, 1977

Recorded July, Oct. & Nov., 1976 at Van Gelder Studios, Englewood Cliffs, New Jersey

Personnel:

Urbie Green - Trombone

Fred Gripper - Piano (#A3,B2-B3)

Mike Abene - Piano (#A2)

Mike Mainieri - Vibraphone (#A2,A4,B2)

Barry Miles - Synthesizer (#A1,B1)

Jeremy Steig - Flute (#A1,B1)

Joe Farrell - Soprano Saxophone (#A3)

Eric Gale - Guitar (#A3,B2-B3)

Toots Thielemans - Harmonica (#A2,A4,B3), Whistle (#A2,A4)

George Mraz - Acoustic Bass (#A1,B1)

Anthony Jackson - Electric Bass (#A1,A3-A4,B2-B3)

Jimmy Madison - Drums (#A1,B1)

Andy Newmark - Drums (#A3,B2-B3)

Sue Evans - Percussion (#A1,B1)

Nicky Marrero - Percussion (#A2,A4)

David Matthews - Percussion [Footsteps] (#A4)

Track Listing:

A1. Another Star {Stevie Wonder} (7:14)

A2. Goodbye {Gordon Jenkins} (2:57)

A3. Mertensia {David Matthews} (4:57)

A4. You Don’t Know What Love Is {Don Raye, Gene De Paul} (3:52)

B1. Manteca {Dizzy Gillespie, Gil Fuller, Luciano Gonzales} (6:32)

B2. Foxglove Suite [From Tristan And Isolde] {Richard Wagner} (7:25)

B3. Please Send Me Someone To Love {Percy Mayfield} (5:32)

Credits:

Producer - Creed Taylor

Arranger - David Matthews

Recording Engineer - Rudy van Gelder

Design [Album] - Rene Schumacher

Photography [Cover & Liner] - White Gate