Walter Norris and Geoge Mraz - Hues Of Blues 1995

A conversation renewed two decades later with all those subsequent experiences and insights stirred into the mix. There was so much great stuff coming out on Concord in the 80's and 90's that it is not surprising this one was kind of lost in the shuffle. The recording and mastering are fabulous and the music is outstanding....just lovely stuff!

George Lewis - George Lewis (1978) [vinyl>flac]

This is the 2nd album of George Lewis on Black Saint. As intelligent musician, together with friends of AACM, he expands the experimental world in music wider and deeper. Every title has different combination players and instruments. Muscial pointillism, which Roscoe Mitchell was questing in one time, becomes strong and apparent. ~ freethemusic-olatunji

George Lewis recorded one of his first albums, Shadowgraph, in 1977. It was released on Black Saint in 1978. Now I suspect that everything that could be said has been said about this album. Nonetheless my blogs are in part an odyssey of my listening experiences in time, and if I do not address some of that there will be an imbalance, a lack of representative things I do listen to that perhaps nobody seems to send to me in the form of promo copies. So. . .

I am not sure why or how I missed this release when it first came out, except to say that 1978 began a long and somewhat distracting (to the music) journey I took in educational enlightenment and, later, protracted wage slavedom, which wasn't so bad because I managed to eat every day and pay the rent.

So there we are. Shadowgraph has an impressive lineup of musicians: Lewis, Douglas Ewart, Leroy Jenkins, Abdul Wadud, Anthony Davis, Muhal Richard Abrams, Roscoe Mitchell...many of them prime AACM cats, all of them important Afro-American improvisers and most of them also important composers of the music.

The four pieces put down onto tape and assembled for the album are in the free-form chamber improvisation-jazz mode. Lewis introduces electronics in addition to his trombone and tuba, and everyone contributes. It is wonderfully subtle music. It sounds to me like one of the gems of that year, certainly. The sound color sculpting on this one is just superb, as is the very intelligent utilization of space by everyone involved.

Now if someone tells you that the '70s were a bust for "Jazz," play them this one and then send them packing. The fact is that the '70s were incredibly important years for the music. And George Lewis was right there in a central position. He's a fabulous trombonist, sure, but a composer-conceptualist of the very highest sort as well.

Perhaps my quick take on Shadowgraph will not satisfy those looking for detailed musical description. Well that's been done. This posting serves mostly as a reminder that one should not miss this recording if one has serious designs on understanding improvisation and its development in our era. ~ by Grego Applegate Edwards.

Black Saint, BSR 0016, 1978

Recorded at Generation Sound Studios, New York City in 1977

Track Listing:

A1. Monads (13:24)

George Lewis - Alto & Tenor Trombones

Roscoe Mitchell - Soprano Saxophone

Douglas Ewart - Bass Clarinet

Anthony Davis - Piano

Leroy Jenkins - Violin

Abdul Wadud - Cello

                  

A2. Triple Slow Mix (8:48)

George Lewis - Sousaphone

Muhal Richard Abrams - Piano [Left Channel]

Anthony Davis - Piano [Right Channel]

                  

B1. Cycle (6:32)

George Lewis - Synthesizer [Moog], Trombone [Tenor], Tuba [Wagner]

Douglas Ewart - Clarinet, Bassoon, Sopranino Saxophone, Percussion

B2. Shadowgraph, 5 [Sextet] (11:44)

George Lewis - Trombone [Tenor], Tuba [Wagner], Sousaphone, Other [Sound-Tube]

Douglas Ewart - Flute, Flute [Ewart Bamboo], other [Cassette Recorder/Recitation], Percussion

Muhal Richard Abrams - Piano

Leroy Jenkins - Viola

Abdul Wadud - Cello

Credits:

Producer - Giacomo Pelliciotti

Producer [Assistant] - Timothy Marquand

Engineer - Tony May

Written-By - George E. Lewis

Artwork - Bruno Milano

Photography By, Artwork - Giuseppe Pino

Blue Note 1957, pt 2

Assembling part 2 made me aware of a pattern at Blue Note that I hadn't noticed before...if you look back to 1955 sessions you will see that Horace Silver is the 'house pianist', showing up on many of the sessions, in 1956 it was Tommy Flanagan who was filling that chair....here in 1957 it is the great Sonny Clark who is positively ubiquetous. I hadn't really noticed what a large percentage of 57 Blue Notes featured Sonny until this project.

 

Blue Note 1957, pt 2 by Kingcake on Mixcloud

Walter Norris - Drifting [flac]

I am a big fan of the 'conversational' aspect of Jazz; that point where the interaction of the players is clearly more than just a formula or a chart or (the worst) a prearranged simulatiuon. It is a level of the art most frequently exhibited in duo and trio settings where there is plenty of room for all. I think, perhaps, that we might do a whole little recurring segment for a bit on the art of duo, I'm leading off with this one and we will see how the guys respond (I haven't discussed it with anyone, just occured to me now). I've got other things in the cue right now, but this strikes me as a theme that we could visit regularly.

I have loved this album from the very first day I heard it some 30+ years ago. Beautiful and sensative playing from both pianist Walter Norris and bassist George Mraz are an unwavering constant throughout the set and the recording quality is exceptional....two thumbs and two big toes up!

I've seen at least 3 different covers for the album, this is the one that I first heard...over time 2 extra tracks have surfaced and those are included here as are the other covers.

Art Farmer with Joe Henderson - Yama (1979) [vinyl>flac, 24-bit/48khz]

Many critics have looked upon the majority of CTI recordings as a ploy to commercialise jazz, Scott Yanow being no exception. However, when approached again with newer ears and less prejudice, Creed Taylor has certainly left a legacy of some very fine albums. This album in particular finds Art Farmer playing beautifully alongside Joe Henderson’s solid tenor; producing some very powerful Jazz-Funk/Fusion interpretations. It is an LP which I have relished for many a year. Ripped to FLAC at 24-bit/48khz I hope you also will find it just as fascinating and enjoyable.

Trumpeter Art Farmer has recorded six albums in his name for the CTI label whose enigmatic "Guanabara" with Brazilian singer Ithamara Koorax, which was never published. It is also found on the album of Bob James' BJ4 "and that of Yusef Lateef" Autophysiopsychic ". His lyrical breath, his balanced phrasing, his game while retaining, at times reminiscent of Chet Baker. Throughout his career, he faced several music styles without losing his soul or his talent, as demonstrated by this recording from 1979 with a funky rhythm section. As usual, he plays in a duo orchestra. We remember the wonderful "Big Blues" with Jim Hall recorded a year earlier. But this time, the saxophonist Joe Henderson, another jazz legend, who shares the bill. His quick game lets out moments of incredible sweetness. The texture of his sound is unique in these moments. Despite the presence of excellent classmates (Steve Gadd, Will Lee, David Spinozza, John Tropea ...), the result is rather mixed. Vibraphonist Mike Maineri, in control for the first time, seems to fail creating a real osmosis between all these musicians.  ~ ctifanblog.

Flugelhornist Art Farmer's fourth and final LP for CTI also features tenor-saxophonist Joe Henderson. The material (which includes originals by Clare Fischer, Joe Zawinul, Don Grolnick and Mike Mainieri) is not the most memorable and the funky rhythm section (which is greatly expanded) does not really blend all that well with the styles of Farmer and Henderson so this set is not as exciting as one might hope. A decent but largely forgettable effort. ~ by Scott Yanow, AMG.

CTI Records, CTI 9000, 1979

Recorded and Mixed April 1979 at Power Station Studios, New York

Personnel:

Art Farmer - Flugelhorn

Joe Henderson - Tenor Saxophone

Don Grolnick, Warren Bernhardt, Fred Hersch - Keyboards

Mike Mainieri - Synthesizer, Vibraphone, Arranger

David Spinozza, John Tropea - Guitar

Eddie Gomez - Bass

Will Lee - Electric-Bass

Steve Gadd - Drums

Sammy Figueroa - Percussion

Suzanne Cianni - Synthesizer Programming

Track Listing:

A1. Dulzura {Clare Fischer} (8:21)

A2. Stop [I Think Again] {Barry, Robin & Maurice Gibb} (4:08)

A3. Young And Fine {Joseph Zawinul} (6:26)

B1. Lotus Blossom {Don Grolnick} (6:43)

B2. Blue Montreux {Mike Mainieri} (7:12)

Credits:

Producer - Creed Taylor

Associate Producer, Arranger - Mike Maineri

Engineer - Neil Dorfsman

Mastering - Rudy Van Gelder

Cover Illustration - Susannah Kelly

Cover Design & Photography [inside] - Alen MacWeeney

Design - Neal Pozner

Calligraphy - Bernard Maisner

The Visitors - Neptune [24/48 vinyl rip]

The first record from the nephews of John Coltrane, originally released on Cobblestone, later on Muse.

"The Visitors were a modern jazz quintet out of Philadelphia led by saxophone-playing brothers Carl Grubbs (alto) and Earl Grubbs (tenor and soprano) and also featuring Sid Simmons on piano, John Goldsmith on drums, and a young Stanley Clarke on bass. Carl and Earl actually took sax lessons in the mid-'50s from none other than John Coltrane, who just happened to be dating their cousin Naima (Coltrane later married her). To say that Coltrane was an influence would be an understatement, and when the brothers formed the Visitors in the early '70s, observers noted that the group sounded like two Coltranes playing at once. The Visitors recorded four interesting albums for Muse Records between 1972 and 1975: Rebirth, In My Youth, Neptune, and Motherland. Earl Grubbs passed in 1989. Carl Grubbs has continued as an active jazz performer, composer, and educator, and runs his own record label, B&C Productions."

The Visitors – Rebirth – 24/48 vinyl rip

A repost request for this, the best of the Visitors albums. 

"Wonderful work from the vastly-overlooked team of Earl and Carl Grubbs – two incredibly soulful players from Philly who really carried on a tremendous post-Coltrane legacy. Earl plays tenor and Carl plays alto – and the record shines with that rare Traneish approach to free creative soloing and spirituality, in a mode that we'd reserve for an elite group of work, such as the early albums by Gary Bartz on Milestone, or some of the better 70s group recordings of Andrew White. The whole album's fantastic – with backing by Kenny Barron, Buster Williams, and Albert Heath – and it's got a sense of majesty that's simply stunning for two players who've never really made the pages of jazz history as well as they should have. Titles include "Gone Are The Days", "Glad to Be Sad", "Black Smoke", "Love Is Magic", and "Two Wives"."

Count Basie - Easin' It: Music From The Pen Of Frank Foster

I hope you guys are excited to see this one here today... God knows I am excited to be sharing it.  More from our look at Basie's Roulette years.  This album has NEVER been issued on CD, with the sole exception of the Mosaic box set.  As you can see from the title, these compositions come from Frank Foster.  There's no doubt that this album remains in relative obscurity in spite of the overall quality and the fact that the title track was a huge hit for Basie's live show during this time.  I would say that "Kansas City Suite", an album of Benny Carter tunes, trumps this album in popularity.  That said, I prefer this LP in both compositions and performance - its excellent!!!

The band heard here is at its height as a unit, "The Atomic Band" as some like to call it.  As much as I love the old two track mono LPs, this stereo version does alot to showcase the power and nuance of this band.  I've said it on previous reviews:  Basie was a master of subtlety and could make his orchestra sound both like a freight train passing, or like a pin dropping in a quiet room.  As time continues to pass, his music ages like a fine wine.  The appreciation for exactly what his orchestra was capable of grows and grows.  This well oiled machine is firing on all cylinders on Easin' It.  

Personally I think the tenors win the day here.  Its fitting of course as the music was penned by a tenor player!!  The countless solos are as riveting as they are appropriate - always tasteful and suited to the mood.  Another stand out characteristic is Freddie Green's guitar.  The mix really favours him here and he can be heard really well.  Overall I find this album ebbs and flows much like "Kansas City Suite", so much that its hard to believe that it's not a suite itself.  This stereo LP was ripped at 24/48 and transferred to FLAC for your convenience.  The near mint, flawless transfer will have your jaw on the floor - gorgeous hi-fi sound, exactly what a stereo album should be.  Full hi-res scans are included at 300dpi...  enjoy!!!!!

Roulette Records ‎– SR-52106
1963

A1 Easin' It - Basie

A2 Brotherly Shove
A3 Blues For Daddy-O
B1 Four, Five, Six
B2 Misunderstood Blues
B3 Mama Dev (Blues)
B4 It's About That Time

Tracks A1 to A3 recorded in New York City, December 14 & 15, 1960.
Track B1 recorded in New York City, July 1, 1962.
Tracks B2 to B4 recorded in New York City, July 25 & 26, 1962.

Alto Saxophone – Frank Wess, Marshall Royal

Baritone Saxophone – Charlie Fowlkes
Clarinet – Marshall Royal
Composed By – Frank Foster
Double Bass – Art Davis (tracks: B1), Eddie Jones (tracks: A1 to A3), Ike Isaacs (tracks: B2 to B4)
Drums – Louis Bellson (tracks: B2 to B4), Sonny Payne (tracks: A1 to B1)
Flute – Eric Dixon (tracks: B1 to B4), Frank Wess
Guitar – Freddie Green
Piano – Count Basie
Tenor Saxophone – Billy Mitchell (tracks: A1 to A3), Eric Dixon (tracks: B1 to B4), Frank Foster, Frank Wess
Trombone – Al Grey (tracks: A1 to A3), Benny Powell, Henry Coker, Quentin Jackson (tracks: B1 to B4)
Trumpet – Al Aarons (tracks: B1 to B4), Flip Ricard (tracks: B1 to B4), Joe Newman (tracks: A1 to A3), Snooky Young (tracks: A1 to A3), Sonny Cohn, Thad Jones

Bill Coleman - In Milan with Lino Patruno & His Friends (1972) [vinyl>flac, re-rip]

Back on 23^rd April 2012, I posted this gem at the old Crypt saying:

Here we have another great musician backed by an impressive Italian jazz group. In 1972, Bill Coleman (1904-1981) trumpeter extraordinaire linked up with Lino Patruno and his band for a once in lifetime session. The resulting album showcases Bill in full swing singing and blowing away on his trumpet and flugelhorn. The atmosphere is of overall joy and entertainment with all the musicians giving it their best interpreting some classic old jazz standards. The guitar and bass work by Lino Patruno is exemplary. Other players of note include Mario Rusca on piano, Bruno Longhi on clarinet and Sergio Rigon on flute. A highlight is certainly “I Want A Little Girl”. These tracks are taken from the veteran Italian Durium label. Under the suggestion of PoppaChubby, I finally got around to re-rip this beauty, now presented with greater fidelity. Quite a task considering this LP has been a well-loved and often played album, Enjoy!

DURIUM Records, ms. A 77313, 1972

Recorded 1st & 2nd December, 1972 at the Durium Studio, Milan, Italy

Personnel:

Bill Coleman - Trumpet, Flugelhorn, Vocals

Lino Patruno - Guitar, Bass (#A1,A3,B4)

Gianni Acocella - Trombone

Bruno Longhi - Clarinet

Sergio Rigon - Tenor Saxophone, Flute

Paolo Tomelleri - Tenor Saxophone (#B2,B4)

Mario Rusca - Piano

Giancarlo Cinti - Bass

Giorgio Vanni - Drums

Track Listing:

Side A

A1. Basin Street Blues {Spencer Williams} (6:24)

A2. Honeysuckle Rose {Fats Waller, Andy Razal} (5:15)

A3. I Want A Little Girl {Billy Moll, Murray Mencher} (7:20)

Side B

B1. Pennies From Heaven {Johnny Burke, Arthur Johnston} (4:03)

B2. I've Found A New Baby {Jack Palmer, Spencer Williams} (5:16)

B3. Out Of Nowhere {Johnny Green, Edward Heyman} (3:27)

B4. Perdido {Juan Tizol} (5:50)

Credits:

Sound Technician - Piero Bisleri

Liner Notes - Ennio Vitanza

Coleman Hawkins - Thanks for the Memory (1944) [vinyl]

From the danair vinyl collection.

Review by Scott Yanow:
On this fine LP Hawkins is heard on four separate sessions from 1944, only one of which has since been reissued on CD. The latter is his encounter with fellow tenors Georgie Auld and Ben Webster; that date led to the little-known original recording of "Salt Peanuts." In addition he is heard with the Esquire All-Stars of 1944, on a date actually led by saxophonist Walter "Foots" Thomas" and in a matchup with trumpeter Charlie Shavers and Hawk's greatest disciple, Don Byas. Hot swing that looks forward toward the rapidly emerging bebop.

Leonard Feather's All Stars: Buck Clayton (tp) Edmond Hall (cl) Coleman Hawkins (ts) Leonard Feather (p) Remo Palmieri (g) Oscar Pettiford (b) Specs Powell (d)
New York, December 1, 1944

1. Esquire Jump 2:46
2. Thanks For The Memory 3:08
3. Esquire Stomp 2:54
4. Scram! 3:05

Charlie Shavers (tp) Ben Webster (cl-1,ts-2) Georgie Auld (as-3,ts-4) Coleman Hawkins (ts) Billy Rowland (p) Hy White (g) Israel Crosby (b) Specs Powell (d) unknown (vcl)
New York, May 17, 1944

5. Salt Peanuts 2:56
6. Porgy 3:02
7. Pick-Up Boys 3:01
8. Uptown Lullaby 3:20

Cozy Cole And His Orchestra: Charlie Shavers (tp) Hank D'Amico (cl) Walter "Foots" Thomas (as,ts) Coleman Hawkins (ts) Clyde Hart (p) Tiny Grimes (g) Slam Stewart (b) Cozy Cole (d)
New York, November 14, 1944

9. Look Here 2:43
10. A Ghost Of A Chance 3:01
11. Take It On Back 2:41
12. Willow Weep For Me 2:46

Cozy Cole And His Orchestra : Charlie Shavers (tp) Hank D'Amico (cl) Don Byas (ts) Coleman Hawkins (ts) Johnny Guanieri (p) Tiny Grimes (g) Slam Stewart (b) Cozy Cole (d)
New York, November 21, 1944

13. Comes the Don (Take 1) 2:28
14. Comes the Don (Take 2) 2:42
15. When Day is Done 2:51
16. Memories Of You 2:49
17. The Beat 2:32

Coleman Hawkins - Jazz Tones 1954 (24/48 vinyl rip)

A nice, clean 24/48 rip of the Xanadu Gold LP.

"This 1954 studio date by Coleman Hawkins finds the tenor saxophonist in great form, joined by a fine group that includes pianist Billy Taylor, bassist Milt Hinton, drummer Jo Jones, trombonist Eddie Bert, and trumpeter Emmett Berry. Hawkins' boppish take on "Cheek to Cheek" moves at a fast clip, though he never exhausts himself of ideas. The full sextet is heard on a portion of the session, including a lush but brisk take of "Lullaby of Birdland," a snappy run through "Get Happy," and the old swinger "Blue Lou." There are many strong solos by the supporting cast, but it's difficult to eclipse the sound of Hawkins' tenor when he is in top form." AMG

Ramsey McLean - History's Made Every Moment - New Orleans Now [24/48 Vinyl rip]

 Another rare album snapshot of the early 1980's jazz scene in New Orleans from the old album closet of my friend 'guitar scott'.

David Liebman - Sweet Hands (1975) [vinyl>flac]

Fascinatingly eclectic, Sweet Hands finds Dave Liebman’s band Lookout Farm exploring different styles such as funk, free jazz, Indian music, song forms, and even a surprisingly successful reharmonization of George Harrison’s Within You Without You from The Beatles’ 1967 album, Sgt. Pepper’s Lonely Hearts Club Band.

Listening to Sweet Hands makes you nostalgic for a time when music executives had enough respect for the public that they supported the creation of music that didn’t have an instantly exploitable marketing hook.

Probably the standout is the opening track, Dr. Faustus. The inspiration for the tune, originally titled “Anxiety,” was an episode between Dave Liebman and his record label at the time. It opens with a free chromatic melody, tweaked for maximum dissonance, leading into a jazz rock vamp over which Liebman wails, egged on by Richie Beirach’s itchy clavinet. The pounding bass line that underlies the tune is meant to suggest, according to the liner notes, “New York City where so many high pressured situations are dealt with constantly.”

The next tune, Dark Lady, is by Richie Beirach. The tone of the piece is fittingly ruminative, being a portrait of one of Richie’s female acquaintances. An A section is played by Richie alone, followed by a B section of simpler harmonic material, which is used as material for Liebman’s improvisation. A C section follows, a canon based on material from the B section. Finally the A section is reprised, ending the track.

The next piece is an (unintentionally) humorous tune that combines an Indian rhythm supplied by Badal Roy with funk, courtesy of the bass and a rhythmic figure by Liebman’s overdubbed saxophones. It is not entirely successful, but it is hard not to applaud the group’s spirit of adventure, and at a brisk 4:11, it doesn’t overstay its welcome.

Within You Without You, retitled Ashirbad, is treated to Badal Roy’s percussion before Liebman starts in with the theme, which Beirach reharmonizes on electric piano, under which the bass plays an E pedal point, with occasional countermelodies. Given that Liebman is particularly fond of Harrison’s lyrics, which he finds profound, one is grateful that Liebman’s musical taste far exceeds his literary judgement.

Napanoch starts with a completely improvised duet between Liebman on tenor and Beirach on electric piano which segues into a section with a straight ahead jazz feel based on the F# Locrian mode, over which Liebman solos freely, accompanied by Beirach, who spontaneously reharmonizes to support Liebman’s melodic variations. While Liebman and Beirach continue to burn, swingtime is suspended and the rhythm becomes free, drawing the tune to a close.

To summarize, Sweet Hands is quite an adventurous and almost entirely successful date from David Liebman and his band Lookout Farm. Now, the bad news, Sweet Hands is only available on LP. ~ Jazzbo

Horizon Records, SP-702, 1975

Recorded 25th, 27th, 29th & 30th July, 1975 at Kendun Recorders, Burbank, California

Personnel:

David Liebman - Tenor Sax (#A1,A3,B3), Soprano Sax (#A1,A2,B2,B4), Alto Flute (#A2,A3,B1,B2), Wind Chimes (#B2)

Richard Beirach - Piano (#A2), Electric Piano (#A1,B2,B3), Clavinet (#A1,A3), Bell Tree (#A2), Wind Chimes (#B2)

John Abercrombie - Electric Guitar, Acoustic Guitar (#A1-A3,B4)

Charlie Haden - Acoustic Bass (#A3,B1,B2)

Frank Tusa - Electric Bass (#A1,A3), Acoustic Bass (#A2,B1,B2,B3)

Jeff Williams - Drums (#A1-A3,B3,B4)

Don Alias - Congas, Bells, Tambourine, Shaker, Cymbal [Finger] (#A1-B4)

Badal Roy - Tabla, Ektare, Vocals (#A3,B1,B2)

Arooj Lazewal - Sitar (#B1,B2)

Gita Roy - Tambura (#B1,B2)

Track Listing:

A1. Dr. Faustus {David Liebman} (10:49)

A2. Dark Lady {Richie Beirach} (7:52)

A3. Sweet Hand Roy {Badal Roy, David Liebman} (4:09)

B1-B2. Ashirbad {Badal Roy}/Within You Without You {George Harrison} (12:13)

B3. Napanoch {David Liebman} (5:27)

B4. Leane {David Liebman} (4:12)

Credits:

Producer - Ed Michel

Recorded By, Mixed By - Baker Bigsby

Engineer [Assistant] - Larry Quinn, Peter Chaiken

Mixed By - David Liebman, Ed Michel, Richard Beirach

Creative Director - John Snyder

Art Direction - Roland Young

Design - Phil Shima

Cover [Front Cover] - Kenneth McGowan

Liner Notes - Badal Roy, David Liebman

Woody Herman Phillips Recordings

Hey gang!!!  Sorry for my absence, but I come baring gifts.  These two albums come from a much less examined period of Herman and his Herd - but an equally rewarding one to be sure.  I have two distinctive sides of Woody on offer today, a quiet quartet session and a roaring big band set.

Mosaic Records offered a small glimpse into this period with one of their 4 album, "Mosaic Select" sets.  This should send some indication to the importance and excellence of the music.  That said there will be no digital remastering here - just good old wax as we all know and love.

The album "1964" cleaned up wonderfully, but the quartet album still has some blemishes.  Both are in glorious mono sound, infact, they are excellent examples of just how incredible mono can be.  Lots of dynamic punch and space within the soundstage.  They have been ripped at 24/48 and transferred to FLAC for your convenience.  Of course, the full scans are included at 300 dpi... enjoy!!!

Swing Low, Sweet Clarinet

Herman took time off from leading his big band to participate in this unusual quartet session. Sticking exclusively to clarinet (although never on the same level as Benny Goodman and Artie Shaw), he shows himself to be a fine improviser and an expressive player who gives fresh interpretations to a variety of standards, some closely associated with BG and Shaw. Nat Pierce leads the fine rhythm section on this out-of-print but worthy LP. - Scott Yanow / AMG

Phillips PHM 200-004
1962

Woody Herman, clarinet;  Nat Pierce, piano;  Chuck Andrus, bass;  Gus Johnson, drums.

A1 Swing Low, Sweet Clarinet 3:10
A2 Rose Room 2:10
A3 Sweet Lorraine 3:01
A4 Blue Moon 3:15
A5 Begin The Beguine 2:57
A6 Pee Wee Blues 3:03
B1 Don't Be That Way 2:55
B2 Someday Sweetheart 3:25
B3 Mood Indigo 3:21
B4 Summit Ridge Drive 3:02
B5 On The Sunny Side Of The Street 2:12
B6 Alexandra 2:53

______________________________________________________________________

Woody Herman : 1964

All of Woody Herman's recordings for Philips (which regrettably remain out-of-print and unissued on CD) are excellent. He was leading one of the finest orchestras of his long career, playing both current and older tunes with creativity (helped out greatly by Nat Pierce's arrangements) and featuring such talented soloists as trumpeter Bill Chase, trombonist Phil Wilson and tenor great Sal Nistico. The release ranges from "Deep Purple" and "After You've Gone" to Oscar Peterson's "Halleluah Time" and even "A Taste of Honey"; everything works. - Scott Yanow / AMG

Phillips PHM 200-118
1964

Baritone Saxophone – Nick Brignola
Bass – Chuck Andrus
Drums – Jake Hanna
Leader, Clarinet, Alto Saxophone – Woody Herman
Piano – Nat Pierce
Saxophone – Sal Nistico
Tenor Saxophone – Carmen Leggio, John Stevens
Trombone – Henry Southall, Kenny Wenzel, Phil Wilson
Trumpet – Bill Chase, Billy Hunt, Danny Nolan, Gerald Lamy, Paul Fontaine

A1 Hallelujah Time 3:23

A2 Deep Purple 3:42

A3 Jazz Hoot 4:30

A4 A Taste Of Honey 3:13

A5 Satin Doll 3:18

B1 After You've Gone 5:08

B2 The Strut 3:07

B3 My Wish 3:28

B4 Cousins 5:53