Vic Juris - Roadsong (1978) [vinyl>flac]

Here's another bit of Muse Magic!

A great album by 24-year old guitarist Vic Juris which was released on Muse Records in 1978, his first as a leader, players are Barry Miles on keyboards, Terry Silverlight on drums, Rick Laird and John Burr on bass and Richie Cole on alto saxophone. Six of the eight selections are Juris originals (the other two songs include Wes Montgomery's "Road Song" and drummer Terry Silverlight's "Vic's Theme". Richie Cole plays on two tracks and John Burr on bass substitutes Laird on another. The album was produced by Richie Cole and engineered by Rudy Van Gelder. This rip is from an LP as this album is yet to be reissued on CD.

Another of my favourite guitarists, the Canadian Vic Juris; this disc, 1978 brings Vic in his (awesome) early years, a musician of a melodic talent and virtuosity that still scares me. Much influence of bop but still contains the fusion typical seventies innovations (at a time when the Pat Metheny still playing timidly in his Metheny Group). There's nothing to discuss: Stunning an Animator! Production is Richie Cole and the mix of the magician Rudy van Gelder (which pros uninitiated was the guy behind several of the most classic jazz recordings). Along with Vic are Barry Miles, Richard and Rick Laird Silverlight and Richie Cole. ~ A Minha Confusão...

“Roadsong” touches several basses, but it's hardly an exercise in untrammelled eclecticism; the sure, clear direction that Vic Juris exercises on each tune insures that. It also ties the album together with a sense of completeness that many established musicians strive for in vain. There are some who may find that a preternatural quality for a 24-year old guitarist that they've never heard of, but, as your ears will prove, it's anything but science fiction. In fact, don't be all that surprised if the next generation's guitar corps features a few clones of Vic Juris himself. ~ Extract from Liner Notes by Neil Tesser.

Muse Records, MR 5150, 1978

Recorded 19^th & 21^st September, 1977 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Vic Juris - Guitar

Richie Cole - Alto Saxophone (#B1,B4)

Barry Miles - Keyboards

Rick Laird - Bass

John Burr - Bass (#A3)

Terry Silverlight - Drums

Track Listing:

A1. Roadsong {Wes Montgomery} (5:46)

A2. Portabelo Market {Vic Juris} (7:21)

A3. Leah {Vic Juris} (4:46)

A4. Vic's Theme {Terry Silverlight} (3:17)

B1. In Between {Vic Juris} (4:00)

B2. One For Sonny {Vic Juris} (4:48)

B3. Free Bird {Vic Juris} (4:54)

B4. Two Lovely People {Vic Juris} (5:27)

Credits:

Producer - Richie Cole

Recording Engineer - Rudy van Gelder

Art Direction and Photography - Carol Friedman

Liner Notes - Neil Turner

Brazilian Adventure

Brazil 1958-1969 by Kingcake on Mixcloud

Eddie Cleanhead Vinson - Live at Sandy's [24/48 vinyl rip]

"Muse recorded six albums during one week at Sandy's Jazz Revival, a club in Beverly, MA; two of them (this one and Hold It Right There) feature the blues vocals and alto solos of Eddie "Cleanhead" Vinson. Some of the songs also have the tenors of Arnett Cobb and Buddy Tate in a supporting role but this album is largely Vinson's show. Backed by a superb rhythm section (pianist Ray Bryant, bassist George Duvivier and drummer Alan Dawson), Vinson takes four fine vocals and plays many swinging alto solos including one on "Tune Up," a song he wrote that has been mistakenly credited to Miles Davis for decades." Yanow

Arnett Cobb - Live at Sandy's [24/48 vinyl rip]

New 24/48 vinyl rip
Arnett Cobb - Live at Sandy's
Muse 5191 (1978)

01 - Just a Closer Walk With Thee
02 - Blue and Sentimental
03 - On the Sunny Side of the Street
04 - September Song
05 - Broadway

During a two-day period in 1978, Muse Records fully documented a jam session featuring the tenors of Arnett Cobb and Buddy Tate, altoist Eddie "Cleanhead" Vinson, pianist Ray Bryant, bassist George Duvivier and drummer Alan Dawson. Six records resulted, two apiece headed by the three saxophonists. On this first LP, (which except for "Broadway" has been reissued on CD), Cobb has four features with the trio (highlighted by "Just Aa Closer Walk with Thee" and "September Song") before welcoming his fellow saxophonists to participate in a rousing version of "Broadway." All of the sets in this rewarding series are recommended to straightahead and mainstream jazz fans.
Review by Scott Yanow

Walt Barr ‎– East Winds (1979) [vinyl 24/48]

A1 Cafe De La Rue 5:37
A2 Always Tomorrow 6:10
A3 East Winds 6:11
A4 Postlude 1:43
B1 Zamba 4:13
B2 Last Night Out 5:06
B3 Free Spirit 5:18
B4 Creepin' 4:47

Guitar, Arranged By – Walt Barr
Piano – Steve Haberman
Synthesizer – Roy Braverman
Bass – Bill Kuhne
Drums – Mark Leon
Percussion – Jack LeCompte
Vocals – Julie Long (tracks: B3, B4)
Westworld Recorders, March 1979.

I know nothing about Barr apert from this being his second album for Muse. To my inexpert ear a very skillful guitarist playing very much in the jazz-fusion style so redolent of the 70s.
With thanks to danair for providing the LP for me to rip.

Buddy Tate - Live At Sandy's [24/48 vinyl rip]

"One of the six Muse albums recorded at Sandy's Jazz Revival in Massachusetts during an engagement in 1978, this is essentially tenor veteran Buddy Tate's set although altoist Eddie "Cleanhead" Vinson and tenor Arnett Cobb join in on the closing blues "She's Got It." Tate is in fine form on the other four songs which includes an outing on clarinet for "Blue Creek," a warm version of the ballad "Candy" and two lengthy jams with pianist Ray Bryant, bassist George Duvivier and drummer Alan Dawson. Consistently swinging music and one of the better Buddy Tate recordings currently available." Yanow

Woody Shaw Quintet - Seattle 1979: Live At Parnell's

Here's a really exciting live show from the zenith of Shaw's legendary quintet.  It's a bootleg, but of considerable quality.  The mix is fantastic and as far as bootlegs go, excellent.  The original uploader is unknown, as are the details surrounding the recording - it was an FM broadcast.  I was able to capture the audio in full WAV format, and then transferred it to FLAC 16/44.1.  This concert is another example of how not only Woody Shaw, but his entire quintet came to be masters of the form.  The musicianship is second to none while the band interaction is almost psychic in its depth.  This is jazz at its finest... enjoy!!!








Parnell's,
Seattle, WA USA
November 21, 1979

01. Intro
02. Rosewood
03. Why
04. Body and Soul
05. Stepping Stones
06. In Your Own Sweet Way

Personnel:

Woody Shaw - trumpet
Onaje Allan Gumbs - piano
Carter Jefferson - tenor sax
Clint Houston - bass
Victor Lewis - drums

Ran Blake - Film Noir [24/48 vinyl rip]

"Ran Blake's dark piano style and dramatic improvisations make for a perfect match with the mood of film noir. This memorable set not only has Blake performing vivid explorations of six songs from films (including melodies from All About Eve, Pinky, A Streetcar Named Desire and The Pawnbroker), but five originals that somehow musically sum up the plots of other films (including Spiral Staircase and Touch of Evil). Blake is heard in a variety of settings ranging from solo and a duet with trumpeter Ted Curson up to an 11-piece band. Utterly fascinating interpretations that add up to a memorable gem." Scott Yanow

Chet Baker - In New York (1958) [vinyl>flac, 24-bit/48khz]

Chet Baker's West Coast cool comes to the Big Apple on Chet Baker in New York. The project would be Baker's first -- in a four album deal -- with the Big Apple-based Riverside Records. The bicoastal artist incorporates his decidedly undernourished sound and laid-back phrasing into the styling of Al Haig (piano), Johnny Griffin (tenor sax), Paul Chambers (bass), and Philly Joe Jones (drums). The results are uniformly brilliant as Baker's cool-toned solos fly and bop with authority around the equally impressive supporting soloists. Conversely, the same cohesive unity continues on the introspective numbers that are more akin to Baker's California cool. Undoubtedly one of the charms of this collection is the distinct choice of material. Running the gamut from the relaxed and soothing "Polka Dots and Moonbeams" and equally serene "Blue Thoughts" at one end of the spectrum to the percolating and driving intensity of "Hotel 49" on the other. This track features each quintet member taking extended solos corralling together at the head and again at the coda for some intense bop interaction. Especially ferocious is Philly Joe Jones, who could easily be mistaken for Keith Moon, Ginger Baker, or even Gene Krupa with his cacophonous solo that never strays from the beat or loses its sense of swing. Perhaps the best meshing of styles can be heard on the Miles Davis composition "Solar." This "best-of" candidate refers to both Chambers' and Jones' concurrent involvement with Davis. The churning backbeat likewise propels the melody and ultimately the performers into reaching beyond their individual expertise and into an area of mutual brilliance. Chet Baker in New York is a highly recommended entry into Baker's catalog. It should also be noted that these same sides were issued in 1967 as Polka Dots and Moonbeams on the Jazzland label. ~ by Lindsay Planer, AMG.

One of my favourite Chet Baker LPs, all players are marvellous, Enjoy in HD sound.

Riverside Records, RLP 12-281, 1959

Riverside Records, 888072359116, 2014

Recorded September, 1958 at Reeves Sound Studios, New York

Personnel:

Chet Baker - Trumpet

Johnny Griffin - Tenor Saxophone (#A1,A3,B2)

Al Haig - Piano

Paul Chambers - Bass

Philly Joe Jones - Drums

Track Listing:

A1. Fair Weather {Benny Golson} (6:55)

A2. Polka Dots And Moonbeams {Jimmy Van Heusen, Johnny Burke} (7:55)

A3. Hotel 49 {Owen Marshall} (9:50)

B1. Solar {Miles Davis} (5:50)

B2. Blue Thoughts {Benny Golson} (7:34)

B3. When Lights Are Low {Benny Carter, Spencer Williamson} (6:51)

Credits:

Producer, Liner Notes - Orrin Keepnews

Recording Engineer - Jack Higgins

Cover Photo - Paul Weller

Design - Paul Bacon

Bill Grauer Productions Inc., New York City

Mike Nock Almanac 1967 [24/48 vinyl rip]

When you consider that this little post-bop miracle was recorded in 1967, you can't help but be impressed with how modern this music sounds. Perhaps that is why Improvising Artists, a label thoroughly devoted to free jazz, would have bought an already finished album that did not fit their profile at all. Nock and Marshall would soon be 1/2 of The Forth Way, Bennie would soon be with Miles and Herbie, and Cecil would soon be making countless superior recordings at Strata East, ECM and more. This album serves as a lovely snap-shot of a Bay Area jazz scene in the period just months before the Summer of Love.

I came across an near mint copy of this one a couple weeks ago!

Count Basie - Dance Along With Basie

Hey gang!!  More from our look at the "Atomic Band"... Basie during his Roulette years.  This offering is interesting for a few reasons, but overall, it's a solid and excellent album.

Looking at the tracklist, it's easy to deduce that this record is tackling pop/dance tunes of the day.  Unlike many of the other albums we've listened to thus far, there's no guest arranger here.  So the first "interesting" item is the fact that Basie himself has interpreted these songs, with input from Teddy Reig presumably.

I would say the other difference on Dance Along is the clear absence of that blues influence that is a staple of this band's sound.  The swing is always there, and heavy at times, but there's really no blues approach to this material.  I will let you ponder the reasons for that.  That said, there's a ton of extended and incredible soloing throughout all of these tunes.  The mood manages to stay upbeat, even through a ballad like Misty.

My record is near mint, and luckily, in glorious mono.  The dynamics and soundstage are everything they should be on a Basie album - HUGE!!!  I know you guys are gonna love this one.  Ripped at 24/48 and transferred to FLAC for your convenience... enjoy!!!

Roulette Records R-52036
1960

Blue Note 1957, pt 3

BlueNote1957, pt 3 by Kingcake on Mixcloud

Liebman, Beirach, Mraz & Foster - Quest (24/48 vinyl rip)

Came across a sealed copy of this one!

"Quest was the name of the quartet that Dave Liebman (who is heard here on soprano and alto flute) had with pianist Richie Beirach, bassist George Mraz and drummer Al Foster.

"Dr. Jekyll and Mr. Hyde," Foster's tribute to Miles Davis, sounds nothing like the trumpeter's music but builds up expertly in passion and intensity with Liebman's soprano taking honors. Mraz's "Wisteria" is a memorable ballad, Lieb's soprano is explosive on "Softly s in a Morning Sunrise" and Beirach's tender ballad "Elm" (a tribute to the late violinist Zbigniew Seifert) gets fairly adventurous during its latter half. Liebman's hyper "Napanoch" and an atmospheric and floating version of Ornette Coleman's "Lonely Woman" complete this superior postbop release." Yanow