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