Richard Williams

Lest We Forget Vol. 11 / The Musician's Musician, Richard Williams by Poppachubby on Mixcloud

David Schnitter - Invitation (1976)

Having joined Blakey in 1974, this was Schnitter's debut album under his own name, the first of four impressive albums recorded for Muse.I find it astonishing that none appear to have made it to CD!

Biography by Scott Yanow:
"An excellent hard bop tenor saxophonist most influenced by Dexter Gordon, David Schnitter's rise in the jazz world in the 1970s preceded the "young lions"; unfortunately, he has maintained a much lower profile since the early '80s. After starting on clarinet, Schnitter permanently switched to tenor when he was 15. He played locally, moved to New York, gigged with Ted Dunbar, and then was a member of Art Blakey's Jazz Messengers from 1974-1979. He worked with Freddie Hubbard from 1979-1981, and had associations with Frank Foster, Charles Earland, and Groove Holmes. David Schnitter sounded fine on numerous records with Blakey and as a leader for Muse during 1976-1981, but not enough has been heard from him since."


01 - Invitation
02 - Blue Monk
03 - Body & Soul
04 - Donna Lee
05 - Fat Face Fenner's Saloon

Dave Schnitter (ts) Mickey Tucker (p) James Leary (b) Ed Marshall (d)
San Francisco, 1976

Piano Trios DEFG

Piano Trios DEFG by Kingcake on Mixcloud

Piano Trios ABC

Piano Trios ABC by Kingcake on Mixcloud

Jerome Richardson - Jazz Station Runaway (1997, TCB)

It is a real shame that a guy who makes such good albums, makes so few. This is the last of the 4 that I have, if anyone has another by all means send it in! Interesting enough for this album Jerome sticks primarily to alto sax, an instrument that wasn't featured much on the previous posts.

"Jerome Richardson, a valuable reed player since the mid-'50s, has been on a countless number of recordings, often in an anonymous or barely featured role. He has led very few record sessions of his own throughout his career, yet has long been a talented soloist on alto, tenor, flute, and soprano. In 1996, when he had the opportunity to lead a date, Richardson made the most of the opportunity. Although the music is mostly straightforward, no-nonsense bebop, eight of the numbers are Richardson's; the others are Dizzy Reece's midtempo blues "Con Man" and a pair of Duke Ellington ballads ("Warm Valley" and "In a Sentimental Mood"). Of the originals, only "Groove Merchant" (easily Richardson's best-known song) has been around a while. The newly composed pieces each have catchy and hummable melodies, along with viable chord changes. Pianist David Hazeltine, who sometimes plays in more modern settings, comes across here as a classic bebop player in the style of Barry Harris. The rhythm section includes bassist George Mraz and either Lewis Nash or Dennis Mackrel on drums; they swing supportively under the occasional solos from either Russell Malone or Howard Alden on guitar. Richardson is mostly heard on alto but also playing a bit of soprano and flute; whether jamming bop, putting plenty of warmth into "Warm Valley," or interacting with the rhythm section, he has rarely sounded better." Scott Yanow

Ted Curson - Flip Top (1964,66) [vinyl>flac,24b/48k]

The first half of this release is from the same session that resulted in Ted Curson's Tears for Dolphy. The three selections (performed by the trumpeter in a pianoless quartet with tenor saxophonist Bill Barron, bassist Herb Bushler and drummer Dick Berk) are of the same high quality as the other cuts, highlighted by Curson's "Searchin' for the Blues." The second half of the program features Curson with the Zagreb Radio Orchestra at the 1966 Yugoslavian Jazz Festival. Zita Carno provided the arrangements to three of the trumpeter's originals (including "Quicksand" and "Flip Top") and Curson plays (in his own words) with "one foot in avant-garde, one foot in mainstream." A recommended and consistently stimulating release. ~ Scott Yanow, All Music Guide.

Seventies reissue of two sets of sparkling material from one of Ted Curson's best periods ever! Side one is classic Ted Curson/Bill Barron quartet stuff, with the two of them swinging, going out, and then hitting the money back again. Side two is some rare Eastern European stuff with a large group, and includes great workings of "Quicksand" and "Straight Ice", two of our favorite tracks by him! © Dusty Groove America, Inc.

Ted's audience now is young, something that continually surprises him. His music is so vital especially now, so many of Ted's constituents have died during his tenure (he will be 42 this year). The death of Booker Ervin is something Ted will never get over. The drug scene has eluded him totally for the simple reason that Ted thinks of his body as a shrine, his influences were Johnny Splawn, Clifford Brown and Miles Davis' lyricism. Charles Mingus was definitely the pivot point in his career, every musician around would listen to that band. With all the frustration Ted has gone through his positive attitude prevails. Although he hasn't reflected on what is happening to him now, he is really wired! "I like this album even better than my new one, because it seems to me that I'm getting closer to that big band sound". Ted is definitely ahead of his time and knows it, but with the release of this LP, the pieces finally fit. ~ Extract from Liner Notes by Mary Lou Webb, 1977

Arista/Freedom, AL 1030, 1977

Side A:

Tracks:

A1. Searchin' For The Blues {Ted Curson} (7:43)

A2. Desolation {Bill Barron} (8:42)

A3. Light Blue {Bill Barron} (3:40)

Musicians:

Ted Curson - Trumpet

Bill Barron - Tenor Saxophone

Herb Bushler - Bass

Dick Berk - Drums

Recorded 1st August, 1964 at Acousti Studio, Paris, France

Side B:

Tracks:

B1. Quicksand {Ted Curson} (6:17)

B2. Straight Ice {Ted Curson} (4:59)

B3. Flip Top {Ted Curson} (4:19)

Personnel:

Ted Curson - Trumpet

with Unnamed Members of The Zagreb Radio Orchestra

Miljenko Prohaska - Conductor

Arranger - Zita Carno

Recorded at the Seventh Yugoslavia Jazz Festival, Ljubljana, Yugoslavia

Date: Summer 1966

Label: [Private Recording]

Credits:

Producer - Alan Bates

Additional Production - Michael Cuscuna

Cover Art - Guy Billout

Photography - David Gahr

Art Direction - Bob Heimall

Dave McKenna, Scott Hamilton, Jake Hanna - No Bass Hit (1979) [vinyl>flac]

Most pianists are dependent on a bassist to keep the rhythm unless they are playing unaccompanied solos, but not Dave McKenna. McKenna, who has the ability to consistently set a fire under tenor saxophonist Scott Hamilton, teams up with Hamilton and drummer Jake Hanna for this superlative trio set. The eight standards (which include “If Dreams Come True,” “Drum Boogie,” “I Love You, Samantha,” and “Get Happy”) consistently swing hard, and there is plenty of excitement. Highly recommended, particularly to lovers of mainstream jazz.

Concord Jazz, CJ-97, 1979

Recorded and Remixed March, 1979 at Normandy Studios, Warren, Rhode Island

Musicians:

Dave McKenna - Piano

Scott Hamilton - Tenor Saxophone

Jake Hanna - Drums

Track Listing:

A1. But Not For Me {George & Ira Gershwin} (4:57)

A2. If Dreams Come True {Benny Goodman, Irving Mills, Edgar Sampson} (3:50)

A3. Long Ago And Far Away {Jerome Kern, Ira Gershwin} (3:48)

A4. Drum Boogie {Gene Krupa, Roy Eldridge} (6:56)

B1. I Love You, Samantha {Cole Porter} (5:50)

B2. I'm Gonna Sit Right Down And Write Myself A Letter {Joe Young, Fred Ahlert} (6:07)

B3. Easy To Love {Cole Porter} (5:23)

B4. Get Happy {Ted Koehler, Harold Arlen} (3:51)

Credits:

Producer - Carl E. Jefferson

Recording and Remix Engineer - Wil Morton

Cover Photo - Bruce Burr

Art Direction - DH Studio

Liner Notes - Charlie Drago

Melvin Sparks - Sparkling (1981) [re-rip]

Melvin Sparks, prior to this album's release, spent a lot time as popular sideman throughout the late 60's and early 70's. Later he turned his interest towards funk which he admits; "I made a mistake, but it just didn't work. That's when I learned that a person should do what he does best." What Sparks does best is heard to good effect right here on Sparkling, his first feature album for Muse. He has put together a crack band, including Neal Creque on Piano, Buster Williams on bass and Idris Muhammad on drums, and assembled a set of material that allows him to use all of his experience without losing sight of what we're all here for: good, swinging jazz.

Guitarist Melvin Sparks makes it clear just who's running this show in a hurry -- about half a dozen bars into the first tune, in fact -- as he jumps into a solo introduction to "Misty" as if he'd written the tune himself. He darts in and out of the melody, assaying swift, biting single-note runs and chord-melody sections with equal dexterity, and maintaining all the while a certain bluesy edge. It is indeed a sparkling performance. ~ Excerpts from Liner Notes.

Muse Records, MR 5248, 1981

Recorded 18^th February, 1981 at Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Musicians:

Melvin Sparks - Guitar

Neal Creque - Piano (#A1-B2)

Buster Williams - Bass (#A2-B2)

Idris Muhammad - Drums (#A2-B2)

Tracks:

A1. Misty {Erroll Garner, Johnny Burke} (8:57)

A2. Hassan {Melvin Sparks} (11:27)

B1. Speak Low {Kurt Weill, Ogden Nash} (5:36)

B2. I Am Your Song {Neal Creque} (10:16)

B3. A Bolt Of Lightnin' {Melvin Sparks} (3:50)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Photography - Bob Shamis

Album Design - W. Dale Cramer

Liner Notes - Sam Graham

George Benson - The Other Side of Abbey Road (1969) [vinyl>flac,24b/48k]

A wonderfully wicked album – one that sold so many copies that it's sometimes hard to remember how great it is! George takes on all of Abbey Road – or just about all of it – as he runs through some of the most beautiful tracks The Beatles ever wrote, like "Golden Slumbers", "I Want You (She's So Heavy)", "The End", "Because", and "You Never Give Me Your Money". The whole thing's set to some great baroque jazzy arrangements by Don Sebesky, and George digs the whole thing so much that he even sings a bit – vocalizing in a cool chromatic way that really works well with his guitar playing, and which would soon transform into a very popular style on his records of the 70s. Keyboards are by Bob James and Herbie Hancock – and there's plenty of other great jazz players in the mix! © Dusty Groove, Inc.

A&M Records, SP-3028, 1970

Recorded 22^nd,23^rd October and 4^th,5^th November, 1969
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

George Benson - Guitar

Freddie Hubbard - Trumpet

Bernie Glow, Marvin Stamm, Mel Davis - Trumpet, Flugelhorn

Wayne Andre - Trombone, Euphonium

Sonny Fortune - Alto Saxophone

Jerome Richardson - Tenor Saxophone, Clarinet, Flute

Don Ashworth - Baritone Saxophone

Hubert Laws - Flute

Phil Bodner - Flute, Oboe

Don Ashworth - Bass Clarinet

Bob James, Ernie Hayes, Herbie Hancock - Piano, Organ, Harpsichord

Jerry Jemmott, Ron Carter - Bass

George Ricci - Cello

Ed Shaughnessy, Idris Muhammad - Drums

Andy Gonzalez, Ray Barretto - Percussion

Max Pollikoff, Raoul Poliakin - Violin

Emanuel Vardi - Viola

Track Listing:

A1-A2. Golden Slumbers {Lennon, McCartney}/
You Never Give Me Your Money {Lennon, McCartney} (4:47)

A2. Because/Come Together {Lennon, McCartney} (7:27)

A4. Oh, Darling {Lennon, McCartney} (4:01)

B1-B2. Here Comes The Sun {George Harrison}/
I Want You [She So Heavy] {Lennon, McCartney} (9:04)

B3. Something {George Harrison}/
Octopus's Garden {Richard Starkey} (4:31)

B4. The End {Lennon, McCartney} (1:57)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger - Don Sebesky

Design [Album] - Sam Antupit

Photography - Eric Meola