Joe Bonner - Angel Eyes (1976) [re-rip]

"Angel Eyes" contains a magical mix of both solo, trio and group tunes. On the title track "Angel Eyes" and "I Do" Bonner plays solo and both are very soul-searching and captivating. "Love Dance" is a blend of both solo and an added rhythm section. Yet, what makes this LP magnificent is the addition of the avant-garde violinist Leroy Jenkins and tenor saxophonist Billy Harper. Both musicians are found on "Variations On The Little Chocolate Boy" and "Celebration", which also includes the superb vocalist Linda Sharrock. The late Jenkins' violin stretches the other players to do more. In this instance Harper clearly showcases his ability to pick up the harmony and run with it. Overall Bonner's playing is incredibly evocative. The album’s highlight is Sharrock’s singing, starting out with a pervasive dark tone that later launches into a wailing mode and then returns anchored by the fusion of the groove being conveyed by the rest of the group. In a lot of ways these two tracks are very bold verging on the avant-garde. The listener cannot but desire more of the same in a follow up album. In the end Bonner concludes this work with a simple but eloquent bamboo flute solo invoking quite a rounding off and spiritual tone to the whole session.

Muse Records, MR 5114, 1976

Recorded October, 1974 and January 1976

Musicians:

Joe Bonner - Piano, Bells (#A1), Bamboo Flute (#B3)

Billy Harper - Tenor Saxophone (#B1,B2)

Leroy Jenkins - Violin (#B1,B2)

Juni Booth - Bass (#A3,B1,B2)

Jimmy Hopps - Drums (#A3,B1,B2)

Linda Sharrock - Vocal (#B2)

Tracks:

A1. Angel Eyes {Matt Dennis} (5:42) *

A2. Love Dance {Joe Bonner} (4:39)

A3. I Do {Joe Bonner} (6:05) *

B1. Variations On The Little Chocolate Boy {Joe Bonner} (5:33)

B2. Celebration {Joe Bonner} (9:26)

B3. Interlude {Joe Bonner} (3:12) #

* Solo Piano

# Solo Flute

Credits:

Producer - Joe Bonner, Michael Cuscuna

Album Design - Joe Bonner, Ron Warwell

Liner Notes - Alan Goodman

Celebration [Lyrics]

It's a sad game, it's a sad game, if you care to play.

It's a sad game, it's a sad game, if you care to play.

I want to be someplace that's good for me.

I want to be someplace that's good for me.

It's a sad game.

Wynton Kelly & George Coleman - Live In Baltimore (1968)

Originally released by Vee Jay, this is ripped from a 1980 UK vinyl edition.

01 - Piano Interlude
02 - On A Clear Day
03 - Piano Interlude-On The Trail
04 - Theme

George Coleman (ts) Wynton kelly (p) Ron McLure (b) Jimmy Cobb (d)
Left Bank Jazz Society, Famous Ballroom, Baltimore. September 22, 1968

Gene Ammons Plays Nat Cole - Night Lights (1970) [vinyl]

Surely one of the very best Ammons albums after his comeback, although he was undoubtedly one of the great exponents of soul jazz, I am thankful that this recording is bereft of that deadening back-beat and the turgid Hammond organ, a pure jazz ballad album - gorgeous pure Ammons! {Still has a dreadful 70s cover of course!]

AllMusic Review by Scott Yanow:
One of his first recording sessions after he returned to the scene following a rather severe jail sentence was this tribute to Nat King Cole. As it turned out, the quartet date with pianist Wynton Kelly, bassist George Duvivier and drummer Rudy Collins was quickly forgotten as Ammons recorded some more commercial material and this set was not released for the first time until 1985. Ammons is in excellent form on such ballads as "Nature Boy," "Lush Life," "Sweet Lorraine" and "The Christmas Song," making one wish that the contents of this LP were available on CD.

A1. Night Lights
A2. Nature Boy
A3. Calypso Blues
B1. Lush Life
B2. Sweet Lorraine
B3. The Christmas Song

Gene Ammons (tenor sax) Wynton Kelly (piano) George Duvivier (bass) Rudy Collins (drums) Pucho (congas -A3)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, February 2, 1970

George Coleman - Big George (1977)

"It is perhaps impossible to capture on record the dynamic impact of this remarkable octet's live performances. This excellent record comes near to it, however, and catches most of the sidemen at the top of their game. The choice of tunes, including some originals, is varied and there is not one dud track. The rhythm section, augmented by Randy Weston's son on Joggin', is outstanding and it implies no disparagement to Atkinson and Muhammed to observe the tremendous impact made by Maburn throughout.
Coleman is at his unqualified best on Body And Soul, with a reading that owes nothing to other great performances of this 'tenor vehicle'. On it he builds a solo with an architect's logicality and a painter's passion. None of his solos on the record are anything less than good, however, and he sets standards that must have proved daunting to his sidemen. Thankfully, they rise to the occasion. Strozier, outstanding on Frank's Tune, outstrips his Bracknell performance by a mile, while Cook lives up to his name on Dolphin Street. Moore also has fine comments to make on this track as well as on Body And Soul, and Rivera trundles along to very good affect. Rather than waste time with details it might be more productive to guess if any section of our readership could dislike this fine offering. I suspect the answer is — no!"
Barry McRae ~ Jazz Journal, April 1981

01 - Green Dolphin Street
02 - Frank's Tune
03 - Big George
04 - Joggin'
05 - Body And Soul
06 - Revival

Danny Moore (t/flh); George Coleman (ts); Junior Cook (ts); Frank Strozier (as); Mario Rivera (bs); Harold Maburn (p); Lisle Atkinson (b); Idris Muhammed (d); Azzedin Weston (p).
NYC, November 2 & 3, 1977.

Bobby Pierce - The Muse Albums [24/48 vinyl rips]

repost by request:

While 'Piercing' follows 'New York' in the Muse discography, it was actually recorded two years earlier (1972) and originally issued on Cobblestone as 'Introducing Bobby Pierce'.

A very hip record from Bobby Pierce – a mixture of jazz and soul, with a laidback feeling that makes the set groove like a late night session at some little New Jersey lounge at the end of the soul jazz era. Players are all great – and include Frank Strozier, Billy Mitchell, Ted Dunbar, and Freddie Waits – but the real star of the set is Pierce, who plays organ, electric piano, and celeste – and also vocalizes on about half the album's tracks, singing in a roughly jazz style that really fits the mood of the set. Titles include "New York", "Children Are The Creator's Messengers", "Hooray For The Children", "Too High", and "Sleep Baby".  © 1996-2014, Dusty Groove, Inc.

Thought for the day...

from Spike Wilner- the pianist and manager of Smalls and Mezzrow in NYC:

Three o'clock in the morning: The miracle that is Smalls Jazz Club is in full swing - packed to capacity. Like a scene from a Chinese medieval legend or perhaps Lewis Carroll, an impossible number of people in an impossibly small space. The band is on fire. Stacy Dillard and his trio are pouring lava-light jazz into the atmosphere. We are inundated in golden swing, cooked like a soup in a hotpot broth of music. The audience is unified - eyes closed, heads bobbing, smiles. This is Jazz music - the very best that Humanity has to offer. This is America. Not a land of hatred, not a land of killing but a land where a variation of all races, nationalities and religions can come together to agree on one thing - jazz, swing and to feel the joy of life. This is real! Not a place where mindless idiots take up the flags of defeated nations to simply rage. This music is a place where there is no flag, no symbol. It is wordless and without form. It is invisible and yet binding. It is vital and enriching. It is not corporate. It is not a "meme". It is not a phony slogan. Jazz is what makes America great, not "again" but right here and now, always here - it is our cultural and our spiritual heritage.

At the end of his set, to the raucous applause, Stacy in his Cheshire-Cat style smiled at the crowd. "You see how easy it is?", he asked all of us. "You see how well we can all get along? Black and white? It 'aint hard..." and with those words the jam session began. The young musicians scrambled to the stage to grab the bass, get behind the drums, to take out their horns. One, two, three - a Charlie Parker blues and the music continued.

I bid everyone peaceful abiding and hope to see you in our clubs - ours, every one of us.

Leo Parker - Rollin' With Leo (1961) [vinyl>flac]

Drugs and addictions defined most of Leo Parker's adult life, finally claiming it entirely in February of 1962 when he was only 36 years old. Only months earlier in 1961, in two sessions held on October 12 and October 20, Parker had played his heart out in what would have been his second album for Blue Note Records that year, and it had appeared that the baritone saxophonist was well on his way to a much-deserved career comeback. The sessions, however, weren't released until almost 20 years later. Rollin' with Leo, presented here in remastered form, is a wonderful portrait of this unsung but brilliant player, whose huge, sad, but almost impossibly strong tone always felt like it carried the world on its shoulders. The centerpiece of Rollin' with Leo is the fascinating "Talkin' the Blues," which unfolds, nearly themeless, like a late-night conversation, ebbing and flowing exactly the way a conversation does, with Parker's baritone swinging back to gather notes, but always moving and stretching forward, expanding the conversation until it seems like everything that could be said HAS been said. Parker's death was tragic because he had so much more to say, and that makes this fine set all that more of a treasure. ~ by Steve Leggett, AMG.

Blue Note Records, LT-1076, 1980
Recorded 12th (#A3,A4) and 20th (#A1,A2,B1-B4) October, 1961
At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:
Leo Parker - Baritone Saxophone
Dave Burns - Trumpet
Bill Swindell - Tenor Saxophone
Johnny Acea - Piano
Al Lucas - Bass (#A1,A2,B1-B4)
Stan Conover - Bass (#A3,A4)
Wilbert Hogan - Drums (#A1,A2,B1-B4)
Purnell Rice - Drums (#A3,A4)

Tracks:
A1. The Lion's Roar {Leo Parker} (4:51)
A2. Bad Girl {Stan Conover} (6:14)
A3. Rollin' With Leo {Leo Parker} (6:23)
A4. Music Hall Beat {Illinois Jacquet} (4:55)
B1. Jumpin' Leo {Leo Parker} (4:29)
B2. Talkin' The Blues {Leo Parker} (6:28)
B3. Stuffy {Coleman Hawkins, Livingstone, Evans} 5:39)
B4. Mad Lad Returns {Leo Parker} (4:35)

Credits:
Producer - Alfred Lion
Recording Engineer - Rudy van Gelder
Release Producer - Michael Cuscuna
Art Direction, Design - Bill Burks
Photography - Jed Wilcox
Liner Notes - Bob Porter

Johnny "Hammond" Smith - Soul Flowers (1967) [re-rip]

As one of the Soul-jazz pioneers, Johnny “Hammond” Smith soon discovered success resided in the immediacy and the joy the music was able to convey. As the style kept on winning adepts in a crossover movement which embraced both Music styles and races, the organist became a master in pulling the right strings so that his sound could reach audiences as vast as possible.

Recorded September 1967 at the height of Flower Power, “Soul Flower”, although hardly related to Psychedelia or Acid-heads favorite sonorities, unashamedly aimed commercial recognition. Although I would never call it smooth or lounge-Jazz, I have to admit at times it makes a perfect dinner soundtrack or background sound for a living-room gathering of friends while relaxedly sipping a beer or a scotch; Yet it shoots in so many directions and displays such competent musicianship that one is often forced to raise the volume level and pay attention to what’s going on; ‘cause that’s the only way you’ll correctly listen to the blistering organ solo/work on the TV-series theme “Theme from N.Y.P.D.”; more screen related material is available on the melancholic mood of Burt Bacharach’s score for the movie “Alfie” or on the lively, hip-shaking rendition of the popular “Tara’s Theme” from ‘Gone with the Wind’ soundtrack; and on “Ode to Billie Joe”, Smith spells with fervor the conga-rhythm-propelled, horse-riding, Far-west evoking theme.

Previously issued with considerable success in 45rpm/Single format “Dirty Apple” is here offered in an extended version and it’s Bluesy and Funky charm, Soulful organ and smoking sax and guitar work are some of the album’s strong arguments; Still, it’s the diversity shared by the up-tempo version of the classic “Days of Wine and Roses” or the happy, old-time Big-Band swing feel of the Rodgers/Hammerstein “You’ll Never Walk Alone” where Smith displays his hard-won credentials in the style and most of all the Bossa inflected “Here’s That Rainy Day”, where guitarist Wally Richardson shows he can give cards in many a style or the cover of Ray Charles’s “I Got a Woman” with the organ at full throttle and Houston Person’s intense tenor work that definitely make this a record with mood-uplifting characteristics. ~ comusduke.

Prestige Records, PR 7549, 1968

Recorded 27^th September, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Johnny "Hammond" Smith - Organ

Houston Person - Tenor Saxophone

Earl Edwards - Tenor Saxophone

Wally Richardson - Guitar

Jimmy Lewis - Electric Bass

John Harris - Drums

Richie "Pablo" Landrum - Congas

Tracks:

A1. N.Y.P.D. {Charles Gross} (3:23)

A2. Dirty Apple {Smith, Richardson} (5:01)

A3. Days Of Wine And Roses {Henry Mancini} (3:21)

A4. Ode To Billie Joe {Bobby Gentry} (3:17)

B1. You'll Never Walk Alone {Rodgers, Hammerstein} (3:12)

B2. Alfie {David, Bacharach} (3:06)

B3. Tara's Theme [My Own True Love] {Max Steiner} (2:57)

B4. Here Comes That Rainy Day {Burke, van Heusen} (3:26)

B5. I Got A Woman {Ray Charles} (5:27)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Liner Notes - Christopher Peters (Jan. 1968)

Charles Davis - Ingia! (1974) [vinyl>flac]

Charles Davis is joined by Louis Hayes & Company on this rare post-bop outing released on Strata-East Records back in 1974. Charles excels as a musician, composer and arranger. All players are on fire and there is plenty of room for them to express their individual talents. It is an LP that can be revisited many a time. Highly Recommended!

Strata-East Records, SES-7425, 1974

Recorded 15^th July, 1974 At Minot Sound Studio, White Plains, New York

Musicians:

Charles Davis - Baritone Saxophone

Andrew "Tex" Allen - Trumpet, Flugelhorn

Gerald Hayes - Alto Saxophone, Flute

Ronnie Mathews - Piano, Electric Piano

Louis Davis - Guitar

David Williams - Bass

Louis Hayes - Drums

Tracks:

A1. The Gems Of Mims {Charles Davis} (10:30)

A2. Little Miss Jump Up {Charles Davis} (7:05)

B1. Linda {Charles Davis} (11:22)

B2. Ingia {Billy Higgins} (9:07)

Credits:

Producer, Arranger - Charles Davis

Recording & Mixing Engineer - John R. Battiloro

Mastering Engineer - Donald Van Gorden

Design - Sandra Williams

Photography - Charles Stewart

Trudy Pitts - A Bucketful Of Soul (1967, 68) [re-rip>true flac]

Wow! This is the best ever Trudy Pitts album, and the one in which she and Mr. C really get down to business on tracks like "Bucketful of Soul" and the stellar "Love for Sale" (an early Jazz Juice groover). Wilbert Longmire complements the trio on guitar, and the whole thing stands as perfect proof of why Trudy Pitts is one of our favorite artists of all time. Groovy, moody, and mellow - all at the same time. Organ, vocals, and guitar. © Dusty Groove America, Inc.

Prestige Records, PR 7560, 1968

Recorded 20^th December, 1967 (#A1,B2) and 8^th February, 1968 (#A2-B1,B3-B5)
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Trudy Pitts - Organ, Vocals (#A4,B1,B3,B5)

Wilbert Longmire - Guitar

Bill Carney - Drums, Vocals (#A4,B1,B3,B5)

Track Listing:

A1. Bucket Full Of Soul {Bill Carney} (3:41)

A2. My Waltz {Trudy Pitts} (3:39)

A3. Love For Sale {Cole Porter} (7:12)

A4. Satin Doll {Duke Ellington, Billy Strayhorn, Johnny Mercer} (2:56)

B1. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (2:57)

B2. Renaissance {Audubon Schere} (2:39)

B3. Lil' Darlin' {Neal Hefti} (4:13)

B4. Come Dawn {Trudy Pitts} (4:21)

B5. Please Keep My Dream {Bill Carney, Sonny Truitt} (2:24)

Credits:
Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

For a great article on Trudy Pitts see:

Trudy Pitts: Extraordinary Pianist & Master Of The Hammond B-3