Al Grey - Boss Bone (1964) [vinyl]

Soul jazz trombone session, recorded in Chicago, with players like John Young on piano, Leo Blevins on guitar, and Ike Isaacs on bass. The groove is tight and hard, and Grey wrote a lot of catchy originals for the session. Titles include "Tacos & Grits", "Salty Mama", "The Give Off", and "Grey Being Blue". © Dusty Groove, Inc.

This well-loved LP truly demonstrates that Al Grey at the time of recording was the ‘Boss Bone’. He has such a sweet tone that just literally sings along with the music. In addition, Al showcases his writing ability; six out of the nine compositions are his creation, the other three are reliable jazz standards which he plays with great finesse. This is all achievable by the wondrously harmonic playing of the rest of the group. Both the pianist and guitarist in particular blend perfectly with Al’s bone with some marvelous soloing. Considering the condition of the vinyl, with some tweaking the sound comes off well, Enjoy!

Argo Records, LP-731, 1964

Recorded 17^th December, 1963 at Ter Mar Studios, Chicago, Illinois

Musicians:

Al Grey - Trombone

John Young - Piano

Leo Blevins - Guitar

Ike Isaacs - Bass

Phil Thomas - Drums

Tracks:

A1. Smile {John Turner, Geoffrey Parsons, Charlie Chaplin} (2:38)

A2. Terrible Cap {Al Grey} (3:01)

A3. Mona Lisa {Jay Livingston, Ray Evans} (3:27)

A4. Tacos And Grits {Al Grey} (3:18)

A5. Can't You Feel It {Al Grey} (3:59)

B1. Salty Mama {Al Grey} (3:24)

B2. The Give Off {Al Grey} (4:06)

B3. Day In Day Out {Robe Bloom, Johnny Mercer} (5:13)

B4. Grey Being Blue {Al Grey} (3:45)

Credits:

Supervision - Esmond Edwards

Engineer - Ron Malo

Cover Photo - Don Bronstein

Liner Notes - Daddy-O Daylie

Freddie McCoy - Listen Here (1968) [re-rip]

One of the hardest to find albums by this lost 60s soul jazz vibist - and all of his albums are pretty darn hard to find! The album's also perhaps his best - as Freddie takes a little more straight funky jazz approach, and loses some of the pop feel of his other albums. There's 2 different groups on here - one a bit large, and with Wally Richardson, Bernard Purdie, and Dud Bascomb; the other a groovy quintet with Joanne Brackeen on electric piano and Gene Walker on Varitone. The album includes a great cover of "Listen Here", plus "Stone Wall" and "Short Circuit". ~ Dusty Groove, Inc.

Prestige Records, PRST 7582, 1968

Recorded 10^th June, 1968 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Freddie McCoy - Vibraphone

Wilbur Buscomb, Edward Williams - Trumpet (#A1,B2)

Quentin Jackson, Melba Liston - Trombone (#A1,B2)

Gene Walker - Varitone (#A1,B2)

JoAnne Brackeen - Electric Piano (#A2-A3,B1,B3), Organ (#A1,B2)

Wally Richardson - Guitar (#A1,B2)

Raymond McKinney - Bass (#A2-B1,B3)

Jimmy Lewis - Electric Bass (#A1,B2)

Bernard Purdie - Drums (#A1,B2)

Al Dreares - Drums (#A2-B1,B3)

Montego Joe - Congas (#A1,B2)

Tracks:

A1. Don't Tell Me That {Freddie McCoy} (4:51)

A2. Short Circuit {Freddie McCoy} (6:44)

A3. Love For Sale {Cole Porter} (5:25)

B1. Listen Here {Eddie Harris} (7:24)

B2. MacArthur Park {Jimmy Webb} (7:45)

B3. Stone Wall {Milt Jackson} (3:17)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Dave Blum

Cover Design - Don Schlitten

Cover Art - Jo Schwalbach

Sleeve Notes - Fred Norsworthy

Enrico Rava Quartet - Ah (1979) [vinyl]

>>Ah<< features bassist Giovanni Tommaso, drummer Bruce Ditmas and Franco D'Adrea, whose pianism lights up even the darkest corners.

Feeling a little under the weather? Then open up and say Ah, because Doctor Rava is in! This warm rainy day session is the perfect sonic elixir for what ails you. The sumptuous diagnostics of “Lulu” lay their pianistic hands upon us first, and with them the album’s leitmotif. Rava and D’Andrea are in fine conversational form here, as they ever are, cracking open a Pandora’s Box of free improv before re-attuning to a smoldering vamp. Rava starts us off strongly in “Outsider,” in which he swings his rhythm section around and around like children holding hands in a field. A swift kick from Ditmas brings us solid thematic closure. “Small Talk” allows Tommaso his just airtime in what is by far the highlight of the examination. Rava checks our pulse in the groovier “Rose Selavy,” breezes wistfully through the title track, and gives way to “Trombonauta,” the album’s brief yet impactful ballad, before ending “At The Movies.” This eclectic ode breathes with the magic of Cinema Paradiso while threatening to topple from the weight of its own remembrance. ~ by Tyran Grillo, ecmreviews.com.

ECM Records, ECM 1166, 1980

Recorded December, 1979 at Tonstudio Bauer, Ludwigsburg, Germany

Musicians:

Enrico Rava - Trumpet

Franco D'Andrea - Piano

Giovanni Tommaso - Bass

Bruce Ditmas - Drums

Tracks:

A1. Lulu (8:05)

A2. Outsider (6:16)

A3. Small Talk (5:00)

B1. Rose Selavy (4:51)

B2. Ah (6:00)

B3. Trombonauta (2:46)

B4. At The Movies (5:45)

All Compositions by Enrico Rava

Credits:

Producer - Thomas Stowsand

Engineer - Martin Wieland

Cover - Michelango Pistoletto

Layout - Dieter Rehm

Grover Washington, Jr. - All The King's Horses (1972) [vinyl]

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kudu imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well - especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous - and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington - who could inject pure soul into even the dullest music of Lawrence Welk - is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions. ~ by Thom Jurek, AMG.

Kudu Records, KU-07, 1972

Recorded 19^th May-June, 1972 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Grover Washington, Jr. - Alto Saxophone, Tenor Saxophone

Alan Rubin, Ernie Royal, Snooky Young, John Frosk, Marky Markowitz, Marvin Stamm - Trumpet, Flugelhorn

Paul Faulise, Tony Studd, Wayne Andre - Trombone

Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge - French Horn

George Marge - Alto Saxophone, Flute, English Horn, Oboe, Recorder

Pepper Adams - Baritone Saxophone

Arthur Clarke - Baritone Saxophone, Flute

Bob James - Electric Piano, Harpsichord

Richard Tee - Organ

Cornell Dupree, David Spinozza, Eric Gale - Guitar (#A1-B1,B3)

Gene Bertoncini - Guitar

Ron Carter - Bass

Gordon Edwards - Bass (#A1)

Bernard Purdie - Drums

Billy Cobham - Drums (#A4,B2,B3)

Ralph MacDonald - Congas

Airto Moreira - Percussion

Strings:

Margaret Ross - Harp

Charles McCracken, George Ricci - Cello

Emanuel Vardi, Richard Dickler - Viola

Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff,
Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle,
Max Ellen, Paul Gershman - Violin

Tracks:

A1. No Tears, In The End {Ralph MacDonald, William Salter} (3:49)

A2. All The King's Horses {Aretha Franklin} (3:48)

A3. Where Is The Love {Ralph MacDonald, William Salter} (5:07)

A4. Body And Soul [Montage] {Heyman, Sour, Eyton, Green} (3:02)

B1. Lean On Me {Bill Withers} (4:25)

B2. Lover Man {Jimmy Davis, Jimmy Sherman, Roger Ramirez}

      Interlude #2 {Bob James} (7:01)

B3. Love Song 1700 {Adapted ex Henry Purcell, Arr. Bob James} (4:51)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bob James

Design [Album] - Bob Ciano

Photography [Album] - Pete Turner

Tiziana Ghiglioni, Enrico Rava, Mal Waldron - I'll Be Around (1989)

Not many singers could pull off the kind of vulnerable, open-armed performance Tiziana Ghiglioni does on this wonderful collection of ballads. Maybe Sheila Jordan or Helen Merrill or Chet Baker when he was young. Fragile, brave, backed only by the spare piano of Mal Waldron and the trumpet of Enrico Rava, Ghiglioni gets the most out of understatement, which is a true art. ~ by Jack Fuller, Chicago Tribune.

"Music this intimate and emotionally naked is seldom risked; it's safer to show off techinique than to expose feelings.  Ghiglioni, Rava, and Waldron shed light on the dark corners of the soul, with music that is beautifully bittersweet." ~ from Liner Notes by Art Lange.

Soul Note, 121256-2, 1991

Recorded 25^th July & 1^st August, 1989 At Barigozzi Studio, Milano, Italy

Personnel:

Tiziana Ghiglioni - Vocals

Enrico Rava - Trumpet

Mal Waldron - Piano

Tracks:

01. Am I Blue? {Harry Akst, Grant Clarke} (6:15)

02. They Can't Take That Away From Me {George & Ira Gershwin} (5:14)

03. You Don't Know What Love Is {Gene DePaul, Don Raye} (7:18)

04. All Or Nothing At All {Arthur Altman, Jack Lawrence} (3:22)

05. Glad To Be Unhappy {Richard Rodgers, Lorenz Hart} (5:16)

06. I'll Be Around {Alec Wilder} (2:49)

07. Yesterdays {Jerome Kern, Otto Harbach} (2:23)

08. Where Are You? {Harold Adamson, Jimmy McHugh} (4:16)

09. Darn That Dream {Edgar De Lange, Jimmy Van Heusen} (5:43)

10. But Not For Me {George & Ira Gershwin} (2:09)

Credits:

Recording Engineer - Giancarlo Barigozzi

Mastering Engineer - Gennaro Carone (Phonocomp, Tribano, Milano)

Cover Painting - Giuliano Crivelli

Photo [Tiziana Ghiglioni, Enrico Rava] - Lidia Panizzut

Photo [Mal Waldron] - Brian McMillen

Cover Art by Xerios and Paola Bianchi

Liner Notes - Art Lange 

----------------------------------------------------------------------- 

It is an intimate album, modest in its pretensions and great in its results. It consists of ten standards with cause. That is, immortal. And it is delightful to hear Tiziana's nuanced voice, accompanied by the minimalists Rava and Waldron, fortunately two declared enemies of artificiality and pyrotechnics. There is a splendid version of "Am I Blue?", The best I've ever heard (along with Charlie Rich in "Pictures And Paintings" and Ray Charles in "Modern Sounds in Country & Western"), but I also love the light of "They Can not Take That Away From Me".

Neither are the melancholy interpretation of "Where Are You?" And "Darn That Dream" (yes, with the inevitable shadow of Sinatra gravitating around). Less I like the somewhat accelerated, in my opinion, of "All Or Nothing At All". And there is still the title track, "I'll Be Around," by Alec Wilder, which Carmen McRae will take to infinity. And the mere mention of such a singer already gives an idea of the category that Tiziana Ghiglioni has.

And there is place, for solo performances like Waldron's exciting "Glad To Be Unhappy" and Rava's nude and cutting of "Yesterdays". And also duos like the ghostly, black film, Rava and Waldron of "You Do not Know What Is Love Is", daquí stripped of a certain mellow of other versions. The "But Not For Me" by Tiziana and Enrico is also comforting.

In short, a very content album, very pleasant; that yes, not to listen in any way, but with the due attention that simple things require, those that we neglect daily, and that, nevertheless, form an important part of life precisely because of their vocation of transcendence, because it is the reverse of the bombast with which so many musical, literary or cinematographic works are undertaken. A blessing in these times. ~ dorotea, RYM.

Enrico Rava & Mario Rusca - D.N.A. (1997) [re-rip]

Enrico Rava needs no introduction as a great trumpet player. However here he is joined with another crack Italian jazz combo led by Mario Rusca, a highly acclaimed pianist throughout Europe, especially in his native country Italy. Born in Turin, he studied classical piano and then moved to Milan to continue his studies in harmony and composition. During the seventies he worked and recorded with the famous violinist Joe Venuti. Later he formed his own quartet "Suspension" with Tullio de Piscopo, George Baiocco and Bruno Tommaso. In later years he worked with some of the most 'important American musicians including: Gerry Mulligan, Chet Baker, Al Gray, Art Farmer, Lou Donaldson, Curtis Fuller, Lee Konitz, Bob Berg, Kay Winding, Jimmy Owens, Toot's Thielemans, Kenny Clarke, Stan Getz, Steve Lacy, Steve Grosmann, Eddie L. Joe Davis, Dusko Goykovic and Pepper Adams, Gianni Basso, Franco Ambrosetti, Woody Show and of course with Enrico Rava on this Album. Essentially “D.N.A.” is another brilliant expose for both artists, not to overlook Rusca’s well-chosen rhythm section. Together they deliver an exciting collection of both Rusca originals and some classic jazz standards. The listener cannot avoid been enthralled by the music. Enjoy!

Giants Of Jazz, 53302, 1997

Recorded 21st-24th December, 1996 at Mondial Sound, Milan, Italy

Personnel:

Enrico Rava - Trumpet (#1-5,7)

Mario Rusca - Piano

Lucio Terzano - Bass

Tony Arco - Drums

Tracks:

01. D.N.A. {Mario Rusca} (5:22)

02. How High The Moon {Nancy Hamilton, Morgan Lewis} (4:08)

03. Out Of Nowhere {Johnny Green, Edward Heyman} (10:13)

04. Flawless {Mario Rusca} (6:40)

05. Bye Bye Blackbird {Ray Henderson, Mort Dixon} (9:08)

06. Falling In Love With Love {Lorenz Hart, Richard Rodgers} (8:29)

07. My Foolish Heart {Ned Washington, Victor Young} (9:15)

08. You And The Night And The Music {Howard Dietz, Arthur Schwartz} (5:24)

09. Flash Steps {Mario Rusca} (4:44)

10. Chromosome Blues {Mario Rusca} (4:31)

Credits:

Producers - Walter Gürtler & Vanni Moretto

Recording Engineer - Walter Biondi

Cover Photography (Enrico Rava); Luca A. d'Agostino

Other Photos - Boris Vom Scheidt

Enrico Rava - Pupa o Crisalide (1975) [re-rip>flac]

"Pupa o Crisalide" isn't his most acclaimed record, but it's my favourite one. It's a good summary of the first phase of his solo career, and it contains tracks recorded with three different ensembles: an all-Italian line-up for the opener and closer - recorded in Rome, an Argentinean octet for the B-side of the LP - recorded in Buenos Aires, and finally an impressive American septet (just two names: Jack DeJohnette, John Abercrombie) for the A-side, recorded in New York. The musical style clearly reflects the composite nature of the album. The first half is funkier, edgier and fierier, evidently influenced by the jazz-rock/fusion tendencies that were spreading during those years. The second one is more placid and skippy, and elegantly incorporates some Latin/Samba elements in the alchemy.

The two halves are held together by the timbric similarity of the line-ups (which feature almost the same elements), and by Enrico Rava's renown trumpet style. Often compared to Miles Davis and Kenny Wheeler, his technique envisages rarefied notes, full of ambience, and erratic melodic lines which surprisingly do not undermine the "presence" of his trumpet sound. On the contrary, Rava's trumpet charisma seems to emerge right from this amazing equilibrium of detachedness and red-bloodedness. Source: Ilgolpeeluva.blogspot.com

RCA-VISTA, THP1 1116, 1975

Recorded on 15th-16th July, 1974 (#A1, B4) in Rome, Italy;

December, 1973 (#A2, A3) in New York:

April, 1974 (#B1, B2, B3) in Buenos Aires, Argentina

Personnel:

Enrico Rava - Trumpet

Tommaso Vittorini - Tenor Saxophone, Arranger (#A1,B4)

Finito Ginbert - Tenor Saxophone, Flute (#B1-B3)

David Horowitz - Piano, Electric Piano, Synthesizer (#A2,A3)

Franco D'Andrea - Piano (#A1,B4)

Matias Pizzarro - Piano (#B1-B3)

John Abercrombie - Electric Guitar (#A2,A3)

Ricardo Lew - Electric Guitar (#B1-B3)

Michele Ascolese - Guitar (#A1,B4)

Rodolfo Mederos - Bandoneon (#B1-B3)

Giovanni Tommaso - Bass (#A1,B4)

Herb Bushler - Bass, Bass Guitar (#A2,A3)

El Negro Gonzales - Double Bass (#B1- B3)

Bruno Biriaco - Drums (#A1,B4)

Jack DeJohnette - Drums (#A2,A3)

Nestor Astarita - Drums (#B1-B3)

Mandrake - Percussion (#A1,B4)

El Chino Rossi - Percussion (#B1-B3)

Ray Armando - Percussion (#A2,A3)

Warren Smith - Percussion (#A2,A3)

Tracks:

A1. Pupa O Crisalide (4:03)

A2. C.T.'s Dance (6:43)

A3. Tsakwe (8:11)

B1. El Samba Graciela (4:09)

B2. Revisione Del Processo N. 6 (10:25)

B3. Lingua Franca (4:35)

B4. Giromondo (3:35)

All Compositions by Enrico Rava

Rava's early works are strongly influenced by Miles Davis music and (fortunately!) almost don't include that honey-sweet South European melodies and over-emotional sentimentality that can destroy even good compositions. “Pupa O Crisalide” was recorded with three different ensembles in three different continents and naturally it contains a variety of music.

The album's opener and closer both were recorded in Rome with Italian musicians and are closest to Rava's later "Italian recordings". Still Miles Davis influences are obvious. The rest of the vinyl on side A was recorded in New York with an American septet (including such musicians as John Abercrombie (on electric guitar) and drummer Jack DeJohnette); these tracks are strongest part of the album. Similar to Miles Davis electric fusion period, the music here is a bit warmer, more airborne and a bit softer, but in itself sounds excellent (if not extremely original).

The first three compositions on side B were recorded in Buenos Aires with Argentinean musicians and hence contain music influenced by Latin Fusion. Overall album is can be considered variable and has some really strong moments. Very soon Enrico will start working for ECM and his music will become much more predictable. One strong Italian jazz album and excellent entry to Enrico Rava music. ~ Jazzmusicarchives.com

Enrico Rava - Quotation Marks (1973,74)

“Quotation Marks” was a milestone for Italian trumpeter, now ECM mainstay, Enrico Rava. In addition to being his first of many projects on Manfred Eicher’s watch, it was his debut as leader. The record blends two sessions into a seamless program. The first (December 1973) went down in New York City, where he was backed by guitarist John Abercrombie, drummer Jack DeJohnette, keyboardist David Horowitz, bassist Herb Bushler, and percussionists Ray Armando and Warren Smith. The second (April 1974) placed Rava in Buenos Aires alongside Radolfo Mederos on bandoneón, Finito Bingert on tenor sax and flute, Matias Pizarro on piano, Ricardo Lew on guitar, and percussionists Nestor Astarita and El Chino Rossi.

Of this fine assembly, Mederos’s sound rings foremost. His lovely bellows open “Espejismo Ratonera” with a lilting air before Pizarro’s smooth pianism flushes its alleys clear for less straightforward melodic explorations. Touches of tango warm the cockles, making for an easy, patient entrance to Rava’s dancing grammar. Youth and joy are obvious in his playing, which by a clever turning of the knob bleeds back into the bandoneón with which the track began. American jazz vocalist Jeanne Lee sings lyrics by Argentine poet Mario Trejo in the “Short Visit To Malena” that follows. It too benefits from studio subtleties, fading in as if we were being escorted from one nightclub to another. We seem to wander in at mid-song and notice the crowd sipping their cocktails, arriving just in time for Rava’s trade-off to Abercrombie. (I cannot help but be reminded at this point, if you’ll forgive the comparison, of “Club Tropicana” by Wham!, which begins outside and plunges the listener into a club atmosphere once the door is opened.) “Sola” throws us headlong into the bounce of the South American band. A flute solo here from Bingert stands as the album’s highlight. Like a light streaking before an open lens, it lingers against the skip of bandoneón and snare. The track fades all too soon, just as Lew catches a tailwind. “San Justo” is another horizontal with dissonant verticals from Mederos and a gritty prison break from Lew. Lee rejoins the cast for the heavenly watercolors of the title track before her cathartic leaps float amid a heady beat of brassy beauty, while in the steady groove of “Melancolia De Las Maletas” she adds flips and dips. All of this gives plenty of ground for Rava to unleash his confidence, handing it over to Abercrombie for a crunchy and edible passage.

We know these musicians are capable of incendiary moves, which renders their restraint (and the occasional burst) all the more intense. Rava especially takes time to introduce himself into nearly every tune. Even those like “Water Kite” cloak him in a deceptively thematic role before asserting his personality at stage center. It is a testament to his maturity as a young player and deference to the talents with which he finds himself. The result is an unspoiled gem in the Rava discography that is more than worth the import price if you can afford it. ~ Tyran Grillo, ECM Reviews.

Japo Records, JAPO 60010 ST, 1976

ECM/Universal Music, UCCE-9071, 2006

Recorded December '73 (#A2,B2,B3) At Blue Rock Studios, New York

Recorded April '74  (#A1,A3-B1) At Audion Studio, Buenos Aires, Argentina

Musicians:

Enrico Rava - Trumpet

Finito Bingert - Tenor Saxophone, Flute, Percussion (#A1,A3-B1)

David Horowitz - Piano, Synthesizer (#A2,B2,B3)

Matias Pizarro - Piano (#A1,A3-B1)

John Abercrombie - Guitar (#A2,B2,B3)

Ricardo Lew - Guitar (#A1,A3-B1)

Herb Bushler - Bass (#A2,B2,B3)

El Negro Gonzales - Bass (#A1,A3-B1)

Jack DeJohnette - Drums (#A2,B2,B3)

Nestor Astarita - Drums (#A1,A3-B1)

Rodolfo Mederos - Bandoneon (#A1,A3-B1)

Warren Smith - Marimba, Percussion (#A2, B2, B3)

El Chino Rossi - Percussion (#A1,A3-B1)

Ray Armando - Percussion (#A2,B2,B3)

Jeanne Lee - Vocals (#A2,B2,B3)

Tracks:

A1. Espejismo Ratonera {Enrico Rava, Fernando de Santa Fe} (6:15)

A2. Short Visit To Malena {Mario Trejo, Enrico Rava} (3:58)

A3. Sola {Enrico Rava, Fernando de Santa Fe} (5:28)

A4. San Justo {Enrico Rava} (8:53)

B1. Water Kite {Enrico Rava} (6:25)

Quotation Marks / Naranjales (7:39)

B2.1. Quotation Marks {Mario Trejo, Enrico Rava}

B2.2. Naranjales {Arr. Enrico Rava, Traditional}

B3. Melancolia De Las Maletas {Enrico Rava} (9:55)

Credits:

Producer - David Horowitz, Jack Tafoya (#A2,B2,B3), Nano Herrera (#A1,A3-B1)

Recording Engineer - Jane... (#A2,B2,B3), Nello (#A1,A3-B1)

George Freeman - Franticdiagnosis (1972)

A legendary bit of funk - and a killer record from one of the most unique guitarists ever! George Freeman's got a sound and a style unlike any other player we can think of - an approach to funky guitar that's often got a really hard touch on the strings, and which gets nice and noisy at the best funky moments. Freeman's probably best known for the few obscure records he cut with Groove Holmes, but this album's his out and out masterpiece - a rare one-off session cut in the funky Philly scene and supervised by DJ Sonny Hopson - and featuring a rare mix of players that includes Caesar Frazier on organ and Charles Earland on Arp! The mix of organ and Arp is really incredible - especially on the side-long jammer "Franticdiagnosis", which runs for nearly 20 minutes, and is one of the most messed-up funky jazz jams of the 70s! Other players include Von Freeman on tenor sax and Dave Hubbard on alto flute - and the album features the legendary jazz dance track "The Bump", plus the cuts "Free-Man" and "God Bless The Child". © Dusty Groove, Inc.

Bam-Boo Records, GR003, 1972

Bam-Boo/Shout, SHOUT-241, 2013

Recorded At Media Sound Studios, Electric Lady Studios, New York

Musicians:

George Freeman - Guitar

Von Freeman - Tenor Saxophone

Dave Hubbard - Alto Flute

Caesar Frazier - Organ

Charles Earland - ARP Synthesizer

Gary Jenkins - Drums

Eddie Moore - Bass Drum, Cymbal

Donald Rivers - Percussion, Gores, Cowbell, Tambourine

Billy Connors - Congas

Tracks:

1. Franticdiagnosis {George Freeman} (19:16)

2. The Bump {George Freeman} (7:56)

3. Free-Man {George Freeman} (8:22)

4. God Bless The Child {Billie Holiday} (5:22)

Credits:

Producer - Sonny Hopson

Assistant Producer - Beverley Whitehead

Arranger - George Freeman

Cover Design - Lewis Buo Anderson

Cover Model - Paulete George

Charles Earland - Ready 'N Able (1995)

Another fine album from Charles Earland. His hard, simmering grooves earned him the nickname "The Mighty Burner" and burn he does. Joined by the mega stars Lew Soloff on trumpet and the masterful tenor sax player Eric Alexander this album hits another level within his Muse discography. Also, on board is the bounding guitarist Dave Sampson a great match to Earland’s pulsating organ and combined with effective drummer Vince Ector and percussionist Gary Frite this album drives the listener hard for just over 53 mins. Charles is in top form and showcases five of his own tunes and three others including the title track “Ready “N Able” by Jimmy Smith. Throughout there are some exceptional solos, Enjoy!

Muse Records, MCD 5499, 1995

Recorded 1^st January, 1995 At Van Gelder Studio, Englewood Cliffs, NJ

Musicians:

Charles Earland - Organ [Hammond B-3]

Lew Soloff - Trumpet

Eric Alexander - Tenor Saxophone

Dave Sampson - Guitar

Vince Ector - Drums

Gary Frite - Percussion

Tracks:

1. Ready 'N Able {Jimmy Smith} (5:52)

2. Free [Wanna Be Free] {Charles Earland} (8:54)

3. Nick Of Time {Bonnie Raitt} (6:14)

4. Sheila's Dream {Charles Earland} (6:49)

5. I'm Rudy's Blues {Charles Earland} (4:57)

6. Always And Forever {Rod Temperton} (6:14)

7. Knee Deep {Charles Earland} (7:55)

8. Giving Praise {Charles Earland} (6:19)

Credits:

Producer - Charles Earland

Recording Engineer - Rudy van Gelder

Cover Photo [Zandra] - Fred Flint

Art Direction and Design - Hal Wilson

JazzTimes (11/96, p.99) - "...a solid recording of classic combo swing. Earland's vibrant organ tones and thundering bass pedals swing and swoon..." ~ cduniverse.com