Neal Creque - Creque (1972) [vinyl]

Creque is the 3rd album I’ve bought from this keys player. Bassist Gene Taylor starts things off with a grooving open bass line leading into a bit of an off-kilter song called Rafiki. Sis Daisy is a light and upbeat soul-jazz number with some nice congas by Richard “Pablo” Landrum. What’cha Call It is a slow and bluesy number that would make a nice listen when you’re in the right mood. ~ Soulstrut.com.

Cobblestone Records, CST 9005, 1972

Muse Records, MR 5226, 1976

Recorded at RCA Recording Studio, New York City

Musicians:

Neal Creque - Piano, Electric Piano, Organ, Clavinet

Billy Butler - Guitar

Alfred Brown - Violin

Kermit Moore - Cello

Gene Taylor - Bass, Fender Bass

Steve Berrios - Drums, Tympani

Julian Barber - Drums

Richard Landrum - Conga, Bongos, African Oboe, Misc. Percussion

Selwart Clarke - Misc. Percussion

Jackie Soul & Johnny Gittens - Misc. Percussion

+

Strings

The Ikinen Singers (#A2)

Tracks:

A1. Rafiki (4:57)

A2. Years Of Regret (4:29)

A3. Sis Daisy (4:34)

A4. Nina (4:38)

B1. What'Cha Call It (5:02)

B2. Black Velvet Rose (4:28)

B3. Cease The Bombing (4:56)

B4. Before The Rain Came (5:41)

All Compositions by Neal Creque

Credits:

Producer, Design, Photography - Don Schlitten

A&R Coordinator, Liner Notes - Joe Fields

Recording Engineer - Paul Goodman

Note:

Released on Cobblestone Records, and reissued January, 1976 on Muse Records as "Black Velvet Rose".

Willis Jackson - Star Bag (1968) [re-rip]

Not for the alienated, compulsively cool generation that likes to hide its feelings, if any, behind oversize shades and make like it's very unhip to have a ball, is the tenor sax of Willis "Gator" Jackson, from Florida long ago, veteran of several thousands of wailing R&B sessions from here to eternity. Gator has that thing on the stove all the time, and never stops cooking. The ingredients are a big, fat, Black tone; roots, main; soul power; a time that relaxes right behind the beat, just enough to make you shut your eyes, rock your head, and pop your fingers, and murmur Oh yes, Gator, tell your story; a melodic thing that's as graceful as a Bird in flight; a chord sense that colors every tree a different hue; and always, that out-back tone. The cats (and one chick) Prestige gathered up to surround Willis on this date are all, as the album title clues you, stars in their own bag on the Soul Circuit: Trudy Pitts on organ, Wild Bill Jennings, the guitar man whose sound is as distinctive as his stance (he's lefthanded); Jimmy Lewis on Fender bass providing a solid underpinning to the chords; and swinging Bobby Donaldson on drums, abetted by Victor Allende on conga drums. ~ Excerpts from Liner Notes, Ralph Berton (June 1968).

Prestige Records, PRST 7571, 1968

Recorded 22^nd March, 1968 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Trudy Pitts - Organ [Hammond B-3]

“Wild” Bill Jennings - Guitar

Jimmy Lewis - Electric Bass

Bobby Donaldson - Drums

Victor Allende - Conga Drums

Track Listing:

A1. Star Bag {Willis Jackson} (7:14)

A2. The Girl From Ipanema {Antônio Carlos Jobim, Vinícius de Moraes, Norman Gimbel} (5:42)

A3. Good To The Damn Bone {Willis Jackson, Clarence Lewis, William Robinson} (5:16)

B1. More {Riz Ortolani, Nino Oliviero, Norman Newell} (7:07)

B2. Smoke Rings {Rudolf Friml, Otto Harbach} (5:51)

B3. Yellow Days {Willis Jackson} (5:35)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder
Design - Don Schlitten
Cover Art - Irving Riggs

Liner Notes - Ralph Burton (June 1968)

Kenny Barron & Ted Dunbar - In Tandem (1975) [vinyl]

Just Marvelous

This duo concert by pianist Kenny Barron and guitarist Ted Dunbar is excerpted from a 1975 concert at Rutgers University, where both of them were teaching at the time. Barron and Dunbar (who made a number of recordings, but very few as a leader or co-leader) mesh very well together, though the liner notes don't make clear whether they had worked together previously. The duo tracks are long but never run out of gas. In the two musicians' exploration of "Summertime," Barron provides a modal-type backing line (sounding a bit like McCoy Tyner at times) as Dunbar's blistering solo takes the initial spotlight; the pianist seems strangely buried in the mix during his solo, even though it matches his partner's intensity.

They jointly composed "Aruba," a piece that successfully blends elements of the Caribbean with adventurous post-bop, during which they are unable to resist the temptation to quote fellow jazzman Sonny Rollins' calypso hit, "St. Thomas." There are also solo features for each man. Barron's interpretation of "Here's That Rainy Day" has Tatum-like rapid-fire flourishes, running through a variety of piano styles in an impressive performance. Dunbar's surprising choice of "On the Trail" as his solo feature finds him making great use of space during his tour de force rendition.

Out of print since the end of the LP era, this 1980 record deserves to be reissued and is very highly recommended. A difficult find today but well worth the time and effort to acquire. ~ by Edward Abbott, Amazon.com.

Muse Records, MR 5140, 1980

Recorded 15^th February, 1975 Live on Campus, Rutgers University, New Jersey

Musicians:

Kenny Barron - Piano, [Solo] (#A2)

Ted Dunbar - Guitar, [Solo] (#B2)

Tracks:

A1. Summertime {George Gershwin, DuBose Heyward} (14:30)

A2. Here's That Rainy Day {James Van Heusen, Johnny Burke} (9:50)

B1. Aruba {Kenny Barron, Ted Dunbar} (17:43)

B2. On The Trail {Ferde Grofé} (6:37)

Note:

All applause edited out.

Credits:

Recording Producer - Kenny Barron, Ted Dunbar

Album Producer - Michael Cuscuna

Mixing Engineer - Kurt Monkasel (Big Apple Studio, NYC)

Cover Design and Illustration - Ron Warwell

Liner Notes - Clifford Jay Safane

Willis Jackson with Von Freeman - Lockin’ Horns (1981) [re-rip]

This started out as Willis Jackson's spot on the 1978 Laren International Jazz Festival stage. He invited fellow tenorman Von Freeman aboard as a "guest" and Muse Records turned it into the double billed Lockin' Horns. Good for them, and good for Muse for giving us another chance to discover this gem.

On the surface, there couldn't be two more disparate players than Jackson and Freeman. Willis Jackson moved from the R&B circuit to the organ combos of the soul jazz circuit, which in the eyes of some is hardly a move at all. He possessed a huge, honking tenor sound, and was given to making the horn growl, wheeze, roar, and roll over at will. Freeman, on the other hand, is an almost pure bopper with one of the most distinctive, and at times delicate, sounds in the business. For many years, he was rarely heard away from his Chicago home, but in Chicago he was a member of one of the city's best known jazz dynasties, including his brothers George (guitar) and Buzz (drums), and his son, the illustrious Chico.

The disc opens with "Pow!"--a showcase for Jackson and his band, Carl Wilson (organ), Joe "Boogaloo" Jones (guitar), and Yusef Ali (drums). Together they were one of the most talented--and most under-rated--groups in the soul jazz genre, but they were all more than that. They could play in a variety of styles, and the promise of having the hard-bopping Freeman on board seemed to drive the band to another level. They push toward that level through the next two numbers, and when Freeman steps out of the wings for "Summertime," they're ready.

They take a run at "The Shadow Of Your Smile" next, and while it's just the kind of then-contemporary pop that was routine for soul jazz outfits, there's nothing routine about this cut. It's just a warm-up, though, for the tenor battle to come. The disc closes out with 8 minutes and 46 seconds of "Willis And Von," and I'm not even gonna try. You'll just have to hear it for yourself. ~ by Shaun Dale.

Muse Records, MR 5200, 1981

Recorded 11^th August, 1978 Live at the International Jazz Festival Laren, Holland

Musicians:

Willis Jackson - Tenor Saxophone

Von Freeman - Tenor Saxophone

Carl Wilson - Organ

Joe “Boogaloo” Jones - Guitar

Yusef Ali - Drums

Tracks:

1. Pow! {Willis Jackson} (10:09)

2. The Man I Love {George Gershwin, Ira Gershwin} (7:10)

3. Troubled Times {William Stevenson, Willis Jackson, Wade Marcus} (6:34)

4. Summertime {George Gershwin, Ira Gershwin, Dubose Heyward} (6:25)

5. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (8:28)

6. Willis & Von {Willis Jackson} (8:40)

Credits:

Producer - Bob Porter

Engineer - Malcolm Addey

Mastering Engineer - Joe Brescio (Master Cutting Room, NYC)

Album Design - Morty Yoss

Photography - Rico d'Rozario

Liner Notes - Neil Teeser

Richard Davis - Harvest (1977) [vinyl>flac]

A very nice record that bassist Davis did for Muse in the late 70s. As with previous recordings he works closely with fellow bass player Bill Lee. Lee plays on the record, co-produced and arranged the album and shares songwriting credit with Davis on a couple of the tracks. Davis is joined by Ted Dunbar on guitar, Consuela Moore on piano, Freddie Waits on drums, James Spaulding on flute and alto sax and Marvin 'Hannibal' Peterson on trumpet, among others. Tracks include the two Davis/Lee originals "Half Pass" and "A Third Away" plus in conjunction with the title, there are several songs with flowers in the titles such as "Windflower", "Forest Flower", and "Passion Flower". He also throws in some familiar tunes like "Take The “A” Train". ~ Dusty Groove, Inc.

Muse Records, MR 5115, 1979

Recorded on May 3^rd & 16^th, 1977 at CI Recording, New York City

Personnel:

Richard Davis - Bass

Marvin Hannibal Peterson - Trumpet (#B1,B3,B4)

James Spaulding - Flute (#B1), Alto Saxophone (#B1,B3,B4)

Consuela Moore - Piano (#A1-B2,B5)

Ted Dunbar - Guitar (#A1-A3,B1-B2)

Bill Lee - Bass (#A1-B2,B4)

Billy Hart - Drums (#B1,B3,B4)

Freddie Waits - Drums (#A1-A3,B2), Percussion (#B1)

Tracks:

A1. Forest Flower {Charles Lloyd} (4:55)

A2. This Masquerade {Leon Russell} (6:33)

A3. Half Pass {Bill Lee, Richard Davis} (4:12)

A4. Three Flowers {McCoy Tyner} (1:51)

B1. Windflower {Sara Casey} (7:13)

B2. Passion Flower {Billy Strayhorn} (4:15)

B3. A Third Away {Bill Lee, Richard Davis} (4:25)

B4. Take The 'A' Train {Billy Strayhorn, Milt Raskin} (3:08)

B5. Forest Flower [Reprise] {Charles Lloyd} (1:55)

Credits:

Producer - Frederick Seibert

Co-Producer, Arranger - Bill Lee

Engineer - Elvin Campbell

Cover Photo - Pat Davis

Cover Design - Ron Warwell

Liner Notes - Richard Davis

Willis Jackson - Ya Understand Me? (1980) [vinyl>flac]

Willis plays in a well-balanced, full, warm, almost fleshy tone. He chooses three blues and two ballads and the records owes its success to the inclusion of Richard "Groove" Holmes an accomplished organ player and a perfect soloist and sideman. The two other younger musicians Steve Giordano and Roger Lee Humphrey supply a varied and swinging backing. Overall the album is landmark, even in the career of so prolific a musician as Willis Jackson. ~ Extract from Liner Notes by Bernard Niquet.

With "Groove" Holmes on organ duties, and some tart tenor from Jackson. ~ by Ron Wynn, AMG.

This album should get far more attention than the one-liner review above. The music is taken from a live date, later in Willis' career, but there seems no stopping to the power of his big tenor sound. Equally Richard "Groove" Holmes is right at home alongside the "Gator". Enjoy!

Muse Records, MR 5316, 1980

Digitally Recorded 26^th January, 1980, Live At Chateauneuf du Pape, France

Musicians:

Willis "Gator" Jackson - Tenor Saxophone

Richard "Groove" Holmes - Hammond Organ

Steve Giordano - Guitar

Roger Lee Humphrey - Drums

Tracks:

A1. Ya Understand Me? {Herb Abramson, Ahmet Ertegun, Jesse Stone} (7:34)

A2. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (6:34)

A3. My One And Only Love {Robert Mellin, Guy Wood} (6:26)

B1. The Head Tune {Willis Jackson} (8:59)

B2. More {Keith Newell, Nino Oliviero, Riz Ortolani} (9:11)

Credits:

Recording Engineer - Gerhard Lehner

Cover Photo - Clarence Eastmond

Cover Design - Lisa Emmons

Art Direction - Ron Warwell

Liner Notes - Todd Barkan

Alternate Release: Black and Blue [33.810 WE 312] France

Marion Brown - Le Temps Fou (1968) [vinyl>flac]

Marion Brown not long after launching his first albums on ESP and Impulse; journeyed to Europe and became associated with Günter Hampel's Free Jazz Ensemble. Here, he was approached to write the music for the French film "Un Été Sauvage" by Marcel Camus. It was a unique project where he utilised the majority of the players heard on "Gesprächsfetzen", namely Gunter Hampel, Ambrose Jackson and Steve McCall plus the emerging jazz bassist Barre Phillips (especially heard on his penned tune "Cascatelles") and Alain Corneau on Claves. Even though this album is essentially compiled of tracks written conceptually as a soundtrack it covers a amazing array of genres ranging from Modal Jazz, Folk Rock to fully blown Free Improvisation. A highlight is "Song For Serge And Helle", where Marion's alto duets with Barre's haunting bass drawn alongside Ambrose's trumpet and Günter's vibes. Equally "Boat Rock" is a lively tune with Steve McCall driving the beat. All players extend themselves further by contributing a vivid mixture of percussive sounds. Still to be released on CD this LP gives the listener a unique example of a rich period in Jazz's development by an artist sadly underrated in his lifetime. RIP Marion.

Polydor Records, 658.142, 1968

Recorded 20^th September, 1968 at Studio Davout, Paris, France

Musicians:

Marion Brown - Alto Saxophone, Bells

Günter Hampel - Vibes, Bass Clarinet, Tree Bells

Ambrose Jackson - Trumpet, Cow Bells, Tambour

Barre Phillips - Bass, Castanetes, Whistle

Steve McCall - Drums, Triangle, Tambour

Alain Corneau - Claves, Cow Bells (#B3)

Tracks:

A1. Le Temps Fou {Marion Brown} (5:22)

A2. Cascatelles {Barre Phillips} (5:22)

A3. Song For Serge And Helle {Marion Brown} (6:32)

B1. Boat Rock {Marion Brown} (4:55)

B2. Ye Ye {Marion Brown} (6:01)

B3. En Arrière {Marion Brown} (11:22)

Credits:

Producer - Jean Van Parys

Photos - W. R. Stephens

Willis Jackson - Cool "Gator" (1959-1960) [re-rip]

Raw early stuff by Willis Jackson – and an album that has hard wailin' soul jazz solos by Brother Jack McDuff on organ and Wild Bill Jennings on guitar! Those two, plus Gator, make up the core of the combo that features additional backing by bass and drums, but you won't need to worry about the additional players, because the triple threat of tenor/organ/guitar will hold all your attention. Tracks are long, and as usual, the best ones are the originals, including "Blue Strollin", "A Smooth One", and "Keep On A Blowin". © Dusty Groove, Inc.

A tenor sax ought to sound like a tenor, Willis Jackson has said, and he is here to prove it. In this album he has put together for the first time in half a young lifetime on the horn a collection of tunes that he wanted to blow. The musicians who work with him here have been caught up in the mood of 'Gator's musical dream and they turn in performances of rare musicianship. ~ Extract from Liner Notes by Dale Wright.

Prestige Records, PRLP 7172, 1960

Recorded 25th May (#A2,B2,B3) & 9th November (#A3,B1) 1959;

26th February (#A1) 1960 At Van Gelder Studio, Hackensack, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Jack McDuff - Organ

Bill Jennings - Guitar

Tommy Potter - Bass (#A2,B2,B3)

Wendell Marshall - Bass (#A3,B1)

Milt Hinton - Bass (#A1)

Alvin Johnson - Drums

Buck Clarke - Conga Drum (#A1)

Tracks:

A1. Keep On A Blowin' {Jack McDuff, Willis "Gator" Jackson} (10:23)

A2. How Deep Is The Ocean {Irving Berlin} (4:04)

A3. On The Sunny Side Of The Street {Dorothy Fields, Jimmy McHugh} (3:29)

B1. Blue Strollin' {Willis "Gator" Jackson} (7:44)

B2. The Man I Love {George Gershwin, Ira Gershwin} (7:12)

B3. A Smooth One {Benny Goodman} (5:23)

Credits:

Producer - Esmond Edwards

Recording Engineer - Rudy Van Gelder
Design - Don Schlitten

Liner Notes - Dale Wright

Note:

Also issued on Prestige [PR 7830] entitled Keep On A Blowin'

Billy Butler - Yesterday, Today & Tomorrow (1970) [re-rip]

Billy Butler is well known to guitarists only, as the co-author of the early R&B funked-up standard "Honky Tonk," with organist Bill Doggett. But the almighty groove wasn't Butler's only strength. With a saxophonist like Houston Person, he could play the most elegant swing - as in their read of the Rodgers & Hart classic "Dancing on the Ceiling" The wildest tune on the Person sessions is Neil Hefti and Bobby Troup's "Girl Talk." Before this I could never have imagined hearing this tune as an instrumental, but it works like grease on a bicycle chain with Butler punching up the melody and bending his strings all over it to make the language impenetrable to all but his rhythm section, and Person who flies over the top making the simple pop song into a work of groove jazz artistry. This album is a welcome introduction to one of the great, all-but-lost talents in jazz history. Billy Butler was a guitarist's guitarist and an innovator in both production and arrangements. This album is solid from top to bottom and reveals the restless spirit of a quiet yet demanding artist. ~ extracts taken from review by Thom Jurek, AMG.

This album is a continuation of display of ability and versatility presented in his first Prestige albums: This is Billy Butler! (Prestige 7622) and Guitar Soul! (Prestige 7734). This goes a bit further than the others in that it presents some music written and arranged by Billy for a guitar choir as well as some cooking things and standards he is known for. Most of the album reunites Billy with Ernie Hayes and Houston Person who were a part of his debut album for Prestige. Jimmy Lewis is no stranger to Billy since they worked together with King Curtis for some time. I think that once you have listened to the latest effort of Billy Butler you'll agree that it is every bit as good as his other two albums. If you are unfamiliar with him up to this point, welcome aboard! ~ Extract from Liner Notes by Sonny Mann.

Prestige Records, PRST 7797, 1970

Recorded 27th April (#B2,B3) & 29th June (#A1-B1,B4), 1970 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Billy Butler - Guitar, Bass Guitar

Houston Person - Tenor Saxophone (#A1-B1,B4)

Jerome Richardson - Tenor Saxophone, Flute (#B2,B3)

Ernie Hayes - Organ, Electric Piano (#A1-B1,B4)

Sonny Phillips - Organ, Electric Piano (#B2,B3)

Everett Barksdale - Guitar (#B2,B3)

Billy Suyker - Guitar (#B2,B3)

Jimmy Lewis - Electric Bass (#A1-B1,B4)

Chuck Rainey - Electric Bass (#B2,B3)

Jimmy Johnson - Drums

Track Listing:

A1. Yesterday, Today And Tomorrow {Billy Butler} (5:12)

A2. Girl Talk {Bobby Troup, Neal Hefti} (4:56)

A3. Dancing On The Ceiling {Lorenz Hart, Richard Rodgers} (5:43)

B1. Hold It! {Billy Butler, Clifford Scott} (3:51)

B2. Evening Dreams {Billy Butler} (4:10)

B3. The Butler Did It {Billy Butler} (3:47)

B4. Sweet Georgia Brown {Ben Bernie, Kenneth Casey, Maceo Pinkard} (4:49)

Credits:

Supervision - Bob Porter

Recording Engineer - Rudy van Gelder
Photo - Al Johnson
Design - Don Schlitten

Liner Notes - Sonny Mann, WFAS Radio, White Plains, N.Y. (Sept. 1970)

Billy Butler - Night Life (1971) [re-rip]

Butler was a versatile musician who, on ballads in particular displayed a very interesting sound, sometimes sliding between notes as if he were playing a steel guitar. ~ Scott Yanow, AMG.

The music on this LP is generally in the Soul Jazz vein. Butler apart from the title track Nightlife performs mostly standards including Wave, Watch What Happens, Prelude To A Kiss and In A Mellow Tone; along with one of his own; Peacock Alley. His sidemen include Houston Person or Jesse Powell on tenors, Johnny "Hammond" Smith on keyboards (electric piano or organ), electric bassist Bob Bushnell, and Jimmy Johnson on drums. This is a distinct improvement on "This Is BillyButler!" and is highly recommended

Prestige Records, PRST 7854, 1971

Recorded in 1971 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Billy Butler - Guitar

Johnny "Hammond" Smith - Organ, Electric Piano (#A3)

Jesse Powell - Tenor Saxophone

Houston Person - Tenor Saxophone (#A3,B3)

Bob Bushnell - Electric Bass

Jimmy Johnson - Drums

Tracks:

A1. Nightlife {Walt Breeland, Paul Buskirk, Willie Nelson} (5:57)

A2. Wave {Antonio Carlos Jobim} (5:52)

A3. Watch What Happens {Jacques Demy, Norman Gimbel, Michel Legrand} (5:03)

B1. Peacock Alley {Billy Butler, Bill Doggett} (4:08)

B2. Prelude To A Kiss {Duke Ellington, Irving Mills, Irving Gordon} (5:07)

B3. In A Mellotone {Duke Ellington, Milt Gabler} (9:44)

Credits:

Producer, Recording Supervisor - Bob Porter

Recording Engineer - Rudy van Gelder
Design - Don Schlitten

Liner Notes - Sonny Mann: WFAS Radio, White Plains, N.Y. (February, 1971)

Whether you as an individual are a “day lifer" or a "night lifer", Billy Butler has something to say to you. Within this jacket is an album that will appeal to people young and also not so young. And better appeal - or diversity - is hard to come by! ~ Extract from Liner Notes by Sonny Mann.

Billy Butler - Guitar Soul! (1969) [re-rip>flac]

If you haven't heard Billy Butler before this, you're due for a welcome surprise. On the other hand, if you've checked out Billy’s first Prestige LP This Is Billy Butler! (Prestige 7622) or remember his work with Bill Doggett's combo, then you already know that he's just about the best all-around guitarist going. The first thing about Billy's music that's likely to get to you is the rich, deep tone he produces on every member of the guitar family he plays. Interestingly, that sound is matched almost exactly by the warm, masculine baritone of his speaking voice. Of course, when you're talking about sound you can't neglect the unique "singing sound" which is becoming Billy's trademark. He politely declined when I asked him if he cared to reveal the method he uses to make the guitar sound like a swinging violin - after all, when you've got something good that's all your own you don't broadcast trade secrets. Still, he did explain that it involves careful co-ordination between the volume control and picking. You can hear the results all through 'Honky Tonk' and as occasional spice on other tracks. After sound, there’s the matter of swing and ideas, and here too Billy is right on top. His time has the mellow maturity that can only come from experience, and, to quote from my review of his first album, he has the ability to construct long, graceful melodies which resolve with an all’s-right-with-the-world equilibrium. You might say that there's something for everyone on this LP, but I prefer to think that everyone will dig all of it. And, if there's an annual award for the Noblest Deed By A Record Company. I nominate Prestige for turning the spotlight on Billy Butler. Albums like this are going to keep him there. ~ Extract from Liner Notes by Larry Kart (November, 1969).

Prestige Records, PRST 7734, 1969

Recorded 22^nd September, 1969 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Billy Butler - Guitar, Bass Guitar, Classic Guitar, Vocals (#A1)

Seldon Powell - Tenor Saxophone, Flute, Varitone

Sonny Phillips - Organ

Bob Bushnell - Electric Bass

Specs Powell - Drums

Tracks:

A1. Blow For The Blessing {Billy Butler, Charles Black} (9:28)

A2. Golden Earrings {Ray Evans, Jay Livingston, Victor Young} (4:04)

A3. The Thumb {Wes Montgomery} (4:18)

B1. Honky Tonk {Bill Doggett, Billy Butler, Clifford Scott, Shep Shepherd} (5:46)

B2. B & B Calypso {Bob Bushnell} (3:03)

B3. Seven Come Eleven {Benny Goodman, Charlie Christian} (5:43)

B4. Autumn Nocturne; You Go To My Head {Josef Myrow, Kim Gannon; J. Fred Coots, Haven Gillespie} (3:28)

Credits:

Supervision - Bob Porter

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Larry Kart

Billy Butler - This Is Billy Butler! (1968) [re-rip]

In the 1960s, Billy Butler was not only one of the top guitarists in the soul-jazz field - he was also a busy, in-demand session player who backed his share of R&B heavyweights. Butler, one of the countless jazz greats who came out of Philadelphia, had so much work as a sideman that it took him a long time to record an album under his own name. In fact, the guitarist had just turned 43 when, in December 1968, he recorded his first session as a leader, This Is Billy Butler. This vinyl LP is a soul-jazz/hard bop classic, and Butler has a talented cast of players to help him pull it off - one that includes producer Bob Porter and engineer Rudy van Gelder, as well as tenor saxman Houston Person and pianist/organist Ernie Hayes (among others). While Person delivers his share of inspired solos, Butler is the man in the driver's seat, and he really soars on material that ranges from Nat Adderley's "Work Song" to Butler originals like "Bass-ic Blues" and "The Soul Roll." Butler and his sidemen also turn their attention to Don Redman's "Cherry," a standard that has often been heard in classic jazz and swing settings, but easily lends itself to an inspired soul-jazz makeover. In retrospect, it's surprising that a guitarist of Butler's stature didn't record as a leader extensively - after providing four of his own LPs for Prestige in 1968-1970, he only recorded a few more LPs for various independent labels. But then, Butler's sidemen work didn't leave him with a lot of free time. It took the Philadelphian 43 years to record as a leader, and this excellent LP proved that he was certainly up to the task. ~ by Alex Henderson, AMG.

Prestige Records, PRST 7622, 1969

Recorded 16^th December, 1968 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Billy Butler - Guitar, Bass Guitar (#B3)

Houston Person - Tenor Saxophone (Except #B3)

Ernie Hayes - Organ (#A1,A3-B2), Electric Piano (#A2,B3)

Bob Bushnell - Electric Bass

Rudy Collins - Drums

Tracks:

A1. The Twang Thang {Billy Butler, Ernie Hayes} (5:13)

A2. Cherry {Don Redman, Ray Gilbert} (6:44)

A3. Work Song {Nat Adderley} (5:52)

B1. The Soul Roll {Billy Butler} (4:41)

B2. She Is My Inspiration {Connie Wharton, Edward Wharton} (5:12)

B3. Bass-ic Blues {Billy Butler} (6:23)

Credits:

Supervision, Liner Notes - Bob Porter

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Sonny Rollins - Sonny's Time (1957)

A great compilation of Sonny’s work heralding from 1957 and his time with Riverside. He surrounds himself with an exciting array of players all well-known contemporaries of equal status. An LP full of jazz standards and two of his own tunes. The majority of the tracks come from his album ‘The Sound Of Sonny’ and two from ‘Jazz Contrasts’ led by Kenny Dorham.

Jazzland Records, JLP 972, 1962

Recorded 19^th June, 1957 (#A1-A3); 12^th June 1957 (#A4,B1);

27^th May, 1957 (#B2) & 21^st May, 1957 (#B3)

At Reeves Sound Studios, New York City

Musicians:

Sonny Rollins - Tenor Saxophone

Kenny Dorham - Trumpet (#B2,B3)

Betty Glamann - Harp (#B2)

Sonny Clark - Piano (#A1,A3-B1)

Hank Jones - Piano (#B2,B3)

Paul Chambers - Bass (#A1-A3)

Percy Heath - Bass (#A4,B1)

Oscar Pettiford - Bass (#B2,B3)

Roy Haynes - Drums (#A1-B1)

Max Roach - Drums (#B2,B3)

Tracks:

A1. Funky Blues Hotel {Sonny Rollins} (6:00)

A2. The Last Time I Saw Paris {Oscar Hammerstein II, Jerome Kern} (2:55)

A3. What Is There To Say? {E.Y. Harburg, Vernon Duke} (4:54)

A4. Cutie {Sonny Rollins} (5:52)

B1. Mangoes {Sid Wayne, Dee Libbey} (5:32)

B2. My Old Flame {Sam Coslow, Arthur Johnston} (5:22)

B3. La Villa {Kenny Dorham} (7:01)

Credits:

Producer - Orrin Keepnews

Recording & Remastering Engineer - Jack Higgins

Album Design - Ken Deardoff

Liner Notes - Joe Goldberg

Notes:

Compilation of tracks from Riverside albums:

Various - Blues For Tomorrow [RLP-243]

Sonny Rollins - The Sound Of Sonny [RLP-241]

Kenny Dorham - Jazz Contrasts [RLP-239]

Willis Jackson - Gator's Groove (1968) [vinyl>flac]

The sound of Willis Jackson is one that is steeped in tradition. It is a sound that brings to mind the glorious era of big-toned tenormen; Dexter Gordon, Illinois Jacquet, Wardell Grey, Gene Ammons and Sonny Stitt. Those men frequently worked in partnerships and there are places on this LP where one wishes for another horn man for one of those friendly duels. Willis used to be known as "Gaitor tail" and I can remember "partying down" while listening to Willis burn on the tune of that name. When Willis later turned to jazz and formed his organ combo he had more hits. Willis Jackson, Bill Jennings, Jackie Ivory, Jerry Potter and Richard Landrum - I thank you. Thank you for bringing us a music that has stood the test of time and in your hands still sounds new and refreshing. ~ Extract from Liner Notes by Ed Love.

Prestige Records, PRST 7648, 1969

Recorded 11^th Nov., 1968 at Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone, Gatorhorn (#A2,B2)

Jackie Ivory - Organ [Hammond B-3]

Bill Jennings - Guitar

Jerry Potter - Drums

Richie "Pablo" Landrum - Conga, Bongos

Tracks:

A1. Brother Ray {Ray Barretto} (4:11)

A2. A Day In The Life Of A Fool {Carl Sigman, Luiz Bonfá} (6:27)

A3. This Is The Way I Feel {Willis Jackson} (9:42)

B1. Blue Jays {Bill Jennings, Jackie Ivory, Willis Jackson} (7:17)

B2. Stolen Sweets {Wild Bill Davis, Dickie Thompson} (5:37)

B3. Long Tall Dexter {Dexter Gordon} (7:03)

Credits:

Supervision - Bob Porter

Recording, Mastering Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Ed Love (March 1969)

James Spaulding - Plays The Legacy Of Duke Ellington

Duke Ellington's passing in 1974 left a giant hole not only in Jazz, but in music itself.  Undoubtedly one of the 20th century's most important artists.  Many musicians were moved to pay tribute, and James Spaulding was one of them.

There are no shortage of Duke tribute albums, and I certainly have my favorites.  A couple that stand out for me are Art Farmer's - To Duke With Love; and Sempre Amore from the duo of  Steve Lacy & Mal Waldron.  That said, Spaulding has given us a solid upbeat treatment of some Ellington classics.

A few things stand out on this record for me.  Firstly, Spaulding moves between several instruments and is technically wonderful on all.  His flute work is particularly incredible.  The addition of Avery Brooks also makes this session a touch different.  The vocalist has a baritone voice, akin to Paul Robeson and adds a nice flavour to the chosen songs.  Mtume's presence is also strongly felt, and helps to drive the band with an upbeat and joyous feel to all of the songs.  Overall, a really strong album which serves to honour the great Duke Ellington.  I would say it's a must have for fans of James Spaulding.

This minty vinyl was ripped at 24/48 wav and compressed to 24/48 FLAC for your convenience.  As always, hi-rez scans of the cover are included.  Remember people... "it don't mean a thing if it ain't got that swing!!"  Enjoy!!

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Storyville ‎– SLP 4034

1978