Various - International Jazz Festival Prague 2 (1966) [vinyl]

A marvelous Jazz concert held in Prague in 1965 at the International Jazz Festival. At the top of the billing is Ted Curson with the junior trio consisting of Jan Hammer, Alan Vitous and Miroslav Vitous playing ‘Caravan’ and his own beautiful tune dedicated to his then wife ‘Marjo’. In addition, he attaches himself to the Gustav Brom Orchestra in a brilliant display of his trumpet playing. The remaining tracks on the LP showcase a Czechoslovakian combo and orchestra; Georgi Garanyan And His Combo and Jerzy Milian, Gustav Brom Orchestra; Jerzy being a star vibraphonist. A rare old piece of vinyl with notable mono sound, Enjoy!

Supraphon Records, SUA 15733, 1966

Second International Jazz Festival in Prague, October 1965

Personnel:

==========

#A1,A2: Georgi Garanyan And His Combo

Georgi Garanyan - Alto Saxophone

Nicolai Gromin - Guitar

Andrei Yegorov - Bass

Valeri Bulgakov - Drums

==================================

#A2,A4: Ted Curson, Junior Trio

Ted Curson - Trumpet

Jan Hammer - Piano

Miroslav Vitous - Bass

Alan Vitous - Drums

=================================

#B1,B2: Ted Curson, Gustav Brom Orchestra

Ted Curson - Trumpet

Gustav Brom And His Orchestra

==================================

#B3,B4: Jerzy Milian, Gustav Brom Orchestra

Jerzy Milian - Vibraphone

Josef Blaha - Piano

Milan Režábek - Bass

Václav Skála - Drums

Gustav Brom And His Orchestra

Tracks:

A1. Armenian Bounce {Georgi Garanyan} (5:45)

A2. Corrida {Nicolai Gromin} (6:26)

A3. Caravan {Duke Ellington, Juan Tizol} (3:44)

A4. Marjo {Ted Curson} (4:48)

B1. Blues Beneath The Surface {Jaromir Hnilicka} (5:01)

B2. Our Daily Bread Give Us - The Jazz {Milan Režábek} (6:16)

B3. Blues For Gustav {Jerzy Milian} (5:37)

B4: Darn That Dream {Eddie Delange} (5:22)

Credits:

Cover - Josef Kalousek

Photography - Zdenek Taichman

Steve Kuhn - Raindrops [Live In New York] (1972) [vinyl>flac]

This album captures a live performance of another underrated pianist. Steve Kuhn is joined by a dynamic rhythm section. Bruce Ditmas in particular adds a definite and stunning beat to some of Kuhn's own intrinsic compositions. The sounds emanating from the electric piano are very compelling listening. As with bands of this same period there is a tendency for the players to drift into freer deliveries touching on fusion. Kuhn's use of the electric piano is quite unique. He has tended to stick to acoustic in recent years. Listening to "Ida Lupino" there are similarities to the sounds Paul Bley was exchanging through his various groups over that same period. In this regard take the opportunity to be encapsulated by a great period quartet.

Cobblestone Records, CST 9020, 1972

Muse Records, MR 5106, 1976

Recorded in 1972 at Folk City, New York

Musicians:

Steve Kuhn - Acoustic & Electric Pianos, Vocals

George Mraz - Bass

Bruce Ditmas - Drums

Sue Evans - Percussion

Tracks:

A1. Gloria's Theme {Bronislaw Kaper} (5:11)

A2. The Child Is Gone {Steve Kuhn} (3:03)

A3. The Real Guitarist [In The House] {Steve Kuhn} (6:31)

A4. The Saga Of Harrison Crabfeathers {Steve Kuhn} (5:20)

B1. Chicken Feathers {Steve Kuhn} (6:43)

B2. Ida Lupino {Carla Bley} (4:12)

B3. Raindrops, Raindrops {Steve Kuhn} (4:30)

B4. Thoughts Of A Gentleman {Steve Kuhn} (3:09)

Credits:

Producer - Helen Keane

Art Direction, Design, Photography - Hal Wilson

Notes:

Applause edited from original rip retained only in introduction.

Also released on Happy Bird B/90082, Germany, 1976

and Jazz & Blues History, Vol. 60 - Tobacco Road B/2560

Buddy Terry - Electric Soul! (1967) [re-rip]

Cool lost album by tenorist Buddy Terry, who plays Varitone on a number of tracks (hence the title of the LP). Jimmy Owens is on trumpet, Harold Mabern's on electric piano, and the set has a nice electric groove that's unusual for Prestige sessions at the time – and which points the way ahead to later jazz work on Kudu and CTI. Tracks include "The Band Bandit", "The Ubangi That Got Away", "Jimmy", and "Electric Soul". © Dusty Groove, Inc.

This is the finest first outing I have heard in many years. Buddy Terry's talent and determination, his superior and well cultivated musicianship are sure to win him many admirers. I can only hope that the reader of these notes is fortunate to have this album on his turn-table at this moment, It's a winner. ~ excerpt from Liner Notes by Michael Gold.

Prestige Records, PRST 7525, 1967

Recorded 23^rd February, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Buddy Terry - Varitone (#A1-A4,B2), Tenor Saxophone (#B1,B3)

Jimmy Owens - Trumpet, Flugelhorn

Harold Mabern Jr. - Electric Piano

Ron Carter - Bass

Freddie Waits - Drums

Tracks:

A1. Electric Soul {Buddy Terry} (6:35)

A2. Alfie {Burt Bacharach, Hal David} (4:44)

A3. Hey, Nellie {Buddy Terry} (4:42)

A4. Everything Is Everything {Whitaker} (4:38)

B1. The Ubangi That Got Away {Buddy Terry} (7:15)

B2. Jimmy {Jay Thompson} (5:14)

B3. The Band Bandit {Buddy Terry} (6:37)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Cover Design/Photo - Don Schlitten

Liner Notes - Michael Gold (April, 67)

Buddy Terry - Natural Soul (1967) [re-rip]

I have a lot to be thankful for. I am blessed as a leader, saxophonist, flutist, composer/arranger and soloist. I am well represented as a composer/arranger; whereas out of the six tunes included in this album, five were written and arranged by me. Notice the variety of the tunes. I have a blues, a ballad, a church-type song in six-four time, a calypso and jazz rooted boogaloo tune. All are different, but on the other hand they do have an affinity--they all are soulful. They have a Natural Soul which is brought about, in part, by the honesty and integrity of the musicians involved. To all the people who buy this album and read these notes I would like to say "GOD BLESS YOU". ~ Extract from Liner Notes by Buddy Terry

Prestige Records, PRST 7541, 1968

Recorded 15^th November, 1967 at Rudy Van Gelder Studio, Englewood Cliffs, NJ

Personnel:

Buddy Terry - Tenor Saxophone, Flute

Woody Shaw - Trumpet, Flugelhorn (#A2,A4,B1)

Joe Thomas - Tenor Saxophone, Flute (A1,A3)

Robbie Porter - Baritone Saxophone (#A2)

Larry Young - Organ, Piano (#A1,A3)

Jiggs Chase - Organ (#A1)

Wally Richardson - Guitar (#A1,A2)

Jimmy Lewis - Bass [Fender] (#A1,A3,B2)

Eddie Gladden - Drums

Tracks:

A1. A Natural Woman {Goffin And King, Jerry Wexler} (3:19)

A2. Natural Soul [Sunday Go To Meetin' Blues] {Buddy Terry} (5:41)

A3. Pedro The One Arm Bandit {Buddy Terry} (6:31)

A4. Don't Be So Mean {Buddy Terry} (5:47)

B1. The Revealing Time {Buddy Terry} (12:12)

B2. Quiet Days And Lonely Nights {Buddy Terry} (7:15)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten

Liner Notes - Buddy Terry (Jan. 1968)

Shirley Scott & Kenny Burrell - Travelin' Light (1964) [re-rip]

Kenny Burrell joins the trio of organist Shirley Scott for this sweet little album – a set that seems to burn a bit more than usual for Shirley, probably because of the cool-toned guitar lines from Kenny! The album's got the same laid back feel as other Scott albums of the time, but Burrell really digs in during his solos - adding a bit more bite, and inspiring Shirley to do the same on her own Hammond lines. Bass is by Eddie Khan and drums are by Otis Finch – and titles include "Solar", "The Kerry Dance", "They Call It Stormy Monday", "Nice N Easy", and "Baby It's Cold Outside". © Dusty Groove, Inc.

In February 1964 - sandwiched between two recording sessions with then husband and tenor saxophonist Stanley Turrentine - organist Shirley Scott recorded with guitarist Kenny Burrell. She had just wrapped Hustlin' with Turrentine at the end of January and would be back in the studio for Blue Flames at the end of March. Backing Scott and Burrell on this Ozzie Cadena-produced album for Prestige were bassist Eddie Khan and drummer Otis "Candy" Finch. What makes this album so exciting is what's missing - a boss. Turrentine's appeal on Scott dates was his soulful command and searing reed statements before and after Scott solos. Here, Scott and Burrell play off each other in tender ways. It's a hip rhythm-section date - with all the swinging, playful interchanges you find when the sax on an organ date sits out. After Scott's solos, instead of the Turrentine train roaring out of the tunnel, you get Burrell's ringing, single-note lines. The ear likes what it hears. The session's song choices also are perfect in every way. The track list features Travelin' Light, Solar, Nice 'n' Easy, They Call It Stormy Monday, Baby It's Cold Out There and The Kerry Dance. What's interesting is how Scott plays behind Burrrell. Fully aware of the guitar's sonic limitations, she offers huge support to fill the space - offering both texture and a frame for Burrell. Scott and Burrell played well together. For me, the title tune, Solar and Nice 'n' Easy say it all - a glorious pace, groovy ideas and earthy camaraderie. ~ Marc Myers, jazzwax.com.

Prestige Records, PRST 7328, 1964

Recorded 17th February, 1964 at Van Gelder Studio, Englewood Cliffs, New Jersey

         

Musicians:

Shirley Scott - Organ

Kenny Burrell - Guitar

Eddie Khan - Bass

Otis Finch - Drums

Tracks:

A1. Travelin' Light {Trummy Young, Johnny Mercer, Jimmy Mundy} (4:41)

A2. Solar {Miles Davis} (6:03)

A3. Nice 'N' Easy {Marilyn Keith, Alan Bergman, Lew Spence} (4:34)

B1. They Call It Stormy Monday {Aaron Walker} (11:08)

B2. Baby It's Cold Outside {Frank Loesser} (3:49)

B3. The Kerry Dance {Traditional} (3:04)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten

Liner Notes - R. D. Harlan (May 1964) WNCN, New York City

Georges Arvanitas Trio - Porgy And Bess (1973) [re-rip]

Porgy and Bess is an opera, first performed in 1935, with music by George Gershwin, libretto by DuBose Heyward, and lyrics by DuBose Heyward and Ira Gershwin. It was based on DuBose Heyward's novel Porgy and subsequent play of the same title, which he co-wrote with his wife Dorothy Heyward. All three works deal with African-American life in the fictitious Catfish Row (based on the area of Cabbage Row in Charleston, South Carolina, in the early 1920s. Originally conceived by George Gershwin as an "American folk opera", Porgy and Bess premiered in New York in the fall of 1935 and featured an entire cast of classically trained African-American singers—a daring artistic choice at the time. Gershwin chose the African-American musician Eva Jessye as the choral director for the opera. Wikipedia

Many Musicians and especially Jazz artists have been inspired to develop their own interpretation of this famous work. In this regard the well known French pianist Georges Arvanitas in 1973 took on such a challenge. So here we have the Georges Arvanitas Trio playing in their own style some of the best known tunes from the opera. It is a well arranged great work. Enjoy!

AFA Records, N.E.C. 20777, 1973

Personnel:

Georges Arvanitas - Piano

Jacky Samson - Bass

Charles Saudrais - Drums

Track Listing:

           Acte 1

A1. Summertime (4:25)

A2. A Woman Is A Something (2:09)

A3. Gone Gone Gone (2:06)

A4. My Man's Gone Now (3:47)

           Acte 2

A5. I Got Plenty O' Nuttin' (3:17)

           Acte 3

B1. You Bess Is My Woman (2:29)

B2. Oh, I Can't Sit Down (3:07)

B3. I Ain't Got No Shame (2:35)

B4. It Ain't Necessary So (3:42)

B5. I Loves You, Porgy (2:07)

           Acte 4

B6. There's A Boat Dat's Leavin' Soon For New-York (2:13)

Credits:

Music by George Gershwin

Lyrics by Du Bose Heyward, Ira Gershwin

Artwork by Arc-En-Ciel

Recorded by Roger Delongeas

David Liebman - Light'n Up, Please! (1976) [re-rip]

Along with mainstay Pee Wee Ellis, Dave Liebman turns his hand to funk. Many admirers of his Post-Bop adventures may not at first be impressed but with further appraisals this LP is still a solid bit of well-crafted jazz and not to be so easily written off as a less important album within his now vast discography. He is joined by some mighty fine players including the poorly acknowledged Link Chamberland. Others include the splendid pianist Richie Beirach, drummer Al Foster and percussionists Juma Santos and Sonny Brown. Not to overlook the mighty voice of Leon Thomas on three tunes. Overall Liebman still continues to showcase his multi-instrumental talents with great prowess. A highlight is his soprano mastery on “Tranquility Of The Protective Aura.” Enjoy!

Horizon Records, SP-721, 1977

Recorded May, 1976 at the Record Plant, Sausalito, California
and September, 1976 at Electric Lady Studio, New York City

Personnel:

David Liebman - Tenor Saxophone, Soprano Saxophone, C Flute, Alto Flute,
Electric Piano, Talking Drum, Percussion, Vocals

Pee Wee Ellis - Tenor Sax, Soprano Sax, Electric Piano, Percussion, Vocals

Harold Williams - Electric Piano, Minimoog, Vocals (#A3,B2,B3,B5)

Richie Beirach - Acoustic Piano (#B4)

Link Chamberland - Electric Guitar (#A1,A3,B1-B3,B5)

Chris Hayes - Electric Guitar (#A1,A2,A4,B1)

Jeff Berlin - Electric Bass (#A3,B2,B3,B5)

Tony Saunders - Electric Bass (#A1,A2,A4,B1)

Jimmy Strassburg - Drums, Percussion

Al Foster - Drums (#A3,B2,B3,B5)

Juma Santos - Congas, Percussion (#A1,A3,B1-B3,B5)

Sonny Brown - Percussion (#B2)

Leon Thomas - Vocals, Percussion (#A1,B1,B2)

Tracks:

A1. Light'n Up, Please! {David Liebman} (6:39)

A2. Children Of The Ghetto {David Liebman, Leon Thomas, Eleana Steinberg, Pee Wee Ellis} (3:44)

A3. Tranquility Of The Protective Aura {Harold Williams} (5:54)

A4. The Fonz's Strut {David Liebman, Pee Wee Ellis} (5:55)

B1. Got To Work {David Liebman, Pee Wee Ellis, Leon Thomas} (3:17)

B2. Chicken Soup {David Liebman, Pee Wee Ellis} (3:52)

B3. Exquisite Torture {David Liebman} (5:05)

B4. Win Your Love {David Liebman} (1:31)

B5. Slow Dance On The Killing Ground {David Liebman} (4:24)

Credits:

Producer - David Liebman, John Snyder, Pee Wee Ellis

Engineer - Skip Juriad , Assistant - Jerry Soloman [Electric Lady]

Engineer - Tom Anderson [The Record Plant]

Mixing - Bob Edwards, Assistant - Eric Schilling [The Record Plant]

Photography - James Fee [Front], Benno Friedman [Back]

Photography - Barbara Ellis

Art Direction - Roland Young

Design - Phil Shima

Sax boffin and one-time Miles Davis sideman, David Liebman, and James Brown's sax man Pee Wee Ellis get together for a light-hearted rhythm workout. On two tracks ("Light'n Up Please!" and "Got To Work") they lock swords with their tenors and Ellis plays electric piano and tenor on the others. Liebman tries his hand at funky stuff on side one, and although the whole album sounds hastily produced rather than spontaneous, we are treated to some wonderfully creative and searching soprano solos on "Slow Dance On The Killing Ground", "Exquisite Torture" and "Tranquility Of The Protective Aura". ~ vitalwill, RYM.

Houston Person - Suspicions (1980) [re-rip]

Here we have another solid outing by Houston Person. He is joined with the mastery of some other fine musicians, including to name a few; Virgil Jones, Melvin Sparks, Horace Ott, Sonny Phillips and Idris Muhammad. The title tune “Suspicions” gets it all started with a funky soul jazz beat. On the rest of the album he turns his tenor to a challenging mixture of tunes from the popular “If” and the more intrinsic “Blue Monk” and a classic standard “This Bitter Earth”, not to mention a funky composition by Sonny Phillips “Me and Me Brudder”, but as always, his interpretation and musicianship excels across anything he producers. Another highlight is the two compositions on offer by Horace Ott; “Pieces” and “Let’s Love Again”. By and large the listener will find something that gets the Soul A-Movin’.

Muse Records, MR 5199, 1980
Recorded 24^th April, 1980 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Virgil Jones - Trumpet

Melvin Sparks - Guitar

Jack Cavari - Guitar

Sonny Phillips - Keyboards

Horace Ott - Keyboards

Ernie Hayes - Keyboards

"Bad" Wilbur Bascomb - Bass

Idris Muhammad - Drums

Ralph Dorsey - Percussion

Tracks:

A1. Suspicions {Eddie Rabbitt, Randy McCormick, David Malloye, Even Stevens} (5:22)

A2. If {David Gates} (3:56)

A3. Me & Me Brudder {Sonny Phillips} (3:25)

A4. Pieces {Horace Ott} (5:02)

B1. Blue Monk {Thelonious Monk} (8:43)

B2. This Bitter Earth {Clyde Otis} (4:44)

B3. Let's Love Again {Horace Ott} (4:58)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Arranger - Horace Ott (#A1,A4,B3)

Art Direction & Design - Mark Larson

Cover Photo - Charles Redly

Liner Notes - Maxine S. Harvard

Houston Person - Stolen Sweets (1977) [vinyl>flac]

Person is a master of moving, luxuriant melody, of sweeping, tuneful saxophone lines. Much of his best work--in person and on record--is devoted to attractively structured pop songs--and this collection is no exception. On "At Last" and "Skylark", Person conjures up his richest, warmest ballad sound. "If Ever I Would Leave You" finds Houston fluent and exhilarating at a faster tempo. On "Stolen Sweets", one hears echoes of Jug's brusque tone and soulful emotion. Finally, on "T-Bone Steak", finds Person riding an earthy, instrumental blues and getting excellent support from organist Sonny Phillips and guitarist Jimmy Ponder. "Stolen Sweets" is unabashedly recommended. I think you'll agree that Houston Person and his band play my kind and your kind of jazz--music that is mellow, relaxed, warm, tasty and inventive. In startling contrast to the tenseness and turbulence fashionable in some jazz quarters, Houston Person offers a joyful, soulful musical experience, ~ Excerpts by Jon Lissner, New York Times; from Liner Notes.

Muse Records, MR 5110, 1977

Recorded 29^th April, 1976 at Blue Rock Studio, New York City

Musicians:

Houston Person - Tenor Saxophone

Jimmy Ponder - Guitar

Sonny Phillips - Organ

Frankie Jones - Drums

Buddy Caldwell - Congas

Tracks:

A1. If Ever I Would Leave You {Alan Jay Lerner, Frederick Loewe} (10:38)

A2. At Last {Harry Warren, Mack Gordon} (7:42)

B1. Stolen Sweets {Wild Bill Davis} (5:35)

B2. Skylark {Hoagy Carmichael, Johnny Mercer} (7:31)

B3. T-Bone Steak {Jimmy Smith} (6:32)

Credits:

Producer - Michael Cuscuna

Recording Engineer - Eddie Korvin

Art Direction, Design, Photography - Hal Wilson

Liner Notes - John Lissner, New York Times

This is album could easily be rated as one of Houston Person's best on Muse, if not definitely to be noted as a great sounding Soul Jazz LP from the classic 70's. Person is in excellent form producing some fantastic up-tempo and plenty of robust tenor sounds. The assortment of tunes allows him to display his masterful skills as a very talented ballad player to just breaking out into some juicy funk number. He is joined by a mighty crew; with Jimmy Ponder on guitar given many opportunities to perform some riveting solos; and along with Sonny Phillips' magnificent swirling organ the listener is taken on one hell of a Soul-Jazz-Funky ride. Backing these great men are two percussion and rhythmic experts in Frankie Jones and Buddy Caldwell. Right throughout the album their driving beats assist the soloists to hold it perfectly together. The only real fault is that its joyful ride ends so quickly. There's one thing to do just spin it again.

Houston Person - Always On My Mind (1985) [vinyl>flac]

Tenorman, Houston Person has collected some recent and not so recent vocal hit records and made an incredibly beautiful instrumental album. What will always stay on our minds is the title song here "Always On My Mind." It's haunting and timeless theme will be with us long after Willie Nelson leaves the road. Houston Person is the interpreter. Here he plays the melody and what beautiful melodies...his music will stay "ALWAYS ON MY MIND." ~ Excerpts from Liner Notes

Muse Records, MR 5289, 1985

Recorded 3^rd September, 1985 At Sound Heights Studio, Brooklyn, New York

Musicians:

Houston Person - Tenor Saxophone

David Brahim - Organ, Electric Piano

Ted Brancato - Acoustic Piano, Keyboards

Wilbur Bascomb - Bass

Bernard Purdy - Drums

Ralph Dorsey - Percussion

Tracks:

A1. I Can't Help Myself {Holland, Dozier, Holland} (4:28)

A2. Always On My Mind {Christopher, James, Carson} (5:30)

A3. Endlessly {Brook Benton} (7:04)

B1. How Do You Keep The Music Playing {Legrand, Bergman, Bergman} (6:10)

B2. Cutie Pie {Zapp, Roger} (5:30)

B3. It Might Be You [Theme From Tootsie] {David Grusin} (5:53)

Credits:

Producer - Houston Person

Arranger - Jimmy Roach

Engineer - Vince Traina

Mastering Engineer - Joe Brescio, The Cutting Room, NYC

Cover Photo - Hugh Bell

Art Direction - Dick Smith

Gene Ammons - Makes It Happen (1948-51) [re-rip]

This 1967 Cadet release repackages the 1958 Chess date Soulful Saxophone, itself a session originally recorded in 1950 in the months prior to Gene Ammons' landmark stint with the Prestige label--and while the provocative cover suggests a collection of lush romantic ballads, Gene Ammons Makes It Happen is instead deep and dark, underscored by the tenorist's potently soulful sound. A melancholy reading of "My Foolish Heart" was Ammons' first hit and sets the tone for the remainder of the material, which boasts an affecting, late-night atmosphere--the music absolutely marinates in echo, transcending the waking world into the dreamscape. ~ Jason Ankeny, AMG.

Argo Records, LPS-783, 1967

Cadet Records, CA 783, 1977

Recorded October 1948 through May 1951 in Chicago, Illinois

12^th October, 1948; (#B5)

28^th February, 1949; (#B4)

8^th January, 1950; (#B1)

2^nd May, 1950; (#A1,A3,B3)

August, 1950; (#A2,A4)

3^rd May, 1951; (#A5,B2)

Personnel:

Gene Ammons - Tenor Saxophone

Bill Massey - Trumpet (#A1-A4,B3)

Matthew Gee - Trombone (#A1-A4,B1,B3)

Charlie Bateman - Piano (#A1-A4,B3)

Gene Wright - Bass (#A1-A5,B2,B3)

Wesley Landers - Drums (A1-A4,B1,B3,B5)

Sonny Stitt - Baritone Saxophone (#A2,A4)

Junior Mance - Piano (#A5,B1,B2)

Teddy Stewart - Drums (#A5,B2)

Jesse Miller - Trumpet (#B1)

Leo Blevins - Guitar (#B1,B4)

Leroy Jackson - Bass (#B1,B5)

Christine Chatman - Piano (#B4,B5)

Lowell Pointer - Bass (#B4)

Ike Day - Drums (#B4)

Tom Archia - Tenor Saxophone (#B5)

Tracks:

A1. My Foolish Heart {Victor Young, Ned Washington} (2:48)

A2. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (2:59)

A3. Goodbye {Gordon Jenkins, Benny Goodman} (3:08)

A4. Can Anyone Explain {Bennie Benjamin, George David Weiss} (2:52)

A5. It's You Or No One {Jule Styne, Sammy Cahn} (2:43)

B1. Pennies From Heaven {Johnny Burke, Arthur Johnston} (2:36)

B2. Happiness Is A Thing Called Joe {Harold Arlen, E.Y. "Yip" Harburg} (2:48)

B3. You Go To My Head {J. Fred Coots, Haven Gillespie} (2:59)

B4. Once In A While {Michael Edwards, Bud Green} (3:11)

B5. It's The Talk Of The Town {Jerry Livingston, Marty Symes, Al J. Neiburg} (2:50)

Preserved in the tracks of this album are ten memorable performances that represent an early Gene Ammons. This time, these sounds have been further enhanced through the process of re-channeled stereo. The crooning tones emanating from Gene's tenor on these ballads are the ideal purveyors of warmth and thoughtfulness of a quiet mood. To those who recall with fondness the excitement created by these recordings when they first were issued, this album will be a welcome treat. This album is a good starting place, and as you listen to evergreens like My Foolish Heart, Prelude To A Kiss, Pennies From Heaven, Once In A While, and You Go To My Head, I'm sure you'll nod in agreement with this album title ...Gene Ammons always MAKES IT HAPPEN. ~ Excerpts from Liner Notes by Burt Burdeen (WSDM, Chicago).

Credits:

Cover Photo - Michel Ditlove

Art Direction - Howard Blume, Bill Sharp

Note:

Originally released in 1959 as "Soulful Saxophone" [Chess Records - LP 1442]