Jazz On Film, Vol. 2 - Beat Square & Cool 1 - 5

Moochin

About set a new standard when they issued the box set Jazz on Film: Crime Jazz by revealing just how seamless the relationship between fine jazz and cinema can be. And while noir is probably the most common example of how the two collaborate, this release proves it was simply a matter of addressing that topic first. Jazz on Film, Vol. 2: Beat Square and Cool provides more and perhaps further-reaching examples of how profound jazz can be in illustrating the moving image. There are eight scores represented over these five discs. The first opens with Leith Stevens' music for The Wild One. The first four cues are led by Shorty Rogers & His Orchestra, and all contain suggestions of Stan Kenton-esque progressivism. The remainder are by Stevens' group, which includes Rogers and Maynard Ferguson; many of these cues are closer to fingerpopping hard bop. This disc is rounded out by three selections from Franz Waxman's excellent score for Panic in the Streets. Two Gerry Mulligan groups bridge discs two and four, but on two different scores. In the first case it's in six selections from Johnny Mandell's brilliant music for I Want to Live. The composer's own orchestra fills out the rest and it's as compelling as the film itself. Mulligan's group appears again in the complete Andre Previn score for The Subterraneans (based on Jack Kerouac's novel of the same name). In the past, the music from the film has gotten a raw deal. While the film is problematic, Previn's music -- for quartet and orchestra, as well as a vocal tune from Carmen McRae -- is anything but: it's sublime. The music for the French film Les Tricheurs and Martin Ritt's set-in-France Paris Blues are on disc three. The former compiles bop- and hard bop-era American jazz tunes from Coleman Hawkins, Stan Getz, Oscar Peterson, Dizzy Gillespie, and more. Paris Blues was composed by Duke Ellington and is arguably better than the one he turned in for Anatomy of a Murder. What's more, it features Louis Armstrong on trumpet (he plays the character Wild Man Moore in the film). The final disc in the set includes the four pieces Charles Mingus wrote for Shadows that reflect his solo work of the period, and the iconic bop and hard bop Freddie Redd composed for the Jack Gelber play-cum-Shirley Clark film The Connection -- with Jackie McLean on alto saxophone. The collection features great sound, fantastic liner notes by series producer Selwyn Harris, complete personnel lineups, loads of stills, and other photographs all packaged in a killer slipcase box.

Disc1
Disc2
Disc3
Disc4
Disc5

Frank Ricotti Quartet - Our Point Of View (1968) [vinyl]

Hard to find 1969 UK 7-track stereo LP, from the British vibraphonist who played with everyone from Gordon Beck, Norma Winstone, Neil Ardley to Mike Gibbs, Stan Tracey and Graham Collier. Ricotti takes the spotlight here with authority and apparent ease in a quartet outing alongside Chris Spedding on guitar, Chris Laurence bass and drummer Bryan Spring. Includes the groover Three Times Loser, Three Times Blueser.

CBS Realm Jazz, 52668, 1968

Recorded 1968

Musicians:

Frank Ricotti - Vibraphone, Alto Saxophone

Chris Spedding - Guitars

Chris Laurence - Bass

Bryan Spring - Drums

Tracks:

A1. Late Into The Night {Chris Speding, Pete Brown} (3:52)

A2. Three Times Loser, Three Times Blueser {Stan Tracy} (5:29)

A3. Don't Know Why {Brian Miller} (6:31)

A4. House In The Country {Al Kooper} (3:27)

B1. Abbadatt The Cat {Brian Miller} (4:05)

B2. Dark Through Sun Shines {Brian Miller} (8:33)

B3. Walter L {Gary Burton} (5:55)

Credits:

Produced - David Howells

Engineer - Mike FitzHenry

Sleeve Notes - Humphrey Lyttleton

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

I really shouldn't allow this to happen!

Young players of 15 or less are being far more creative nowadays and playing an awful lot of more right notes. I am speaking personally of course, as I haven't given the other guys a chance to say anything, mainly for fear of them saying 'burn the f****** thing!'

My recollection of the recording is unfortunately very sketchy, as was my life at 20. Have your own band, get a few gigs, do an album - everything seemed to be easy and fine.

Everything is still fine, but quite a lot has changed. Having spent most of the last 30 years playing in studios my appreciation of what is good and bad is very confused. For the most part I've been fortunate to work and play with some fantastic musicians, but on the other hand freelance studio work can be labouring and unfulfilling.

So, what can I say about this album? Chris Laurence, Chris Spedding and Bryan Spring are three bloody fine musicians and we had lots of fun doing this record. If you like it that's fine, but for my own contribution I am deeply embarrassed. Modern technology would be very handy to reshape some of my vibe solos, (or lose them completely), put the sax playing back in tune, and generally tidy everything up. all these devices and more are available now to every recording musician.

I'm not looking for an excuse for my playing - far from it, but nowadays ninety percent of the music we listen to has been tampered with in one way or other. Hence my confusion. To hear myself naked is a very big bringdown. I only hope with the passing years I've improved - maybe I should do another album and let you decide. ~ Frank Ricotti, March, 1999.

Hank Crawford - Double Cross (1968) [re-rip]

Here we have another classic early album by Hank Crawford on Atlantic Records from 1968. Similar to his other recordings on that label Hank puts together a powerful soulful collection of tunes. Four are penned by him; the others an engaging selection of notable standards. He is joined by a stellar array of players including: David "Fathead" Newman, Pepper Adams, Joe Newman, Jack McDuff, Carl Lynch & Bruno Carr to nominate a few. On one tune Hank plays piano, but it’s his alto playing that is truly sensational. There is not much more to add other than just give it a spin!

Atlantic Records, SC 1503, 1968

Recorded in 1968 at Atlantic Studios, New York

Personnel:

Hank Crawford - Alto Saxophone, Piano (#B3)
Joe Newman, Melvin Lastie - Trumpet (#A1-B2)
John Hunt, Fielder Floyd - Trumpet (#B3,B4)
Tony Studd - Trombone (#A1-B2)

David "Fathead" Newman - Tenor Saxophone (#A1-B2)

Wendell Harrison - Tenor Saxophone (#B3,B4)
Pepper Adams - Baritone Saxophone (#A1-B2)

Alenzo C. Shaw - Baritone Saxophone (#B3,B4)

Jack McDuff - Piano (#B1)

Carl Lynch - Guitar (#A1-B2)

Jimmy Tyrell - Fender Bass (#A1-B2)

Charles Green - Bass (#B3, B4)

Bruno Carr - Drums (#A1-B2)

Wilbert Hogan - Drums (#B3,B4)

Tracks:

A1. Double Cross {Hank Crawford} (3:18)

A2. Jimmy Mack {Eddie Holland, Lamont Dozier, Brian Holland} (2:36)

A3. Glue Fingers {Hank Crawford} (3:27)

A4. I Can't Stand It {Hank Crawford} (4:46)

B1. In The Heat Of The Night {Alan Bergman, Marilyn Bergman, Quincy Jones} (4:01)

B2. The Second Time Around {Jimmy van Heusen, Sammy Cahn} (3:52)

B3. Mud Island Blues {Hank Crawford} (5:59)

B4. Someday [You'll Want Me To Want You] {Jimmie Hodges} (3:52)

Credits:

Producer - Arif Mardin, Joel Dorn

Recording Engineer - Bruce Tergesen, Phil Iehle

Cover [Illustration & Design] - Stanislaw Zagorski

Liner Notes - Burt Burdeen, WSDM, Chicago

Eddie "Lockjaw" Davis with Shirley Scott - Misty (1963) [re-rip]

Here we have a classic outing of Eddie “Lockjaw” Davis alongside the Queen of the Organ Shirley Scott. Together with other well-known players, such as George Duvivier and Ray Barretto they set about to create quite wonderful experience for the listener. When Eddie was asked what the objective of his music was and its connection with this particular album, this is what he had to say:  "simplicity is my theme," and that is one comparative aspect of it. It isn't "head-dancing" music, but rather it is aimed at the most common sensibilities. But the music is also special. It belongs to, and is about Harlem. The experience that has provided its energy source has a special character because the situation of the Negro in America is unique and has no real parallel anywhere else.

In this album Davis' booming, sinewy tenor delineates seven good popular tunes; Misty, Uh! Oh!, Give Me A Goodnight Kiss, Moon On Manakoora, Just Friends, Speak Low and I Wished On The Moon, with affecting grace and the broad blues-charged power that is the ignition of his remarkable emotional thrust. ~ Excerpts from Liner Notes by Robert Levin.

Moodsville Records, MVLP-30 [Mono], 1963

Recorded 4th December, 1959 (#A1, A2) & 12th April, 1960 (#A3-B3) at Englewood Cliffs, New Jersey

Tracks:

A1. Misty {Erroll Garner, Johnny Burke} (3:44)

A2. Uh! Oh! {Don Elliott, Alexander Burland} (2:22)

A3. Give Me A Goodnight Kiss {Lee Morse} (5:40)

A4. Moon Of Manakoora {Frank Loesser, Alfred Newman} (6:54)

B1. Just Friends {John Klenner, Sam M. Lewis} (6:14)

B2. Speak Low {Ogden Nash, Kurt Weill} (6:50)

B3. I Wished On The Moon {Dorothy Parker, Ralph Rainger} (4:59)

Personnel:

Eddie "Lockjaw" Davis - Tenor Saxophone

Shirley Scott - Organ

Wendell Marshall - Bass (#A1,A2)

George Duvivier - Bass (#A3-B3)

Arthur Edgehill - Drums

Ray Barretto - Conga (#A3-B3)

Credits:

Supervision - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Robert Levin (January, 1963)

Shirley Scott - Drag 'Em Out (1963) [re-rip]

And Drag 'Em Out she does - on this, one of Shirley's best albums for Prestige! The set really cooks on side one – which is an extended album-side jam called "Drag Em Out", played by Shirley on organ, with Roy Brooks on drums and Major Holley on bass. This sort of long open track is quite different than Shirley's other recordings, and she really rises to meet the challenge. Side two is more standard stuff - 3 tunes, with titles that include "The Song Is Ended", "Out Of It", and "The Second Time Around". © Dusty Groove America, Inc.

Prestige Records, PR 7305, 1964

Recorded 27^th May, 1963 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Shirley Scott - Organ

Major Holley - Bass

Roy Brooks - Drums

Tracks:

A. Drag 'Em Out {Shirley Scott} (15:46)

B1. The Second Time Around {Sammy Cahn, Jimmy Van Heusen} (4:41)

B2. Out Of It {Shirley Scott} (3:39)

B3. The Song Is Ended {Irving Berlin} (6:36)

Credits:

Supervision - Ozzie Cadena

Recording Engineer - Rudy van Gelder
Photo - Jim Marshall
Design - Don Schlitten

Liner Notes - John D. Moore, Nov. 1963

Willis Jackson - Bossa Nova Plus (1963) [re-rip]

Bossa Nova Plus (also released as Shuckin') is an album by saxophonist Willis Jackson which was recorded in 1962 and released on the Prestige label. ~ Wikipedia

On this studio album Jackson is joined with Tommy Flanagan on piano and Kenny Burrell on guitar along with a mighty rhythm section including Roy Haynes on drums, Eddie Calhoun on bass and a large contingent of Latin percussionists especially noted Juan Amalbert and Montego Joe driving a consistent and enthralling conga beat. The album provides enough room for most players to express some fine solos. Essentially it is an album that blends multiple styles and with Jackson great tenor sound to the fore the listener is in for an enjoyable ride. Disregarding the scintillating Latin-influenced tunes there are still some amazing Soul Jazz and Hard Bop drenched tracks for the die-hard Jackson fans. Allmusic awarded the album 4 stars stating "His second great album that year".

Prestige Records, PRST 7260, 1963

Recorded 30^th October, 1962 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Tommy Flanagan - Piano

Kenny Burrell - Guitar

Eddie Calhoun - Bass

Roy Haynes – Drums

Juan Amalbert - Congas

Montego Joe - Congas

Jose Paulo - Congas, Timbales

Tracks:

A1. Cachita {Rafael Hernández} (3:46)

A2. I Left My Heart In San Francisco {George Cory, Douglass Cross} (3:20)

A3. Amor {Ricardo Lopez Mendez, Gabriel Ruíz} (7:47)

B1. Mama Inez {L. Wolfe Gilbert, Eliseo Grenet} (4:53)

B2. What Kind Of Fool Am I? {Leslie Bricusse, Anthony Newley} (5:08)

B3. Shuckin' {Willis "Gator" Jackson} (5:26)

Credits:

Supervisor - Ozzi Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Del Shields (December, 1963) WDAS FM Philadelphia
Design - Don Schlitten

Robin Kenyatta - Gypsy Man (1972) [vinyl]

Sweet electric funk from Robin Kenyatta - but a set with some slightly complicated moments too! The album's a bit like some of Yusef Lateef's more electric moments on Atlantic, although probably not as cerebral overall - and Robin plays a range of reeds, including alto, flute, and soprano sax - the last of which is the best fit for the record, as Kenyatta plays it with a nicely snakey sort of style! Most tracks have a strong mix of keyboards and guitar - the former played by either Larry Willis or Pat Rebillot, the latter by David Spinoza or Keith Loving. Stanley Clarke plays bass on most of the set, and there's definitely some of his influence going on here too - and one track features added vocals by Robin and Lalome Wahsburn. Deodato arranged a version of "Last Tango In Paris" - and other titles include "Gypsy Man", "Melodie Chinoise", "Werewolf", "Another Freight Train", "Seems So Long", and "Reflective Silence". © Dusty Groove, Inc.

Atlantic Records, SD 1633, 1973

Recorded & Mixed in September & October, 1972 at The Hit Factory, N.Y.

Personnel:

Robin Kenyatta - Soprano & Alto Saxes, Flute, Vocals

Al Deville - Trumpet (#B2)

Seldon Powell - Saxophone (#B2)

George Patterson - Saxophone (#B2)

Jack Philpot - Saxophone (#B2)

Larry Willis - Electric Piano

George Butcher - Piano, Organ

Pat Rebillot - Piano, Organ

Charles ‘Skip’ Pitts - Guitar [Wah Wah] (#A1)

David Spinozza - Guitar

Jimmy Wood - Guitar (#B2)

Keith Loving - Guitar

Stanley Clarke - Bass, Electric Bass

Ray Lucas - Drums (#A1)

Billy Cobham - Drums

Charles Collins - Drums

Rick Marotta - Drums

Ralph MacDonald - Percussion

Don Belamy - Vocals (#A1)

Lalome Washburn - Vocals

Tracks:

A1. Last Tango In Paris (Gato Barbieri} (4:49)

A2. Another Freight Train {Robin Kenyatta} (3:36)

A3. Werewolf {Robert W. McPherson} (4:26)

A4. Reflective Silence {Robin Kenyatta} (5:19)

B1. Seems So Long {Stevie Wonder} (3:52)

B2. Gypsy Man {Robin Kenyatta} (5:22)

B3. Melodie Chinoise {Robin Kenyatta} (5:45)

B4. I've Got Dreams To Remember {Otis Redding, Zelma Redding} (6:16)

Credits:

Producer - Michael Cuscuna

Recording Engineer - Harry Maslin

Arranger - Eumir Deodato (#A1), Robin Kenyatta (#A2,A4-B4), Robert W. McPherson (#A3)

Photography [Backliner] - Penny Scherr

Photography [Cover] - Joel Brodsky

Design - Haig Adishian

Dave Liebman - Lookout Farm (1974) [re-rip]

Lookout Farm is a sublime jazz-fusion album and is indicative of a typical ECM release. Side A kicks off with Pablo’s Story - a Latin influenced track that begins with classical guitar, then flute and electric guitar together with cowbells. It’s poised and beautiful and then it becomes an up-tempo workout with saxophones and congas taking it on a wild ride. Sam’s Float initially sounds mysterious, with a bass line leading into flute trills whilst a female voice wails - it’s like a brief adventure into the ether. Side B is one twenty-four minute track called M.D/Lookout Farm. It begins with acoustic piano followed by plaintive tenor saxophone and as the track develops it is atmospheric and sometimes quite abstract. There’s everything happening in this track – you can call it a jam, but it is coherent and tightly played. Towards the end there is a great percussive section with tablas and congas before a saxophone led freak-out warps time over never-ending elastic minutes. This music is a good example of what was happening in the early 1970s.

Dave Liebman played in Elvin Jones’ band after John Coltrane died in 1967 and then was hired by Mile Davis, playing with the master between 1970-74, the period in which this great record was recorded. Lookout Farm displays similar qualities to Miles Davis’ work during that period, being both adventurous and avant-garde, but also very listenable. The sessions took place in October 1973 and features Liebman on flute and soprano and tenor saxes. The other principle musicians are Richard Beirach, Frank Tusa and Jeff Williams. ~ Jeremy, Closed Groove

ECM Records, ECM 1039 ST, 1974

Recorded 10^th & 11^th October, 1973 at Generation Sound Studios, New York

Personnel:

Dave Liebman - Soprano, Tenor Saxes, Alto C-Flute

Richard Beirach - Electric, Acoustic Piano

Frank Tusa - Electric, Acoustic Bass

Jeff Williams - Drums

Thanks to:

John Abercrombie - Acoustic, Electric Guitar

Armen Halburian - Percussion

Don Alias - Congas, Bongos

Badal Roy - Tablas

Steve Sattan - Tambourine, Cowbell

Eleana Sternberg - Vocals

Track Listing:

A1. Pablo's Story {Liebman} (14:00)

A2. Sam's Float {Liebman} (8:38)

B. M. D. / Lookout Farm {Liebman} (23:46)

Credits:

Producer - Manfred Eicher

Recording Engineer - Tony May

Mixing Engineer - Martin Wieland

A great example of the sound of ECM in the early 70s, with Liebman playing in his post-Miles band angular modernist style with warm electric and acoustic accompaniment from Richard Beirach, Frank Tusa and Jeff Williams rounding out the quartet. The set is made up of three long, spiralling numbers, with the players intersecting and weaving together their lines, blurring the difference between solos, group improvisation and head melodies, and there's a large host of guest players, including John Abercrombie, Don Alias and Badal Roy. Titles include "Pablo's Story", "Sam's Float" and "MD/Lookout Farm". © Dusty Groove, Inc.

Gene Ammons - Boss Soul! (1966) [vinyl]

One of Gene Ammons' classics from the 60s, and a straight-ahead session of soul jazz tenor and piano, with drums by Art Taylor and a bit of extra conga from Ray Barretto. Nice rolling 60's soul jazz groove, and some nice piano comping behind Jug by Patti Brown and Walter Bishop Jr. Tracks include "Travelin", "Soft Summer Breeze", "Carbow", and "Song of The Islands". © Dusty Groove, Inc.

Prestige Records, PRST 7445, 1966

Recorded 17^th (#B1-B3) & 18^th October (#A1-A4), 1961

At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Gene Ammons - Tenor Saxophone

Patti Bown - Piano (#A1-A4)

Walter Bishop Jr. - Piano (#B1-B3)

George Duvivier - Bass (#A1-A4)

Art Davis - Bass (#B1-B3)

Art Taylor - Drums

Ray Barretto - Congas

Tracks:

A1. Soft Summer Breeze {Eddie Heywood} (4:50)

A2. Don't Go To Strangers {Arthur Kent, David Mann, Redd Evans} (6:24)

A3. Song Of The Islands {Charles E. King} (5:12)

A4. Travelin' {Gene Ammons} (3:39)

B1. Carbow {Gene Ammons} (6:07)

B2. I'm Afraid The Masquerade Is Over {Allie Wrubel, Herbert Magidson} (6:01)

B3. I'm Beginning To See The Light {Don George, Duke Ellington, Harry James, Johnny Hodges} (4:48)

Credits:

Supervision - Esmond Edwards

Recording & Mastering Engineer - Rudy van Gelder

Liner Notes - Bob Porter

Design, Photo - Don Schlitten

Don Patterson - The Best Of Don Patterson (1969) [vinyl]

A fine compilation of tracks from Don Patterson albums released on Prestige Records stretching from 1964-1967. He is joined by a solid cast of players including: Houston Person, David “Fathead” Newman, Sonny Stitt, Booker Ervin, Jerry Byrd, Pat Martino, Vinnie Corrao, Billy James on broad selection of soul jazz tunes, Enjoy!

Prestige Records, PRST 7704, 1969

See Session Info text file for Dates & Personnel

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

Tracks:

A1. 42639 {Sonny Stitt} (5:21)

A2. Satisfaction {Richard Carpenter} (3:21)

A3. Up In Betty's Room {Don Patterson} (5:12)

A4. Last Train From Overbrook {James Moody} (3:57)

B1. Humpa Snapa Blues {Don Patterson} (5:01)

B2. Up Tight {Don Patterson} (3:13)

B3. Big C's Rock {Don Patterson} (3:12)

B4. Sister Ruth {Don Patterson} (4:56)

Recording Engineer - Rudy van Gelder

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

42639 was originally released on:

Don Patterson - Patterson's People (1965)

PR7381

Satisfaction was originally released on:

Don Patterson - Satisfaction! (1965)

PRST 7430

Up In Betty's Room was originally released on:

Don Patterson - The Exciting New Organ Of Don Patterson (1964)

PRST 7331

Last Train from Overbrook was originally released on:

Don Patterson - Four Dimensions (1967)

PRST 7533

Humpa Snapa Blues was originally released on:

Don Patterson - Mellow Soul (1967)

PRST 7510

Up Tight was originally released on:

Don Patterson - Soul Happening (1967)

PRST 7484

Big C's Rock was originally released on:

Don Patterson - The Boss Men (1965)

PRST 7466

Sister Ruth was originally released on:

Don Patterson - Hip Cake Walk (1964)

PRST 7349

Ray Bryant - Sound Ray (1969) [re-rip]

Great work from Ray - and very much in the formula of his best Cadet records! The formula is simple - stick in 2 great original groovers, and fill the record with a few other covers of pop and jazz standards. Thanks to Richard Evans, who produced the sessions for Cadet, the grooves are great on nearly every track - and Ray sounds better here than on any other sides that we remember! In this case the originals are "Stick With It" and "Sound Ray" - both hard piano jams with a great downbeat and a nice dose of funk. Covers include "Song For My Father", "Con Alma", "Look Of Love", and "Scarborough Fair" - all very very nice! © Dusty Groove, Inc.

Cadet Records, LPS 830, 1969

Recorded in June, 1969 at Ter Mar Studios, Chicago, Illinois

Musicians:

Ray Bryant - Piano

James Rowser - Bass

Harold White - Drums

Tracks:

A1. A Song For My Father {Horace Silver} (5:24)

A2. Con Alma {Dizzy Gillespie} (4:10)

A3. Scarborough Fair {Paul Simon, Art Garfunkel} (4:39)

A4. Stick With It {Ray Bryant} (5:08)

B1. Broadway {Henri Woode, Teddy McRae, Billy Bird} (5:31)

B2. Li'l Darlin' {Neal Hefti} (5:12)

B3. The Look Of Love {Burt Bacharach, Hal David} (5:30)

B4. Sound Ray {Ray Bryant, Richard Evans} (3:41)

Credits:

Producer - Richard Evans

Arranger - Ray Bryant

Recording Engineer - Dave Purple
Album Design, Cover Photo - Jerry Griffith
Liner Notes - Ed Williams "Maiden Voyage" WLIB/FM, NYC

Don Patterson - Mellow Soul (1967) [re-rip]

"Patterson is one of the few jazz organists with any kind of critical notices. A number of critics, notably Down Beat's Harvey Pekar, has noted that, unlike most organists, Patterson plays straight ahead with no nonsense and reliance on the trick bag. His ability to swing without utilizing the built-in histrionics of his instrument is an indication of his taste. Taste which has convinced Sonny Stitt, wowed the critics and become an identifying characteristic of his playing is what Patterson displays here. Patterson's constant musical companion in recent years has been drummer Billy James. James is one of the few drummers who knows what and how to play with an organist. Others with this talent are few and far between." Patterson is also joined by David "Fathead" Newman who on this date picks up both tenor and flute. 'In 1959, Ray Charles showcased Newman for the first time in an album of his own. Many people discovered then and there that the true roots of "Fathead" lay in the music of men like Rollins and Stitt. Since leaving the Charles band, Newman has freelanced extensively' and is especially accomplished on this album. Overall this LP is an exceptional opportunity to hear 'three men with roots who have moved comfortably in the mainstream of modern jazz.'
~ Excerpts taken from the Liner Notes by Bob Porter, July 1967.

Prestige Records, PRST 7510, 1967

Recorded 10th May, 1967 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

David "Fathead" Newman - Tenor Saxophone (#A1,B1-B3), Flute (#A2,A3)

Billy James - Drums

Tracks:

A1. Hump Snapa Blues {Don Patterson} (5:01)

A2. Music To Think By {Dick Boyell} (3:57)

A3. Darben The Redd Foxx {James Moody} (4:52)

B1. Mellow Soul {Don Patterson} (6:35)

B2. Head {David "Fathead" Newman} (6:08)

B3. These Foolish Things {Harry Link, Jack Strachey} (9:42)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten
Liner Notes - Bob Porter (July 1967)

Johnny "Hammond" Smith - For Lovers (1959-69) [vinyl]

A marvellous compilation of great soul jazz standards played by the talented organist Johnny “Hammond” Smith taken from some of his classic New Jazz and Prestige sides spanning 1959 through to 1969. He is joined by an amazing and diverse cast of players: Thornel Schwartz, Freddie McCoy, Houston Person, Eddie McFadden, Rusty Bryant, Wally Richardson, Earl Edwards, Ray Barretto, George Tucker, Leo Stevens, Wendell Marshall, to name a few, Enjoy!

Prestige Records, PRST 7777, 1970

Tracklisting:

A1. Bye Bye Blackbird {Mort Dixon, Ray Henderson} (4:30)

Johnny "Hammond" Smith - Organ

Thornel Schwartz - Guitar

George Tucker - Bass

Leo Stevens - Drums

Recorded 4^th November, 1959 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - That Good Feelin'

New Jazz [NJLP 8229]

A2. Because You Left Me {Johnny "Hammond" Smith} (5:27)

Johnny "Hammond" Smith - Organ

Freddie McCoy - Vibraphone

Eddie McFadden - Guitar

Wendell Marshall - Bass

Leo Stevens - Drums

Recorded 12^th May, 1961 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - Stimulation

Prestige Records [PRLP 7203]

A3. On A Clear Day {Alan Jay Lerner, Burton Lane} (4:20)

Johnny "Hammond" Smith - Organ

Otis Sutton - Alto Saxophone

Houston Person - Tenor Saxophone

Eddie McFadden - Guitar

Leo Stevens - Drums

Recorded 4^th January, 1966 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith, Byrdie Green - Stringer Meets The Golden Thrush

Prestige Records [PR 7464]

A4. A Portrait Of Jenny {Russell Robinson, Gordon Burdge} (2:21)

Johnny "Hammond" Smith - Organ

George Tucker - Bass

Art Taylor - Drums

Ray Barretto - Congas

Recorded 22^nd April, 1960 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - Talk That Talk

New Jazz [NJLP 8241]

B1. Sad Eyes {Johnny "Hammond" Smith} (4:50)

Johnny "Hammond" Smith - Organ

Freddie McCoy - Vibraphone

Eddie McFadden - Guitar

Wendell Marshall - Bass

Leo Stevens - Drums

Recorded 12^th May, 1961 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - Opus De Funk

Prestige Records [PR 7420]

B2. All Soul {Curtis Lewis} (4:17)

Johnny "Hammond" Smith - Organ

Rusty Bryant - Tenor, Alto Saxophone, Varitone

Wally Richardson - Guitar

Bob Bushnell - Electric Bass

Bernard Purdie - Drums

Recorded 19^th May, 1969 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - Soul Talk

Prestige Records [PR 7681]

B3. There Is No Greater Love {Isham Jones, Marty Symes} (5:30)

Johnny "Hammond" Smith - Organ

Earl Edwards - Tenor Saxophone

Floyd Smith - Guitar

John Harris - Drums

Recorded 7^th May, 1965 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - The Stinger

Prestige Records [PR 7408]

B4. An Affair To Remember {Harry Warren, Leo McCarey, Harold Adamson} (2:33)

Johnny "Hammond" Smith - Organ

George Tucker - Bass

Art Taylor - Drums

Ray Barretto - Congas

Recorded 22^nd April, 1960 At Van Gelder Studio, Englewood Cliffs, New Jersey

Johnny "Hammond" Smith - Talk That Talk

New Jazz [NJLP 8241]