Riccardo Fassi - Riccardo Fassi New York Quintet (1998)

This CD represents an emblematic example of the high level of Italian jazz, which has nothing to envy for quality projects of its exponents to what is practiced overseas. The esteem that Riccardo Fassi enjoys with American musicians is well known to fans of African American music, as evidenced by his past collaborations with Steve Lacy, Tim Berne, Oliver Lake, Gunter Schuller, and especially his beautiful record of 1993 New York Trio (also for the YVP) with Rufus Reid and Marvin Smith. An elegant and refined writing of mainstream derivation permeates the CD, in which the pianist has carved out the difficult and discrete role of the orchestra more than the soloist, leaving room for the delicious solos now responsorial now in unison by Gary Smulyan engaged in the baritone saxophone and of vibraphonist Bryan Carrott, whose great rhythmic verve recalls the best Bobby Hutcherson of the '60s. Already the first notes of the CD, suggest a perfect balance between the components of the quintet, which leads the musicians to interact as if they were in an orchestra, aiming for short and dense solos, without ambitions of hyper-virtuosity pleased in a continuous game of tension and distension. A soft and relaxed atmosphere, never however glossy or mushy, permeates the development of most of the pieces including "Just Love", "Alluminio" and "Lamu", from the suave melodic performance. Carrott's performance is enhanced by the record, to which the recording industry has not (incredibly) granted until today the opportunity to show off with engravings on its behalf. And this seems all the truer given that today the creation of CDs no longer denies anyone. The forty-three vibraphonist New Yorker, who had already contributed with Fassi to the success of the "Conduction 43" by Butch Morris during the course of Verona Jazz in 1994, gives his instrument greater harmonic freedom and timbre variety to the weaving of the songs, on which the relaxed and relaxed interplay of the quintet. The beauty of the themes - all fascinating and seductive as few - and the rapid melodic and rhythmic changes, finally avert the predictability that generally characterizes the mainstream production, rigid in the structuring of the solos and the monochordal path. 4 Stars, ~ by Maurizio Zerbo [Translation from Italian].

YVP Music, 3092 CD, 2001

Recorded 3^rd February, 1998 At Systems Two, Brooklyn, New York

Musicians:

Riccardo Fassi - Piano

Gary Smulyan - Baritone Saxophone

Bryan Carrott - Vibraphone

Dennis Irwin - Double Bass

Adam Nussbaum - Drums

Tracks:

1. Lamu (6:54)

2. Last Dance (6:08)

3. No Space For The Eggs (7:23)

4. Mars (7:08)

5. Miss B (3:59)

6. Market (7:58)

7. Just Love (7:36)

8. Prophet (7:49)

9. Alluminium (6:34)

All Compositions and Arrangements by Riccardo Fassi

Credits:

Producer - Riccardo Fassi, York v. Prittwitz

Recording Engineer - Michael Marciano, Joseph Marciano

Digital Mastering - Philipp Heck, Bauer Studios, Ludwigsburg

Cover Photo - Jorge Lardone

Photo - Riccardo Fassi

Cover Design - York v. Prittwitz

Liner Notes - Yvp Music Archive

Charles Earland - In The Pocket (1982) [re-rip]

The final in a long string of Muse albums stretching back to 1977, this is a fairly typical Charles Earland set. The organist, who is joined by tenorman Houston Person, guitarist Melvin Sparks and drummer Idris Muhammad, performs five group originals, and the music swings and grooves predictably but with spirit. ~ by Scott Yanow, AMG.

Kicks ass! Like all of Earland's albums for Muse, this one's a deceptively simple record that you might pass up because of the date and the cover – but it's a full-fire burner that shows Earland playing better organ than he did for any other label after leaving Prestige. The tracks are long, with a very spare stripped down feel that lets Charlie go to town on the Hammond – and with backing by Houston Person, Melvin Sparks, and Idris Muhammad, he's in very nice company. © Dusty Groove America, Inc.

Earland has a sizable stack of albums to his credit, and they're taken many shapes. In the early 70's one was titled "Leaving This Planet", and the subsequent "Odyssey" suggests some further voyaging. More recently, Earland has placed his music in a "Jam" for another label. But "In The Pocket" - like other Muse LPs such as "Mama Roots" (MR 5156) and "Pleasant Afternoon" (MR 5201) - is about first impressions, the stuff that brought Earland into music in the first place, the sort of unpretentious cookery he handles so splendidly, the heart of his music. Those first impressions are the ones that last. ~ Neil Tesser, Liner Notes.

Muse Records, MR 5240, 1982

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ

Houston Person - Tenor Saxophone

Melvin Sparks - Guitar

Idris Muhammad - Drums

Tracks:

A1. Tackhead {Charles Earland} (9:46)

A2. In The Alley {Willis Jackson} (8:08)

B1. Grant's Groove {Melvin Sparks} (4:54)

B2. A Good Date {Charles Earland} (5:05)

B3. Ballad For Mom {Charles Earland} (6:52)

Credits:

Producer - Houston Person
Recording & Mastering Engineer - Rudy van Gelder
Cover Photo - Hugh Bell
Art Direction - W. Dale Cramer
Liner Notes - Neil Tesser

Charles Earland - Infant Eyes (1979) [re-rip]

Who says you can't go back and do traditional jazz in '79? For those who digressed from the 70's fused and funky side of jazz should heed to this release. And for all you jazz guitar purists should surely enjoy the first couple of tracks. Brilliant just brilliant manic guitar playing by Jimmy Ponder. I also really love the laid-back title track. The flute by Frank Wess makes it all worthwhile. ~ SomaWaxDollarBin

As of this writing, I've been straying away from the majority of classic/traditional jazz (but not all) and find my liking geared towards the 60's & 70's input, especially with jazz-funk, soul-jazz and jazz-fusion. However, there are some really good grooves (not funk) on this LP and it's just jazz, really good jazz and not jazz-funk, jazz-fusion, etc. Man, I just listened to the last track ("Is It Necessary") and love that drumming and Earland's Hammond. Do I recommend this album? Oh yeah, no doubts. ~ RateYourMusic.com

A solid set from some cats I would list as soft-spot personal favorites...Charlie Earland, Melvin Sparks and Jimmy Ponder trading tracks on guitar... The great Frank Wess and Mack Goldsbury on tenor saxes, Bill Hardman on trumpet, and Lawrence Killian on "percussion." Can't go wrong with some Charles Earland. ~ DestinationFunk

Muse Records, MR 5181, 1979

Recorded At Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Musicians:

Charles Earland - Hammond Organ

Bill Hardman - Trumpet

Frank Wess - Tenor Saxophone, Flute

Mack Goldsbury  - Tenor Saxophone (#A2)

Jimmy Ponder - Guitar (#A1,A2)

Melvin Sparks - Guitar (#B1-B3)

Grady Tate - Drums

Lawrence Killian - Percussion

Tracks:

A1. We Are Not Alone {Charles Earland} (5:04)

A2. Blues For Rudy {Charles Earland} (11:43)

B1. The Thang {Charles Earland} (7:11)

B2. Infant Eyes {Wayne Shorter} (6:17)

B3. Is It Necessary? {Charles Earland} (4:56)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Cover Design - Ron Warwell

Cover Photograph - Clarence Eastmond

Liner Notes - Michael Rozek

Charles Earland - Mama Roots (1978) [re-rip]

Amazing late 70s work from Charles Earland – quite different material than his contemporaneous sets for Mercury and Columbia, and much more the rootsy soul jazz he first cut at Prestige! The tracks are long, and filled with rhythms – that undeniable Earland groove, which is laid out here beautifully on the Hammond – in a real no-nonsense sort of style that holds up wonderfully over the years. Players are great throughout – and include Dave Schnitter and George Coleman on tenor, Jimmy Ponder on guitar, and Walter Perkins on drums. Titles include "Undecided", "The Dozens", "Mama Roots", "Red Green & Black Blues", "Old Folks", and "Bluesette". ~ Dusty Groove Inc.,

Organist Charles Earland recorded nine albums for the Muse label between 1977 and 1995. None stand out particularly, but each had its share of solid, organ-combo swing and programs of mostly blues and ballads. This music was all recorded between Earland's more commercial (and less memorable) outings on Mercury and Columbia and catch the organ grinder in a kind of Jimmy Smith bag (reinforced even more when paired with Wes-like guitarist Jimmy Ponder). While the funk and the fire in Earland's playing had been missing since at least his last Prestige record (1974), there's an insistently melodic and appealing groove throughout this set. Another advantage is that the majority of the tunes here are Earland originals: slow burners that really let the organist cook nicely on a low flame. There are several nice features for George Coleman on tenor sax. A surprisingly cohesive set with an enjoyable after-hours feel. ~ by Douglas Payne.

Muse Records, MR 5156, 1978

Recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ

Dave Schnitter - Tenor Saxophone (#A1)

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Walter Perkins - Drums (#A1,A2,B1,B2)

Bobby Durham - Drums (#A3,B3)

Tracks:

A1. Undecided {Charlie Shavers} (7:45)

A2. The Dozens {Charles Earland} (3:46)

A3. Red, Green & Black Blues {Charles Earland} (4:54)

B1. Mama Roots {Charles Earland} (6:34)

B2. Old Folks {Willard Robison} (5:27)

B3. Bluesette {Toots Thielemans, Norman Gimbel} (6:38)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Cover Design - Ron Warwell

Cover Photography - Clarence Eastmond

Liner Notes - Tony Outhwaite

Charles Earland - Pleasant Afternoon (1978) [re-rip]

With Houston Person on tenor sax, Bill Hardman on trumpet, and Melvin Sparks on guitar, not to overlook the master of the Hammond B3 himself, Charles Earland nothing can go wrong. All tunes, penned by Earland, are masterfully crafted into a wonderfully sonorous soul jazz excursion. Earland's Hammond licks add a dynamic unique to this genre, something that modern day players have not been able equal. The music is as vitalising as it was back in the late seventies.  Of course it goes without saying that all players set this album on fire.

Yes this is the one with the monster jazz dance banger "Murilley" on it-enough said!!! ~ Orgy In Rhythm

Thanks for another Mighty Burner album, his Muse sessions was a kind of "back to the roots" after all those Mercury disco/fusion oriented LPs. ~ Sergio

"Murilley" is great and fun, but I like the other tracks even more, especially "Organic Blues". The playing throughout this album is so raw and direct, not perfect, but soulful. ~ instagib

His sound & groove is so POWERFUL. ~ Pekis

Muse Records, MR 5201, 1981

Recorded 19th April, 1978 at Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ [Hammond B3], Vocals (#A1)

Houston Person - Tenor Saxophone

Bill Hardman - Trumpet

Melvin Sparks - Guitar

Grady Tate - Drums

Ralph Dorsey - Percussion, Conga

Tracks:

A1. Murilley {Charles Earland} (6:35)

A2. A Prayer {Charles Earland} (3:47)

A3. Organic Blues {Charles Earland} (7:25)

B1. Pleasant Afternoon {Charles Earland} (11:00)

B2. Three Blind Mice {Charles Earland} (6:16)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Liner Notes - Michael Rozek

Charlie Earland - Smokin' (1977) [re-rip]

Fine mid-'70s sextet set featuring Earland's customary soul-jazz, blues, and funk, with uptempo and ballad originals. Tenor saxophonists David Schnitter and George Coleman excel, as does guitarist Jimmy Ponder. ~ by Ron Wynn, AMG.

Killer work by Charles Earland – a back to basics set of grooving tunes that are cut in the best soul jazz mode of earlier years! Earland heads a great group that includes Jimmy Ponder on guitar, George Coleman on tenor, and Walter Perkins on drums – and the set swings high, wide, and mightily with that tight groove that Charles always has on these straight soul jazz sets. With a very hot version of "Milestones", plus "Penn Relays", "Soon It's Gonna Rain", and an excellent uptempo take on "Strangers In The Night". © Dusty Groove, Inc.

Muse Records, MR 5126, 1977

Recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Musicians:

Charles Earland - Organ [Hammond B-3]

Dave Schnitter - Tenor Saxophone

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Bobby Durham - Drums (#A1,A2), Keyboards (#A2)

Walter Perkins - Drums (#A3,B1,B2)

Herb Fisher - Percussion

Tracks:

A1. Penn Relays {Charles Earland} (5:48)

A2. Danny Boy's Blues {Dave Paul} (3:53)

A3. Milestones #2 {Miles Davis} (8:25)

B1. Soon It's Gonna Rain {Tom Jones, Harvey Schmidt} (9:38)

B2. Strangers In The Night {Bert Kaempfert} (4:58)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Design [Cover], Photography - Hal Wilson

Liner Notes - Frederick I Douglass

Niels-Henning Ørsted Pedersen Trio - Friends Forever (1995)

Niels Pedersen made many rewarding recordings over several decades as a sideman with the late pianist Kenny Drew, so his making of a CD in tribute to him shouldn't come as a surprise. Joined by pianist Renee Rosnes and drummer Jonas Johansen, Friends Forever: In Memory of Kenny Drew primarily include selections which Drew loved to play. The Danish folk lullaby "Hushaby" is a bit unusual, as it includes a drum solo, as well as Rosnes' dirge-like piano. Pedersen's pulsing bass helps to disguise the introduction to "Someday My Prince Will Come," a lovely waltz recorded by numerous jazz greats. A lively post-bop workout of "Lullaby of the Leaves" swings like mad; while an initially funky introduction to "The Shadow of Your Smile" quickly gives way to a more traditional samba treatment. Pedersen's originals also merit attention. The medley "Future Child-Friends Forever" begins with the leader's intricate pizzicato solo, then adds his partners for the second song, which spotlights Pedersen's flawless arco bass. His special tribute "Kenny" reflects Pedersen's sense of loss without getting overly maudlin. This brilliant date adds to the already considerable recorded accomplishments of Niels Pedersen. ~ by Ken Dryden, AMG.

Milestone Records, MCD 9269-2, 1997

Recorded 27th-28th August, 1995 At East Sound Recording Studio, Copenhagen, Denmark

Musicians:

Niels-Henning Ørsted Pedersen - Bass

Renee Rosnes - Piano

Jonas Johansen - Drums

Tracks:

1. Hushbaby {Traditional} (8:22)

2. Kenny {Niels-Henning Ørsted Pedersen} (6:26)

3. Someday My Prince Will Come {Frank Churchill, Larry Morey} (4:01)

4. Theme From Elvira Madigan {Wolfgang Amadeus Mozart} (3:59)

5. Lullaby Of The Leaves {Bernice Petkere, Joe Young} (4:15)

6. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (5:37)

7. Sometime Ago {Sergio Mihanovich} (5:20)

8. Days Of Wine And Roses {Henry Mancini, Johnny Mercer} (5:45)

9. Future Child -- Friends Forever {Niels-Henning Ørsted Pedersen} (9:20)

Credits:

Producer - Makoto Kimata

Recording & Mixing Engineer - Henrik Lund

Mastering - Phil De Lancie, 1997 (Fantasy Studios, Berkeley)

Design - Gilles Margerin

Art Direction - Jamie Putnam

Photography - Kirsten Malone

Liner Notes - Fred Bouchard

Naná Vasconcelos & The Bushdancers - Rain Dance (1989)

One hell of a Latin Jazz outing, skillfully constructed by the master himself Naná Vasconcelos who is joined by an equally impressive team of players and choral singers. Within minutes the listener is transported to new realm of joy and excitement. It’s not as serious as his other ECM sides; it is as the following reviewer puts it simply fun.

It's like being in the rain jungle with a bunch of good friends who don't speak English, or any language I know of, who just want to have a party. It's fun! The second track is the absolute best. I love it, I love it, I love it!!!!! I forget the name of it offhand but if you had a 30 second taste of it, you'd buy the CD no problem. ~ Raven, Amazon.com.

Antilles Records, ANCD 8741, 1989

Recorded and Mixed At Acme Recording Studios, Inc., October, 1988

Personnel:

Naná Vasconcelos - Percussion, Vocals

Teese Gohl - Keyboards

Sergio Brandao - Bass, Cavaquinho

Cyro Baptista - Percussion, Vocals

Trilok Gurtu - Percussion (#8)

Alana Fonseca, Aleida Vargas, Michelle Vargas, Vivian Seix - Vocals (#4)

Tracks:

1. Bird Boy {Don Cherry, Naná Vasconcelos} (4:31)

2. Anarrie {Ciro Baptista, Bushdancers}/Rain Dance {Peter Scherer, Naná Vasconcelos} (7:40)

3. Push Dance {Teese Gohl, Bushdancers} (3:28)

4. Eh! Bahia {Bushdancers} (5:17)

5. Cantei Oba {Erasto Vasconcelos, Bushdancers} (2:55)

6. Batida {Teese Gohl, Bushdancers} (4:14)

7. Olhos Azuis {Teese Gohl, Bushdancers} (4:23)

8. Pasha Love {Bushdancers} (7:25)

9. Bemtevi/Festa {Teese Gohl, Bushdancers} (7:07)

Credits:

Producer - Cragg Lunsford, The Bush Dancers

Executive Producers - Jean-Pierre Weiller-Letourneur

Recording & Mixing - Cragg Lunsford, Peter Denenberg

Cover Design & Illustration - Redi

Photography - Eleanora Alberto