Sam Newsome - The Tender Side Of Sammy Straighthorn (2000)

Picking up the soprano saxophone these days as your sole instrument can be a dangerous proposition. For one thing, the straight clarinet-like horn is notorious for going out of tune if your embouchure is not up to par. Secondly, a whole generation of Kenny G clones has left some fans thinking that the instrument is only capable of insipid and saccharine results. Venerable enough to make the soprano the focus of an entire album, Sam Newsome's The Tender Side of Sammy Straighthorn is only the second album to appear under the saxophonist's name since the start of his New York tenure in 1988. With a fondness for the soprano stylings of both Wayne Shorter and Steve Lacy, Newsome's influences can be detected in 'Victoria's Secret,' which features the saxophonist's hard biting attack in a manner that recalls Shorter's '80s work on such albums as Atlantis. Not a one-trick pony however, Newsome's fluid approach to '12 Bars From Hell' (done with just bass and drums) clearly points to Lacy.

The addition of Elisabeth Kontomanou on several cuts provides further variety, her wordless vocals acting like another solo horn. The melancholy feeling to much of the writing that features Kontomanou hints at the influence of Kenny Wheeler, who often utilizes the voice of Norma Winstone in a similar manner. Pianist Bruce Barth is also a valuable member of the crew, his complex and soulful improvisations almost stealing the show at times.

As a vehicle for allowing the soprano to restore its rightful place among the rest of the saxophone family, Newsome should be congratulated on his efforts. Furthermore, his attempt to extend the hard bop tradition beyond the established boundaries has resulted an intriguing album that will reward those looking for something just a bit left of center. ~ by C Andrew Hovan, AAJ.

SteepleChase Records, SCCD 31452, 2000

Recorded April, 1998

Musicians:

Sam Newsome - Soprano Saxophone

Bruce Barth - Piano

Ugonna Okegwo - Bass

Matt Wilson - Drums

Elisabeth Kontomanou - Vocals

Tracks:

1. Victoria's Secret {Sam Newsome} (7:46)

2. The Tender Side Of Sammy Straighthorn {Sam Newsome} (7:37)

3. Autumn Leaves {Joseph Kosma, Jacques Prévert, Johnny Mercer} (6:46)

4. 12 Bars From Hell {Sam Newsome} (6:46)

5. Lullaby Of Takeda {Traditional} (9:34)

6. The Dumpess Of Nyack {Sam Newsome} (8:10)

7. All The Things You Are {Jerome Kern} (15:45)

Credits:

Producer - Nils Winther

Engineer - Devin Emke

Photography - Fernando Natalichi

Liner Notes - Mark Gardner

Total Time: 62:24

Alex Sipiagin - Images (1998)

This CD finds Alex Sipiagin in his first recorded role as leader. He is in great company with many other fine musicians that include Chris Potter, David Binney, Adam Rogers and Jeff Hirshfield to name a few of the outstanding crew on this TCB release. Essentially, he has come a long way since this earlier date clearly shown by his now broadening and extensive discography. It is an interesting collection of tunes which include two of his own and one from his Russian origins. The album starts off with a tried and test piece by Milton Nascimento followed by one penned by David Binney and wraps up with a contemporary composition by Pat Metheny. Overall his tone is sweet and clearly showcases his ability to handle a broad range of styles. Of course, he would go on to express further virtuosity across his 10 Criss Cross Jazz albums. Personally, for me this album rates well against his latter day works. Enjoy!

TCB Records, 98602, 1998

Recorded & Mixed in May, 1996 At Interlude Studio, New York

Musicians:

Alex Sipiagin - Trumpet, Flute

Joshua Roseman - Trombone

David Binney - Alto Saxophone

Chris Potter - Tenor Saxophone

Gil Goldstein - Piano, Accordion

Adam Rogers - Guitar

Scott Colley - Bass

Jeff Hirshfield - Drums

Kenny Wollesen - Percussion

Tracks:

1. Tarde {Milton Nascimento} (8:04)

2. Freaker {David Binney} (7:44)

3. Little Dancer {Alex Sipiagin} (11:58)

4. Song - 1 {Alex Sipiagin} (3:26)

5. Novgorod Bells {Russian Folksong, Arr. Alex Sipiagin} (12:34)

6. Midwestern Night Dream {Pat Metheny} (7:16)

Credits:

Producer, Arranger - Alex Sipiagin

Executive-Producer - Peter Schmidlin

Recording & Mixing Engineer - Keith Senior

Mastering Engineer - Antoine Ogay, Grens (Premastering)

Graphic Artwork - Gigi Schmid-Huetiger

Photography [Cover] - Valeria Iozas

Photography [Inside] - Anatoly Artomonov

Liner Notes - Mike Zwerin

Total Time: 51:02

Eddie Higgins Trio - Soulero (1965)

Pianist Eddie Higgins' third album as a leader (following an obscurity for Replica and a Vee Jay LP) features his regular Chicago-based trio of the era, a group with bassist Richard Evans and drummer Marshall Thompson. A mainstream pianist with an open ear toward more modern harmonies, Higgins explores such numbers as his "Tango Africaine," "Django," "Beautiful Dreamer," and "Makin' Whoopee" with equal sensitivity and plenty of swing. This worthy LP, unfortunately, will be difficult to find. ~ Scott Yanow, All Music Guide.

Atlantic Records, SD 1446, 1965, US

Atlantic Records, WPCR-27032, 2012, Japan

Recorded 25^th August, 1965 At Universal Recording Corp., Chicago, Illinois

Musicians:

Eddie Higgins - Piano

Richard Evans - Double Bass

Marshall Thompson - Drums

Tracks:

1. Tango Africaine {Eddie Higgins} (4:58)

2. Love Letters {Victor Young} (4:46)

3. Shelley's World {Bill Traut} (3:55)

4. Soulero {Richard Evans} (5:13)

5. Mr. Evans {Richard Evans} (3:18)

6. Django {John Lewis} (5:34)

7. Beautiful Dreamer {Traditional, Arr. Eddie Higgins} (4:41)

8. Makin' Whoopee {Walter Donaldson, Gus Kahn} (7:11)

Credits:

Supervisor - Bill Traut, George Bodansky

Arranger - Richard Evans

Recording Engineer - Murray R. Allen

Mastering Engineer - Jerry DeClercq

Cover Photo - Don Bronstein

Cover Design - Haig Adishian

Liner Notes - Sid McCoy

Total Time: 39:36

Jacky Terrasson - Reach (1995)

The talented young pianist Jacky Terrasson and his trio (with bassist Ugonna Okegwo and drummer Leon Parker) find something new to say on a few standards (including a rare up-tempo version of "For Sentimental Reasons") and introduce five of Terrasson's originals. Although he has does not have an original style yet, Terrasson displays a great deal of potential for the future. Highlights include "I Should Care," "Just One of Those Things," and a medley of his "Reach" with "Smoke Gets in Your Eyes." ~ by Scott Yanow, AMG.

Blue Note, CDP 7243 8 35739 2 9, 1996

Musicians:

Jacky Terrasson - Piano

Ugonna Okegwo - Bass

Leon Parker - Drums

Tracks:

1. I Should Care {Sammy Cahn, Axel Stordahl, Paul Weston} (5:37)

2. The Rat Race {Jacky Terrasson} (3:25)

3. Baby Plum Jacky Terrasson} (5:25)

4. [I Love You] For Sentimental Reasons {William Best, Deek Watson} (6:00)

5. Reach {Jacky Terrasson} / Smoke Gets In Your Eyes {Jerome Kern} (9:05)

6. Happy Man {Jacky Terrasson} (8:51)

7. First Affair {Jacky Terrasson} (6:14)

8. Just One Of Those Things {Cole Porter} (4:25)

Credits:

Producer, Liner Notes - Jacky Terrasson

Executive Producer - Steven Schenfeld

Engineer, Mastering, Liner Notes - Mark Levinson

Photography - Jimmy Katz (Giant Steps)

Design - Patrick Roques

Art Direction - Darcy Cloutier-Fernald

Total Time: 51:02

Mal Waldron - Jazz A Confronto (1972) [vinyl>flac]

The way Waldron chose for his music is that of simplicity and economy. His compositions are made up of very few phrases, single elements he composes, overlaps and slips one over the other, ruling this intricate game of iterations and transformations with geometrical rationality, which you can most easily perceive in the piano playing behaviour of his left hand.

Tew Nune and Breakin’ Through are for me two good examples of a performing style which is so influenced by musical thought, and they can easily be compared to musicians such as Bud Powell, or even remind you of Ravel, Terry Riley, Steve Reich. But if Waldron shares with them the importance he gives to planning, his way of breaking chords into melody is very peculiar, and so is the structure of his short phrases, which contain quantitatively homomorphic, but still homologous elements. Excerpts taken from the Liner Notes by Giampiero Cane.

HORO Records, HLL 101-19, 1975

Recorded 1^st April, 1972 At "Titania Studios" in Rome, Italy

Mal Waldron - Piano [Solo]

Tracks:

A1. Tew Nune {Mal Waldron} (4:31)

A2. Picchy's Waltz {Mal Waldron} (7:19)

A3. Breakin' Through {Mal Waldron} (6:45)

B1. Canto Ritrovato {Giorgo Gaslini} (5:20)

B2. Lullaby {Mal Waldron} (4:10)

B3. Appia Antica {Mal Waldron} (9:11)

Credits:

Producer - Aldo Sinesio

Assistant Producer - Robert Gambuti

Engineer - Massimo di Cicco

Cover Design - Piero Gratton

Photograph - Pepito Pignatelli

Liner Notes - Giampiero Cane

Translation - Cristina Piancastelli

Nat Adderley - Calling Out Loud (1969) [re-rip]

A pretty great little album from Nat - recorded with arrangements by Bill Fischer, who gives the record a tightly compressed big band sound that's perfect for Nat's sharp funky horn! The album's not exactly "funk", but there's plenty of it in the mix - as lead horn grooves around nicely, while Joe Zawinul plays electric piano, and Leo Morris (aka Idris Muhammad) plays drums. Titles include "Biafra", "Haifa", "St M", "Grey Moss", and "Calling Out Loud". © Dusty Groove, Inc.

For this album Adderley composes the majority of the tunes and sets about laying down some impeccably beautiful solos on his chosen instrument the cornet. In addition, he surrounds himself with some of the usual session men of the time such as Ron Carter, Leo Morris, Joe Zawinul, Jerome Richardson and Hubert Laws. The interplay of the Idris & Ron and Nat & Joe pairings takes this album to some special places as it hits some real highs, with Nat's cornet leading the way. Zawinul sets up some nice solos on both Biafra and the following tune Haifa. Carter gets into stride with a loud bass line in parts of Grey Moss. The highlight is the swinging Soul-Jazz of Comin' Out The Shadows with some good soloing. The title track is a touch slower but showcases Zawinul’s biting tones on his electric piano. Of merit are the compositions written and arranged by Bill Fischer; St. M, Nobody Knows and shared with Nat Calling Out Loud. Nat’s playing on Nobody Knows is just perfect. Of equal value are Joe Zawinul’s two tunes; Grey Moss & Ivan's Holiday.

The real issue in preparing this rip is that it is assembled as a suite with a series of transitional mini-movements joining the tunes together. With my first post I carefully spliced the two sides into individual tracks that I believe worked. However, when revisiting this gem I decided to leave well alone and upload just as Side A and Side B, Enjoy!

A&M/CTI Records (Japan), C25Y3819, 1986

Recorded 19th, 21st November & 4th December, 1968

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Nat Adderley - Cornet

Joe Zawinul - Electric Piano

Hubert Laws - Flute, Piccolo Flute

Jerome Richardson - Saxophone

Seldon Powell - Saxophone

George Marge - Clarinet, English Horn, Saxophone (#A1)

Paul Ingraham - French Horn

Donald MacCourt - Bassoon

Romeo Penque - Bass Clarinet

Danny Bank - Saxophone (#A1)

Jerry Dodgion - Saxophone (#A1)

Richard Henderson - Saxophone (#A1)

Ron Carter - Bass

Leo Morris - Drums

Tracklist:

Side A: [18:46]

1. Biafra {Nat Adderley} (6:34)

2. Haifa {Nat Adderley} (4:59)

3. St. M {W. S. Fischer} (3:54)

4. Grey Moss {Joe Zawinul} (3:27)

Side B: [17:32]

1. Nobody Knows {W. S. Fischer} (6:11)

2. Comin' Out The Shadows {Nat Adderley} (4:58)

3. Ivan's Holiday {Joe Zawinul} (3:11)

4. Calling Out Loud {Nat Adderley, W. S. Fischer} (3:17)

Credits:

Producer - Creed Taylor

Engineer - Rudy van Gelder

Arranger & Conductor - Bill Fischer

Cover Photo - Pete Turner

Cover Design - Sam Antupit

Note:

Original rip is still active, check link in comments.

Ricky Ford - American-African Blues (1991)

Ricky Ford means business on this pulsating album, originally released in 1991, his first passionate, bursting solo draws its inspirational roots all the way from Hawkins to Coltrane via Al Sears and Roland Kirk. On this and the other six Ford originals in this set, Ricky organized the tune structures to allow for the insertion of free improvised passages for himself and the other players. Throughout the date Ricky's fellow musicians - Jaki Byard (piano), Milt Hinton (bass), Ben Riley (drums) - are able to indulge in classic interplay, to be free yet to function as a whole. ~ wowhd.co.uk.

Always enjoyed Ricky Ford. Stumbled on this live album of his on Spotify. Great rhythm section really pushes Ricky along. He played music that may have been more in vogue in the '50s and '60s, but he played it well. Good example of a live "late hard bop" tenor quartet recording. ~ Tom Spitzer, AMG.

Candid Records, CCD79528, 1993

Recorded 16^th September, 1991 Live At Birdland, New York City

Musicians:

Ricky Ford - Tenor Saxophone

Jaki Byard - Piano

Milt Hinton - Bass

Ben Riley - Drums

Tracks:

1. American-African Blue [1st Version] (10:47)

2. Environ (7:06)

3. Of (8:23)

4. Complex Harmony (6:48)

5. Descent (8:41)

6. Mostly Arco (5:52)

7. Encore (8:46)

8. American-African Blues [2nd Version] (7:10)

All Compositions by Ricky Ford

Credits:

Producer - Mark Morganelli

Executive Producer - Alan Bates

Engineer - Malcolm Addey

Editing - Bob Auger

Design - Malcolm Walker

Photography - Jimmy Katz

Liner Notes - Ricky Ford, Gerry Attrick