Marcus Printup - Nocturnal Traces (1998)

Since what seem like ages-ago sightings at the Monk Competition, and later at the Jacksonville Jazz Festival, where he played at the side of the stage in deference to some fluffy smooth jazz outfit scheduled to follow his band, trumpeter Marcus Printup's growth arc has been impressive. Last time out he was paying homage to Freddie Hubbard, with fellow Blue Noter Tim Hagans. This time, save for the smoldering “Freddie's Inferno”, in tribute to the master, it's all about Marcus. The band is his regular crew, including Kevin Bales on piano, Ricky Ravelo on bass, and Woody Williams on drums. The comfort level Printup feels is obvious from the jump.

Throughout this disc there is a palpable joy and fatness in his sound, for which one need listen no further than his buoyant treatment of "Have You Met Miss Jones?" The program strikes a fine balance between standards and Printup's tunes, yet some of his most telling statements are made on the former. Check out his soulful version of "Black Coffee," for example, with trumpet tone sufficiently broadened to address the blue nuances of the familiar tune. Throughout, Marcus Printup is bubbling with energy and controlled passion, and a tip of the hat also to his rompin' stompin' drummer, Williams, who has lit many a bandstand down Atlanta way. ~ by Willard Jenkins, JazzTimes.

Blue Note, CDP 7243 4 93676 2 3, 1998

Recorded 24^th & 25^th January, 1998 to Analog 2-Track At Avatar Studio C, New York, NY

Musicians:

Marcus Printup - Trumpet

Kevin Bales - Piano

Ricky Ravelo - Bass

Woody Williams - Drums

Tracks:

01. Woody's Beat {Marcus Printup} (7:16)

02. Have You Met Miss Jones {Lorenz Hart, Richard Rodgers} (5:55)

03. Shertzing Along {Marcus Printup} (6:08)

04. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (5:19)

05. Black Coffee {Sonny Burke, Paul Francis Webster} (7:02)

06. Pier Pressure {Marcus Printup} (6:07)

07. Nocturnal Traces {Marcus Printup} (6:13)

08. Ain't Misbehavin' {Harry Brooks, Andy Razaf, Fats Waller} (5:41)

09. How Do You Keep The Music Playing? {Alan & Marilyn Bergman, Michel Legrand} (5:42)

10. Freddie's Inferno {Marcus Printup} (4:07)

Credits:

Producer - Bob Belden, Marcus Printup

Recording Engineer - Jim Anderson

Assistant Engineer - Aya Takemura

Mastering Engineer - Allan Tucker

Photography - Jimmy Katz, Lisa Peardon

Design - Karen Thomas, Burton Yount

Liner Notes - Herb Wong

Total Time: 59:30

In this bright and accessible effort from one of the best young trumpeters on the scene, Printup mixes up originals with standards. The fact that his tunes complement works by Rodgers & Hart ("Have You Met Miss Jones") and Fats Waller ("Ain't Misbehavin'") so well should key you in to the fact that he is a bit of a traditionalist. With his quartet of Kevin Bales on piano, Ricky Ravelo on bass, and Woody Williams on drums, Printup lays down some fine exercises in samba ("Shertzing Along") and bop ("Pier Pressure"). There is plenty of fine work here. ~ by Tim Sheridan, AMG.

Dewey Redman - Coincide (1974) [true flac]

A beautiful and spiritual record by Dewey – and one that features very stripped down playing, mostly in a trio or quartet format. The players differ from track to track – and they include Sirone on bass, Eddie Moore on drums, Leroy Jenkins on violin, and Ted Daniel on trumpet. Two tracks feature Redman playing zither, which sounds strange, but very nice. Another features clarinet, and the remainder feature Dewey on his traditional tenor. Titles include "QOW", "Somnifacient", "Seeds & Deeds", "Funcitydues", and "Phadan-Sers". © Dusty Groove, Inc.

Impulse! Records, ASD-9300, 1975

Recorded 9^th (#A1,A2) & 10th (#A3-B4) September, 1974 at Generation Sound Studios, New York City

Musicians:

Dewey Redman - Tenor Sax (#A1,B1,B2,B4), Clarinet (#A2), Zither (#A3,B3)

Ted Daniel - Trumpet (#A1,A2)

Leroy Jenkins - Violin (#A1,A2)

Sirone - Bass (#A1-B2,B4)

Eddie Moore - Drums (#A1,B1,B2,B4), Tympani (#A2), Cymbals (#A2), Bowed And Struck Idiophone (#A3)

Tracks:

A1. Seeds And Deeds (4:51)

A2. Somnifacient (7:14)

A3. Meditation Submission Purification (8:12)

B1. Joie De Vivre (3:20)

B2. Funcitydues (3:15)

B3. Phadan-Sers (3:38)

B4. Qow (10:17)

All Compositions by Dewey Redman

Credits:

Producer - Ed Michel

Engineer - Tony May

Mixing - Baker Bigsby

Mastering - Kendun Recorders

Design - Tim Bryant

Photography - Philip Melnick

Liner Notes - Robert Palmer

Total Time: 40:47

Dewey Redman is featured in a few different settings on this intriguing and generally successful album. The best cuts are the originals that match Redman's tenor with bassist Sirone and drummer Eddie Moore. In addition, he is heard on zither on two cuts (one of which is unaccompanied), and his trio adds trumpeter Ted Daniel and violinist Leroy Jenkins for two complex originals; Redman switches to clarinet on "Somnifacient." Although it is interesting to hear Redman on clarinet and zither, his tenor playing is clearly his strong point and the main reason to search for this LP. His ten-minute workout on "Qow" is outstanding. ~ by Scott Yanow, AMG.

The Cutting Edge feat. Tim Hagans - The Cutting Edge (1998)

Brilliant Post-Bop Giants

This release features some of the finest current players on the jazz scene, Tim Hagans is in my mind the most fluent trumpet player out there. His lyrical Miles-like sparseness is totally his own. Walt Weiskopf is out of Trane and no tenor has more technique at their disposal. Conrad Herwig is a breathtaking bone player, blasting through mind blowing changes on every solo. The ensemble work is swinging and seamless. Very hip rhythm section as well. Cannot Go Wrong With This One! ~ Robert Ricketts, Amazon.com.

Double-Time Records, DTRCD-141, 1999

Recorded January, 1998 At Steve Davis Studios, Yonkers, New York

Musicians:

Tim Hagans - Trumpet

Conrad Herwig - Trombone

Walt Weiskopf - Tenor Saxophone

Andy Laverne - Piano, Arranger

Jay Anderson - Bass

Steve Davis - Drums

Tracks:

1. Footprints {Wayne Shorter} (8:03)

2. Yesterdays {Jerome Kern, Otto Harbach} (5:57)

3. Code Bleu {Andy Laverne} (10:10)

4. Cantaloupe Island {Herbie Hancock} (6:41)

5. Cutting Edge {Andy Laverne} (8:01)

6. Secret Of The Andes {Andy Laverne} (7:24)

7. Space Dozen {Tim Hagans} (5:20)

8. Our Destiny {Conrad Herwig} (7:17)

9. Get Out Of Town {Walt Weiskopf} (6:35)

Credits:

Producer - Andy Laverne

Mastering, Graphic Design - Jamey Aebersold

Liner Notes - Ted Panken

Total Time: 65:28

Tim Hagans - No Words (1994)

The impressive trumpeter Tim Hagans holds his own with the tenor of Joe Lovano during a sextet session with guitarist John Abercrombie, keyboardist Marc Copland, bassist Scott Lee and drummer Bill Stewart that features nine of his originals. The music is essentially advanced hard bop (Lovano and Abercrombie both sound somewhat inspired) and Hagans displays both an attractive tone and a fertile imagination. It's a strong set of modern mainstream jazz. ~ by Scott Yanow, AMG.

Blue Note, CDP 0777 7 89680 2 3, 1994

Recorded 3^rd December, 1993 At Power Station, New York City

Musicians:

Tim Hagans - Trumpet

Joe Lovano - Tenor Saxophone, Soprano Saxophone

Marc Copland - Piano, Fender Rhodes

John Abercrombie - Guitar

Scott Lee - Bass

Bill Stewart - Drums

Tracks:

1. No Words {Tim Hagans} (5:42)

2. Nog Rhythms {Tim Hagans} (8:29)

3. Waking Iris {Tim Hagans} (7:39)

4. Noogaloo {Tim Hagans} (6:45)

5. Immediate Left {Tim Hagans} (8:09)

6. Passing Giants {Tim Hagans} (5:04)

7. For The Music {Tim Hagans} (8:53)

8. Housewife From New Jersey {Tim Hagans} (8:00)

9. Lost In My Suitcase {Tim Hagans} (7:52)

Credits:

Producer - Tim Hagans

Producer, Liner Notes - Joe Lovano

Recording Engineer - James Farber

Mixing Engineer - A.T. Michael McDonald

Art Direction, Design - Mark Larson

Photography - Jeffrey Scales

Photography [Session] - Cheung Ching Ming

Total Time: 66:33

Mike DiRubbo - Threshold (2014)

Mike DiRubbo's eight disc as a leader, Threshold finds the ever-inventive alto saxophonist in a solidly hard bop environment that is reminiscent of Blue Note records of the 1950s but has a clear modern edge. In addition to leading a superb and sympathetic quintet, DiRubbo penned eight of the nine tracks on this riveting record with a momentum that never slacks from the first note to the last.

DiRubbo's acerbic, passionate tone marks his tight and intelligent improvisations that seamlessly arise from the intricate and memorable heads of each composition. His embellishments of the melody on the dynamic title piece are simultaneously raw and elegant while his haunting spontaneous lines on the contemplative "Salter Of The Earth" burn with intense poetry. His stimulating ad-lib flourishes add a cinematic mystique to the vivid "1970" while trumpeter Josh Evans' mellow, burnished horn takes an expansive and charismatic solo.

The modal and riveting "Sun Steps" opens with the unaccompanied clarion call of the frontline. As the music evolves DiRubbo and Evans weave elegiac motifs around the core theme. Bassist Ugonna Okegwo's inspired and lyrical string work makes for a satisfying conclusion.

Elsewhere Evans blows a Levantine influenced extemporization on the dark and dramatic "Pace," perhaps the most innovative tune of the album. Pianist Brian Charette's crisp overlapping sonic clusters with the right amount of angular dissonance put a deliciously shadowy spin on the fairy tale ambience.

Drummer Rudy Royston provides both rhythmic support and propels the bands' ensemble play and spirited exchanges. He versatility ranges from the subtle sophisticated brushwork on the undulating "Faith" to the complex and fiery beats on the Latin-esque "Curvas Perigosas." Together with Okegwo he creates taut but still swinging backdrops against which the others' free flowing phrases echo as, for instance, on the simmering and soulful "Where There's A Willis There's A Way."

Threshold is a tad more traditional than DiRubbo's previous releases, especially ones from the preceding five years. It is his and his sidemen's unparalleled musicianship and captivating creativity that makes this, nevertheless, a provocative and enjoyable work. ~ by Hrayr Attarian, AAJ.

Ksanti Records, KSR002, 2014

Recorded 12^th December, 2013 At Whitewater Productions, Brooklyn, New York

Musicians:

Mike DiRubbo - Alto Saxophone

Josh Evans - Trumpet

Brian Charette - Piano

Ugonna Okegwo - Bass

Rudy Royston - Drums

Tracks:

1. Threshold {Mike DiRubbo} (7:54)

2. Where There's A Willis There's A Way {Mike DiRubbo} (5:12)

3. Sun Steps {Mike DiRubbo} (6:37)

4. Pace {Mike DiRubbo} (6:20)

5. Faith {Mike DiRubbo} (5:44)

6. Curvas Perigosas {Mike DiRubbo} (6:30)

7. 1970 {Mike DiRubbo} (6:32)

8. Salter Of The Earth {Mike DiRubbo} (6:27)

9. Bloomdido {Charlie Parker} (5:32)

Credits:

Producer - Mike DiRubbo

Recording Engineer - John White

Mixing, Mastering Engineer - Ian Hendrickson-Smith

Design - Todd Cruikshank

Total Time: 56:48

Michael Cochrane Trio - Song Of Change (1993)

An excellent straight-ahead hard bop pianist, Michael Cochrane performs four of his originals and six standards, including swinging versions of "On Green Dolphin Street," "The Surrey With The Fringe On Top," and "Autumn Leaves" on this trio set. Assisted by bassist Marcus McLaurine and drummer Alan Nelson, Cochrane adds his own musical personality to the hard bop tradition, creating music that should please straight-ahead jazz fans. ~ by Scott Yanow, AMG.

Down Beat (12/93, p.41) - 3 Stars - Good - "...Solid...cheery uptempo takes on standards..."

JazzTimes (4/95, pp.87-88) - "...SONG OF CHANGE offers music executed with unselfconscious assurance guaranteeing fondly repeated listening..."

Soul Note, 121251-2, 1993

Recorded 23^rd-24^th November, 1992 At Garden Productions, New York

Musicians:

Michael Cochrane - Piano

Marcus McLaurine - Bass

Alan Nelson - Drums

Tracks:

01. S.C.C. {Michael Cochrane} (5:57)

02. Once I Loved {Ray Gilbert, Antônio Carlos Jobim, Vinícius de Moraes} (6:48)

03. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (6:45)

04. On Green Dolphin Street {Bronislaw Kaper, Ned Washington} (6:46)

05. No Pain, No Gain {Michael Cochrane} (5:07)

06. The Surrey With The Fringe On Top {Oscar Hammerstein II, Richard Rodgers} (8:00)

07. Cloud 9 {Michael Cochrane} (6:08)

08. Autumn Leaves {Joseph Kosma, Johnny Mercer, Jacques Prévert} (7:08)

09. Song Of Change {Michael Cochrane} (6:57)

10. Bemsha Swing {Denzil Best, Thelonious Monk} (5:16)

Credits:

Producer - Michael Cochrane

Executive Producer - Giovanni Bonandrini

Engineer, Mixing - Jimmy Madison

Mastering - Gennaro Carone

Liner Notes - Bill Shoemaker

Total Time: 64:52

Ahmad Jamal - Tranquility

I have to admit, I'm not a fan of jazz interpretations of shmaltzy pop tunes.  In fact, I can't stand it.  So when I looked at the tracklist of this album, I was initially repulsed.  But it's Ahmad Jamal!!  I haven't heard a bad Jamal album, and that gave me yet another reason to be apprehensive about this one.  I know that logic seems backwards, but I couldn't bare the fact that he may have a complete dud in his discography.  Ignorance is bliss right?  Ultimately the deal breaker was the fact that it was only priced at $1, in a dingy thrift shop.  At that price it's a no brainer really.

So, "Say A Little Prayer" doesn't exactly start off with a whole lot of promise.  The band begin by stating the theme, and I am left thinking "Oh God it is gonna suck"... but wait...

...hold on...

...oh, ok... I see what he's doing here.  Wow!!  Nice!!  Brilliant!!

This is after all Ahmad Jamal, ye with little faith.  Side one is essentially a rush of quick pop tunes, but they are given the classic Jamal Trio treatment.  That inimitable style is stamped all over these otherwise predictable tunes.  Frankly its quite refreshing, and the group even manage to have you forget the source material.  Ahmad Jamal is undoubtedly a master, and it's through an album like this that we see why.  When side one was over, I was left recalling several different moments and basically needed to play it again.  Not the outcome I would have predicted, not by a long shot.

Side two plays like a more typical Jamal Trio joint.  Three tunes over twenty minutes, with lots of extended solos and interplay.  Overall, I found this to be an excellent album.  Fun & refreshing, but with some serious moments as well, the trio deliver on all expectations.  This stereo LP was in rough shape but cleaned up surprisingly well.  It was ripped at 24/48wav and transferred to FLAC in 24/48 for your convenience... enjoy!!!

ABC Records ABCS-660
1968

Bass – Jamil Sulieman
Drums – Frank Gant
Piano – Ahmad Jamal

Elton Dean, Joe Gallivan, Kenny Wheeler - The Cheque Is In The Mail (1977) [vinyl]

This album is ten Conversations among ourselves. There are no solos with accompaniment, just three people playing together somewhat in the tradition of older style jazz musicians - but with a contemporary language. It is the blending of electronic and acoustical sounds, contemporary and jazz-rooted improvisation, the sounds of metal and reeds (the horns), membranephones (animal skin drum heads), percussion and the pure ways of the moog synthesizer. There is no overdubbing, when you hear synthesizer and percussion, they are played together in order to capture the most important element of this album - the human element. ~ Joe Gallivan.

Ogun Records, OG 610, 1977

Recorded February, 1977 in London, England

Musicians:

Elton Dean - Alto Saxophone, Saxello

Kenny Wheeler - Trumpet, Flugelhorn

Joe Gallivan - Synthesizer, Drums, Percussion

Tracks:

A1. In Spite Of It {Dean, Wheeler, Gallivan} (2:31)

A2. Steps {Dean, Wheeler, Gallivan} (3:48)

A3. First Team {Dean, Wheeler, Gallivan} (3:38)

A4. Ragadagger {Dean, Wheeler, Gallivan} (4:06)

A5. To The Sun {Dean, Wheeler, Gallivan} (8:20)

B1. Off Your Beaver {Dean, Wheeler, Gallivan} (3:22)

B2. Appropo {Dean, Wheeler, Gallivan} (6:59)

B3. Fragment Of Memory {Dean, Wheeler, Gallivan} (2:18)

B4. No Bounds {Dean, Wheeler, Gallivan} (4:21)

B5. Time Test {Dean, Wheeler, Gallivan} (3:14)

Credits:

Producer - Joe Gallivan in Co-operation with Elton Dean

Mixing - Ron Eve (February, 1977, London)

Mastering - Brian C. East

Total Time: 42:37

Marion Brown - Geechee Recollections (1973)

Geechee Recollections was the first in a trilogy of recordings by saxophonist Marion Brown that both honored the work of poet Jean Toomer and revisited his upbringing in Georgia. Together, they form arguably the most beautiful and satisfying output of Brown's lengthy career. The music, while remaining experimental, is grounded in Southern folk themes and blues, epitomized on tracks like the funky "Buttermilk Bottom" here. A Toomer poem, Karintha is given a striking reading by Bill Hasson and, throughout the recording, Brown receives excellent support by a strong ensemble including trumpeter Leo Smith and the great drummer Steve McCall. Brown, with his marvelously limpid tone on alto, is a joy to hear and seems more at home and relaxed here than on some of his more strident early records. Recommended. ~ Brian Olewnick, AMG.

Impulse! Records, AS-9252, 1973

ABC/Impulse! Records, MVCZ-120, 1997

Recorded 4^th & 5^th June, 1973 At Intermedia Sound, Boston, Massachusetts

Musicians:

Marion Brown - Alto & Soprano Saxophones, Clarinet, Percussion

Leo Smith - Brasses, Strings, Percussion

Bill Hassan - Narration (#2), Percussion

James Jefferson - Bass, Cello (#2), Percussion

Steve McCall - Drums, Miscellaneous Percussion

A. Kobena Adzenyah - Drums [Southeastern Ghana]: Soge, Kidi, Kaganu, Axatse,

Gankogui, Toke; Drums [Akan people, Ghana]: Apentemba,

Apenten, Dawure, Nnawunta, Donne, Gyilla, Balaphone [Lobi people, Northern Ghana]

William Malone - Thumb Piano, Autoharp, Axatse

Jumma Santos - Conga Drums, Miscellaneous Instruments

Tracks:

1. Once Upon A Time {Marion Brown} (6:27)

2. Karintha {Marion Brown, Jean Toomer} (9:25)

3. Buttermilk Bottom {Marion Brown} (6:42)

4. Introduction {Marion Brown} (1:18)

5. Tokalokaloka, Part One {Marion Brown} (6:59)

6. Tokalokaloka, Part Two {Marion Brown} (8:39)

7. Tokalokaloka, Part Three {Marion Brown} (1:45)

8. Ending {Leo Smith} (1:20)

Credits:

Producer - Ed Michel

Recording Engineer - Berred Ouelette

Assistant Engineer - Dominic Lumetta, Gilmar Fortis, Kathryn King, Nat Seligman

Mixing Engineer - Rick Heenan (The Village Recorder)

Photography - Donald M. Shaw

Liner Notes - J.B. Figi

Liner Notes [Poem] - Eric D. Jackson

Total Time: 40:35

Marion Brown - Sweet Earth Flying (1974)

The second installment of his "Georgia" trilogy, Sweet Earth Flying is arguably Marion Brown's finest work and certainly one of the underappreciated treasures of '70s jazz. Again, the words and ideas of poet Jean Toomer underlie Brown's conception (hence the album's title), though this time (unlike the appearance of Karintha on Geechee Recollections) none of Toomer's actually poetry is utilized. Instead, he calls into service the remarkable keyboard paring of Muhal Richard Abrams and Paul Bley, an inspiration that pays off in spades. The two pianists alternate acoustic and electric keyboards, bringing a slight tinge of the propulsiveness of Miles Davis' late-'60s bands, but with a grace, soul, and sense of freedom rarely achieved by Corea and Jarrett. In fact, Abrams' feature on Part Five of the title suite is one of the single most beautiful and cogent statements he ever created. Brown's sound on both soprano and alto has a unique quality; he tends to sound tentative and innocently hesitant when first entering, only to gather strength as he goes, reaching utter conviction along the way. Special mention must be made of vocalist Bill Hasson. He's featured on only one piece, but his deep-voiced recitation in a language of his own construction (drawing from West Africa, Brazil, the Caribbean, and North American down-home English) is a very special treat indeed. Very highly recommended to open-eared jazz fans of all tastes. ~ Brian Olewnick, AMG.

Impulse! Records, AS-9275, 1974

Recorded 6th & 7th May, 1974 At Intermedia Recording, Boston, Massachusetts

Personnel:

Side One:

Marion Brown - Alto Saxophone

Paul Bley - Fender Rhodes (#1,2)

Muhal Richard Abrams - Fender Rhodes (#3), Piano (#4), Organ (#2)

James Jefferson - Bass, Electric Bass [Fender]

Steve McCall - Drums, Percussion

Bill Hasson - Percussion, Narration

Recorded 7th May, 1974 At Intermedia Recording, Boston, Massachusetts

1. Sweet Earth Flying, Pt. 1 (3:40)

2. Sweet Earth Flying, Pt. 3 (5:58)

3. Sweet Earth Flying, Pt. 4: Prince Willie (5:57)

4. Sweet Earth Flying, Pt. 5 (4:58)

Note:

Sweet Earth Flying, Part 2 - Unissued

Side Two:

Marion Brown - Soprano Saxophone

Paul Bley - Piano (#5,7,8), Fender Rhodes (#6,7), Organ (#5)

Muhal Richard Abrahms - Fender Rhodes (#5,8), Organ (#6,7)

James Jefferson - Bass, Electric Bass

Steve McCall - Drums

Bill Hasson - Percussion

Recorded 6th May, 1974 At Intermedia Recording, Boston, Massachusetts

5. Eleven Light City, Pt. 1 (7:17)

6. Eleven Light City, Pt. 2 (2:10)

7. Eleven Light City, Pt. 3 (5:52)

8. Eleven Light City, Pt. 4 (3:02)

Credits:

Producer - Ed Michel

Recording Engineer - Beered Ouellette

Mixing Engineer - Baker Bigsby, Gil Fortis (The Village Recorder)

Album Design - Tim Bryant

Photography [Cover] - Michael W. Anderson

Photography [Liner] - Gail Brown

Liner Notes - Acklyn R. Lynch

Total Time: 38:58

Marion Brown - Three For Shepp (1966)

An unbelievable recording! As Archie Shepp made his first album for Impulse a tribute to Coltrane, Marion Brown made his a tribute to Shepp - a wonderful lineage of avant talent in the 60s, stated boldly here, given Brown's amazing talent on the record! The album's filled with hard, soulful playing that goes out, but never too far - like Shepp in his best sixties moments - and Brown's working with a great lineup of players that includes Grachan Moncur on trombone, Beaver Harris on drums, and Stanley Cowell on piano! The tunes include three Marion Brown originals on side one, plus three tracks by Shepp on side two. "Spooks" alone will leave you loving this album for years to come – and other tracks include "West India", "Delicado", "New Blue", and "Fortunato". A brilliant blend of 60s "new thing" playing and 70s underground jazz!  © Dusty Groove, Inc.

Impulse! Records, AS-9139, 1967

Universal Music, IMPD-269, 1998

Recorded 1^st December, 1966 At Van Gelder Studio, Englewood Cliffs, NJ

Musicians:

Marion Brown - Alto Saxophone

Grachan Moncur III - Trombone

Dave Burrell - Piano (#1-3)

Stanley Cowell - Piano (#4-6)

Sirone - Bass

Beaver Harris - Drums (#1-3)

Bobby Capp - Drums (#4-6)

Tracks:

1. New Blue {Marion Brown} (5:12)

2. Fortunato {Marion Brown} (8:55)

3. The Shadow Knows {Marion Brown} (3:05)

4. Spooks {Archie Shepp} (4:33)

5. West India {Archie Shepp} (6:25)

6. Delicado {Archie Shepp} (6:39)

Credits:

Producer [Original] - Bob Thiele

Reissue Producer - Michael Cuscuna

Engineer - Rudy van Gelder

Remastering - Erick Labson (MCA Studios)

Photography - Chuck Stewart

Art Direction - Hollis A. King

Graphic Design - Isabelle Wong

Liner Notes - Frank Kofsky

Total Time: 34:49

Don Byas - Midnight At Minton's (1941)

Tenor saxophone legend Don Byas is heard with great clarity on this, a relative jam session, as is vocalist Helen Humes (the first two cuts) and ostensible leader/trumpeter Joe Guy, whose high energy solos are very good in spots. Less audible in the mix are pianist Thelonious Monk and drummer Kenny Clarke, working in this band while bebop was fermenting. These two would lead the bop charge later in the '40s at Minton's Playhouse, the bebop concubine/jazz club in N.Y.C. The music is pretty much swing material, with Humes tossing in a ballad ("Stardust") and a bluesy number ("Exactly Like You") while the instrumental "Indiana" is all fired up, and they typically chill down "Body & Soul." Present on the dates is an unidentified tenor saxophonist and trumpeter tossing in his/her less than two-cents worth solos. Even annotator Dan Morgenstern, with his detailed and informative liner notes, can't ID the pair. The star is clearly Byas. His well-rounded tenor inflections and characteristic quarter-to-eight note slurve is on throughout the performance. He can be at once warm, witty, smooth, precise, and consistently wonderful. He's one of the first original jazz voices on his horn and emphatic to boot on these tunes. These are true club date "field recordings," from the then Columbia University student Jerry Newman's portable unit, replete with crowd noise in the background (one can hear Humes rebuffing a heckler/admirer) annoying kicking of the stage area, and a brief drop out or distortion. Total time is barely 39 minutes. But the overall sound quality is quite acceptable, at most times remarkable. The music itself is priceless, the document of a transitional period from swing to bop, and some of the people that made it happen, especially the underappreciated genius Byas. ~ by Michael G. Nastos, AMG.

HighNote Records, HCD 7044, 1999

Recorded March, 1941 At Minton's, New York

Musicians:

Don Byas - Tenor Saxophone

Helen Humes - Vocals (#1,2)

Joe Guy - Trumpet

Thelonious Monk - Piano (#1,2)

Kenny Clarke - Drums (#5,6)

On other selections unknown Bass and Drums

Tracks:

1. Stardust {Hoagy Carmichael, Mitchell Parish} (9:09)

2. Exactly Like You {Dorothy Fields, Jimmy McHugh} (9:06)

3. Uptown {Don Byas} (2:48)

4. Body And Soul {Edward Heyman, Robert Sour, Frank Eyton, Johnny Green} (7:34)

5. I Can't Give You Anything But Love {Dorothy Fields, Jimmy McHugh} (4:11)

6. [Back Home Again In] Indiana {James F. Hanley, Ballard MacDonald} (6:31)

Credits:

Producer - Jerry Newman, Don Schlitten

Reissue Producer - Joe Fields

Recordings [Original] - Jerry Newman

Remastering [CD] - Malcolm Addey

Repackaging, Design & Digital Imaging - Hal Wilson

Cover Photo - Frank Driggs Collection

Photos [Inside & Tray] - Bob Parent

Note:

Originally released on Onyx Records (1973)

Total Time: 39:19