Nick Brignola - Burn Brigade

Amazingly enough, the 16 month old links [now 7 years! ~ grumpy] on this are still alive and well! These two belong together so I felt compelled to roll this one forward too! 

WARNING, WARNING! Do you feel the earth trembling? Your eyes do not deceive you, THREE baritones! You thought Baritone Madness was big, look out for the Burn Brigade! This is a gift once again from the amazing Wid and he dedicates it to Grumpy since it is on his beloved Bee-Hive label.

Nick Brignola - Burn Brigade 
(1980 BeeHive-7010)

01 - Nick Who's Blues
02 - I'm Getting Sentimental Over You
03 - Busy B's
04 - Groovin' High
05 - Our Delight

Nick Brignola - Baritone Sax
Ronnie Cuber - Baritone Sax
Cecil Payne - Baritone Sax
Walter Davis Jr - Piano
Walter Booker Jr - Bass
Jimmy Cobb - Drums

Recorded NYC, June 19, 1979

The big dogs are barking on this one! Normally I'd start out by pointing to that killer rhythm section and spend some time extolling their virtues (they ARE great) but the big boys step up with those bari's and somehow it is all your brain can manage to absorb what you are hearing, three of them just tearing it up! I don't think Brignola, Payne or Cuber need any introductions here at The Crypt, all three are in fine form here and the rhythm section is so good that they do occasionally manage to shine as well. It's just that the lights keep reflecting off of that impossible mass of brass up there.

I'm listening while writing and this is no gimmick album, it is in fact a dynamite very enjoyable bari-bop (my term) journey. They manage to find plenty of room to operate in, out and around each other with great dexterity and when they start trading.....Whew! Another no-brain-er here, just get it! Da Bee Hive stings again!

Thanks Wid!

Mal Waldron - The Quest (1961) [vinyl]

The Quest seems not only an appropriate name for this album but for Waldron's entire musical output, a pianist and composer who always seems to be seeking for something just out of reach. All the compositions here are Waldron's and show the variety of his approach. What makes this particular recording so interesting is the inclusion of Dolphy and Ervin, widely different in style but both rhythmically ingenious. I sometimes find Dolphy too abandoned but here he plays within the constraints of Waldron's compositions and the results are often superb. Ervin is an under-rated tenorist (all of the albums under his own name are well worth checking out, there's a good selection here at the Crypt) who plays with an economy that contrasts well with Dolphy.
A challenging record but occasionally very beautiful, I love Dolphy's clarinet on 'Warm Canto', and the whole LP is consistently rewarding.

01 - Status Seeking
02 - Duquility
03 - Thirteen
04 - We Diddit
05 - Warm Canto
06 - Warp And Woof
07 - Fire Waltz

Eric Dolphy (as, bcl) Booker Ervin (ts) Mal Waldron (p) Ron Carter (cello) Joe Benjamin (b) Charlie Persip (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, June 27, 1961

Moacir Santos - Saudade

Moacir Santos is a Brazilian composer, arranger and saxophonist from the first team of Brazilian Jazz. He's one of those artists who are underrated by the big audiences but widely known by those who appreciate inspiration, beauty, intelligence when applicable to music composition and arrangement.

This is the second of his three albums for Blue Note Records, a long time awaited for reissue. Catalog number was BN-LA260-G, recorded in New York, 1974. A natural follower to the first `The Maestro' (from 1972), also a memorable album with the unique Santos' way of doing the thing what includes an intricate shape of samba, an uncommon way of dividing that is unique in his compositions, a kind of registered mark which identifies Santos. (Carlos from Rio)
 Moacir Santos
baritone saxophone, alto saxophone, arranger, conductor
Jerome Richardson
alto saxophone, tenor saxophone, soprano saxophone, flute, alto flute
Ray Pizzi
alto saxophone, tenor saxophone, bassoon, flute, piccolo flute
Lee Ritenour
electric guitar, acoustic guitar
Steve Huffsteter
trumpet, flugelhorn
Benny Powell
trombone
Morris Repass
bass trombone
Sidney Muldrow
French horn
Mark Levine
piano, electric piano, arranger
John Heard
bass
Harvey Mason
drums
Carmelo Garcia
congas, percussion
Mayuto Correa
congas, percussion
Duke Pearson
producer

Johnny Griffin - Return Of The Griffin (1978) [Galaxy - vinyl]

Review by Chris Sheridan, Jazz Journal (UK) July 1980:
This LP, a result of a remarkable three-day session, is Griffin’s finest-ever recording. The power and variety of his playing on every title is awesome, from the compelling gallop through Autumn to the tender balladry of When We Were One; from the funky Dream to the spring-heeled I Should Care. After an almost brusque dismissal of the theme of Autumn, Griffin takes off on a series of choruses that are simply breathtaking until, halfway through, he changes into overdrive! Dream is so perfect an impression of Monk that it could have been written by the master (but, then, Griffin was Trane's successor in Monk's quartet). Fifty-Six (based on This Masquerade Is Over), the longest cut, is another headlong rush of unrelenting invention, contrasting neatly the "walking the bar" tack of The Way It Is. One interesting point emerging from these LPs is that Griffin's timbre has lost the fluffiness of earlier years; another is that he allows more space in his solos nowadays. Most important, though, is that he is probably the strongest tenorist of his generation playing these days, and, in "Return" he has made not only the record of the month, but also of the year.

Autumn Leaves
When We Were One
Monk's Dream
The Way It Is
Fifty-Six
I Should Care

Johnny Griffin (ts) Ronnie Mathews (p) Ray Drummond (b) Keith Copeland (d)
Fantasy Studios, Berkeley, CA, October 17, 1978

Johnny Griffin - To The Ladies (1979) (Galaxy) [vinyl]

Link is still live

Griffin recorded five albums for Galaxy all are of a uniformly high quality, far better than suggested by Scottie's luke warm review:

"Using the same trio that had joined him on NYC Underground (pianist Ron Mathews, bassist Ray Drummond and drummer Idris Muhammad), tenor saxophonist Johnny Griffin sticks exclusively to group originals on this interesting but not essential (and unfortunately out-of-print) LP. Griffin is in excellent form, as usual, but none of the tunes (by the leader, Drummond, and Mathews) caught on; the best is "Soft and Furry," which is taken in three parts." Scott Yanow

Scottie also fails to mention that the composition "Soft and Furry" first appeared on the excellent 1961 Riverside album "Change of Pace", the OJC CD reissue is again out of catalogue!

Miriam
Susanita
Jean Marie
Soft And Furry, Pt. 1
Soft And Furry, Pt. 2
Soft And Furry, Pt. 3
Honey Bucket

Johnny Griffin (ts) Ron Mathews (p) Ray Drummond (b) Idris Muhammad (d)
Fantasy Studios, Berkeley, CA, November 27 & 28, 1979

Moacir Santos - Carnival of the Spirits, 1975

sublime 70s session from Moacir Santos – a set that mixes the complex grooves he forged in 60s Brazil with the warmly jazzy sound of American fusion – all in a result that's totally unique! The album's quite different than any other electric Brazilian sets recorded in the US at the time – a complex album that's filled with soul and imagination – and not just an electrification of earlier styles from Brazil. Santos' vision here is wonderful – and he works with his own arrangements, and key help from producer Dale Oehler – who knows how to bring in all the right electric elements without losing the edge of Moacir's music. Players are great too – and include Jerome Richardson on soprano sax, Oscar Brashear on trumpet, Don Menza on tenor, Gary Foster on alto, Larry Nash on Fender Rhodes, Clare Fischer on piano, and Jerry Peters on organ. The sound builds and swirls in nice chunks, while the soloists creep in and lay down some horn parts – and a few vocalists, including Santos, add some slight lyrics from time to time.....~

Andy LaVerne - Liquid Silver (1984)

A Tribute to Bill Evans
===================
The CD under review here was recorded 30 October - 3 November 1984 for DMP. In 1984 LaVerne received an NAE grant to organize a Carnegie Hall tribute to his mentor Bill Evans. This CD is a studio version of that concert. The musicians are LaVerne (piano), Eddie Gomez (bass), Peter Erskine (drums), John Abercrombie (guitar), and the Essex String Quartet. All in all, the music on this CD is a nice tribute to Bill Evans, except the last track. The music is not for everyone as it often seems more like an intellectual exercise rather than an emotional outlet. The music does not swing, especial the string quartet tracks. If you are looking for Andy LaVerne jazz, look elsewhere. If you are looking for "chamber jazz" or a cross between classical music and jazz, this may be for you. ~ Extract by D.R.L., Amazon.com.

DMP Records, CD-449, 1984
Recorded 30th-31st October At A&R Studios and
3rd November At Clinton Recording Studio, 1984

Musicians:
Andy LaVerne - Piano
John Abercrombie - Guitar (#2,3,7,8)
Eddie Gomez - Bass (#1,3,4,6-8)
Peter Erskine - Drums (#1,3,4,6-8)

The Essex Quartet (#5,9):
Patricia Smith - Cello
Amy Dulsky - Viola
Sebu Sirinian - Violin [I]
Jennifer Cowles - Violin [II]

Tracks:
1. IRS [It's Really Something] {Andy LaVerne} (7:18)
2. Liquid Silver {Andy LaVerne} (6:00)
3. One Page Waltz {John Abercrombie} (5:19)
4. Laurie {Bill Evans} (9:02)
5. Letter To Evan {Bill Evans} (7:05)
6. How My Heart Sings {Earl Zindars} (5:37)
7. Turn Out The Stars {Bill Evans} (6:33)
8. Alpha Blue {Andy LaVerne} (6:20)
9. King's House One {Andy LaVerne} (17:18)

Total Time: 70:32

Credits:
Producer, Liner Notes - Andy LaVerne
Producer, Engineer - Tom Jung
Engineer [Assistant] - Jean Jung, Rebecca Everett
Editing - Greg Squires
Design - Jim Henderson
Illustration - Lee Christiansen
Photography - Dave Horner, Richard Laird

LeeAnn Ledgerwood - Breaking The Waves (2011)

This album is another serious work by pianist LeeAnn Ledgerwood utilising the same trio members as in her previous work "Simple Truth" released in 2010. A listener can't not be drawn into the exceptional muscular musicality showcased throughout this CD. Essentially, LeeAnn is the glue that pulls the powerful rhythm team of bassist Ron McClure and drummer Nasheet Waits together. She is the mastermind of all the compositions on this outing resulting in a truly expressive trio format that deserves further listening, Enjoy!

SteepleChase Records, SCCD 31732, 2012
Recorded February, 2011 

Musicians:
LeeAnn Ledgerwood - Piano
Ron McClure - Bass
Nasheet Waits - Drums

Tracks:
1. Breaking The Waves (8:15)
2. Save The Wolves (6:49)
3. Audrey Girl (8:25)
4. The University Of Free Will (5:17)
5. Chilli’s Walk (8:04)
6. Lutherans For Jesus (7:13)
7. The Great Smoking Mirror (8:04)
8. Deep Six (9:03) 

All Compositions by LeeAnn Ledgerwood 

Total Time: 61:10 

Producer - Nils Winther 

" … pianist Lee Ann Ledgerwood is part of an ever-growing contingency of extremely talented jazz musicians of the female persuasion… and first crack at a piano trio record. Ultimately, it proves to be one of the best of its kind in recent memory. Simultaneously adventurous but also emotionally direct… " (C. Andrew Hovan, AAJ on “Transition” SCCD 31468).

High Five Quintet - Jazz Desire (2004)

Fabrizio Bosso, is a well-known Italian super trumpeter, and here Fabrizio joins together with other equally successful Italian jazz players as the High Five Quintet, one modelled on genuine hard bop traits. Essentially, this group united to produce some amazing compositions and deliver them with such muscular energy. Within the formation is tenorist Daniele Scannapieco, pianist Luca Mannutza, bassist Pietro Ciancaglini and drummer Lorenzo Tucci; all well-regarded on the continent and leading artists in their own right. Together as a group they have such a gorgeous tone, amazing technique and singing phrasing, all of them masters of their individual instruments. It should be noted that all members of the quintet, except Lorenzo Tucci, contribute some thrilling original compositions to the mix. Overall, portraying the title 'Jazz Desire', this album should appeal to all jazz lovers, regardless of age or taste, enjoy!

Via Veneto Jazz, VVJ 047, 2004
Recorded 8th-10th January, 2008 (#1-9) At Diapason Studio, Rome, Italy;
and February, 2004 (#10,11) in Bari, Italy 

Musicians:
Fabrizio Bosso - Trumpet, Flugelhorn
Daniele Scannapieco - Tenor Saxophone
Luca Mannutza - Piano
Pietro Ciancaglini - Double Bass
Lorenzo Tucci - Drums
+
Pierpaolo Bisogno - Bongos (#10,11) 

Tracks:
01. Conversation {Daniele Scannapieco} (6:12)
02. Another One Bites The Dust {John Deacon} (4:41)
03. Libero {Luca Mannutza} (6:00)
04. Dubai {Fabrizio Bosso} (4:53)
05. Campagna {Pietro Ciancaglini} (5:56)
06. Condado {Daniele Scannapieco} (5:22)
07. Shade Of Gira {Luca Mannutza} (6:05)
08. Wide Green Eyes {Fabrizio Bosso} (7:37)
09. The Driver {Pietro Ciancaglini} (4:47) 

Bonus Tracks:
10. Conversation [New Jazz Version] {Daniele Scannapieco} (5:04)
11. Conversation [New Jazz Club Mix] {Daniele Scannapieco} (6:33) 

Total Time: 63:10 

Credits:
Producer - Biagio Pagano
Producer, Arranger - Nicola Conte [Bonus Tracks]
Recording & Mixing - Eugenio Vatta
Mastering - Fabrizio De Carolis
Sound Engineer - Tommy Cavalleri [Bonus Tracks]
Photography - Paolo Soriani
Cover Art - didovalli 

Notes:
Mixed at the Start Studio, Rome
Mastered at Reference Studio, Rome

Conrad Herwig, Andy LaVerne - Shades Of Light (2002)

It is without taking away anything from the founding fathers of this music to suggest that some of today's practitioners might be the most technically gifted lot to come along. Of course, they now have the entire rich history of jazz at their fingertips and slews of recordings for inspiration, yet there's no denying the talent at hand. Such is the case with 43-year-old trombonist Conrad Herwig. Hardly a Johnny Come Lately, Herwig has been on the scene for some 20 years playing in the bands of such legends as Buddy Rich and Eddie Palmieri, but has to be considered one of the most innovative players to come along since the days of J.J. Johnson and Curtis Fuller. Herwig's fourth and most recent date for the Dutch Criss Cross label, Hieroglyphica is a no holds barred quartet set of all originals that finds everyone working at full throttle. Without other horns to get in the way, this is the best place to experience Herwig at his most incendiary. Starting with a low moan and then breaking into wild glissandos through the upper register, Herwig kicks off the title track with a dazzling display that then builds to a frenetic climax with drums wailing and the rest of the ensemble participating in the collective frenzy. It's time for a quick cool down with the Latin-tinged 'The Orange Dove,' a breathy melody that is supported beautifully by pianist Bill Charlap's comping. And speaking of Charlap, for those of you only familiar with his demure and most recent trio dates, you'll be surprised at how much the pianist seems to step outside of the box here. In fact, some reckless abandon breaks forth on 'Island of the Day Before' as Herwig builds the tension before giving way to Charlap, who ushers in the calm before the storm and then hits with some heavy stuff of his own. And to get an idea of Herwig's range and the full complement of devices, look no further than a bluesy 'The Intruder.' Technically accomplished and still filled with communicative appeal, Hieroglyphica just may be Herwig's most brilliant recital to date. A bit more reserved, the trombonist's duo recital with pianist Andy LaVerne, Shades of Light, doesn't quite catch the fire that the quartet session does, but there's still plenty to savor. An impressive display of flutter tonguing comes just at the conclusion of 'Three Flowers,' a McCoy Tyner line that has to be among his most striking. Two Chick Corea gems, 'Tones For Joan's Bones' and 'Crystal Silence' seem especially attractive in this duo setting and Herwig's trombone carries both melodies quite well. You can gather some insight as to influences too, with Herwig sagaciously working in a quote from Wayne Shorter's 'Witch hunt' during his solo on 'African Flower.' ~ by C. Andrew Hovan, AAJ. 

SteepleChase Records, SCCD 31520, 2002
Recorded April, 2000 

Musicians:
Conrad Herwig - Trombone
Andy LaVerne - Piano 

Tracks:
01. Three Flowers {McCoy Tyner} (7:37)
02. Tones For Joan's Bones {Chick Corea} (5:43)
03. Crystal Silence {Chick Corea, Neville Potter} (6:13)
04. Bessie's Blues {John Coltrane} (8:22)
05. If You Never Come To Me {Antônio Carlos Jobim} (4:28)
06. Shades Of Light {Hubert Laws} (6:04)
07. Black Narcissus {Joe Henderson} (5:30)
08. Think On Me {George Cables} (5:22)
09. African Flower {Duke Ellington} (5:16)
10. In Your Own Sweet Way {Dave Brubeck} (7:22) 

Total Time: 71:57 

Credits:
Producer, Photography - Nils Winther
Recording Engineer - Keiichi Goto
Liner Notes - Mark Gardner

Anita Baker - My Everything (2004)

Anita Baker's My Everything is her first studio outing in a decade. Family life seems to have claimed most of that time, as the album's last cut, "Men in My Life," seems to indicate. Baker co-wrote seven of the album's nine songs (one is a reprise of the title track), authored the aforementioned tune, and assisted producer Barry J. Eastmond in the arrangements. The disc's first single, "You're My Everything," is indicative of the album's sound: finely wrought and executed urban adult soul. Most of the set falls into this category, too, with the exception of "Like You Used to Do," a duet with Kenneth "Babyface" Edmonds that walks a line between it and new-school groove. Another cut, the stellar "I Can't Sleep," offers Baker in full-on jazz mode, careening through a skittering and swinging arrangement with a full horn section pushing the groove; it showcases Baker's ability to croon, and she comes very close to Betty Carter's scat. Some may be frustrated that, after such a long time, Baker doesn't push the envelope more stylistically. This may be true in terms of the material itself, but that's not necessarily a bad thing. Right down the line, Baker delivers on what she does best. But in one sense she has expanded her palette. On these cuts, most of the rhythm section's tracks were cut live from the floor, and on three, the vocals were as well. This gives the album a reedy immediacy that contrasts sharply with the rest of her studio catalog. This is a worthy return, qualitatively standing head and shoulders above most everything else in its class. ~ by Thom Jurek, AMG. 

Blue Note, 7243 5 77102 2 0, 2004 

Recording Locations:
Brandon's Way Recording, Hollywood, CA
Conway Studios, Hollywood, CA
East Bay Music Studios, Tarrytown, NY
Le Gonks West Studios, Hollywood, CA
Record One Studios, Sherman Oaks, CA
Soup Can Studios, Detroit, MI
Village Recorders, Los Angeles, CA 

Personnel:
Anita Baker - Vocals, Backing Vocals, Arranger (#1-5,7-10)
Gary Grant - Trumpet (#1-5,7-10)
Jerry Hey - Trumpet, Horn Arrangement (#1-5,7-10)
Reggie Young - Trombone (#1-5,7-10)
Eric Marienthal - Alto Saxophone (#9)
Dan Higgins - Tenor & Baritone Saxophones (#1-5,7-10)
Gary Bias - Tenor Saxophone (#1-5,7-10)
Barry J. Eastmond - Keyboards, Percussion, Horn Arranger, Backing Vocals (#1-5,7-10)
George Duke - Synthesizer [Additional], Percussion (#1-5,7-10)
Eric Rehl, Leo Colon - Synthesizer [Additional] (#1-5,7-10)
Russell Ferrante - Piano (#9)
Paul Jackson Jr., Phil Hamilton, Robert Randolph - Guitar (#1-5,7-10)
Kenneth "Babyface" Edmonds - Guitar, Backing Vocals (#1-5,7-10)
Al Turner, Alex Al, Gerald Albright, Jimmy Haslip, Nathan East, Reggie Hamilton, Ron Jenkins - Bass (#1-5,7-10)
Bernard Davis, Ricky Lawson, Steve Ferrone, William Kennedy - Drums (#1-5,7-10)
Bashiri Johnson - Percussion (#1-5,7-10)
Rafael Padilla - Percussion (#6)
Esther Ridgeway, Gloria Ridgeway, Gordon Chambers, Gracie Ridgeway - Backing Vocals (#1-5,7-10)
Kenya Ivey - Backing Vocals (#6) 

Tracks:
01. You're My Everything {Anita Baker} (5:03)
02. How Could You {Anita Baker, Barry J. Eastmond} (4:21)
03. In My Heart {Anita Baker} (5:07)
04. Serious {Dawn Thomas} (5:26)
05. How Does It Feel {Anita Baker, Barry J. Eastmond} (4:42)
06. Like You Used To Do {Anita Baker, Barry J. Eastmond} (5:12)
07. Close Your Eyes {Anita Baker, Barry J. Eastmond} (4:43)
08. You're My Everything [Revisited] {Anita Baker} (1:12)
09. I Can't Sleep {Anita Baker, Russell Ferrante, W. Kennedy} (5:08)
10. Men In My Life {Anita Baker} (3:37) 

Total Time: 44:31

Credits:
Producer, Engineer - Anita Baker
Producer, Engineer - Barry J. Eastmond
Producer, Arranger - Kenneth "Babyface" Edmonds (#6)
Engineer - Alan Sides, Dylan Dresdow, Ghian Wright
Recording - Paul Boutin (#6)
Engineer [Assistant] - Greg Burns, Jared Nugent, Tom Wilber
Engineer, Engineer [Assistant] - Kevin Szymanski
Mixing - Jon Gass (#6)
Mixing [Assistant] - Edward Quesada (#6)
Mixing - Erik Zobler
Mixing [Assistant] - Stefaniah McGowan
Mixing, Engineer - George Duke
Photography - Andrew Eccles

Anita Baker - A Night Of Rapture - Live, 1986 (2004)

When you listen to this recording you get the full measure of Anita. By that I mean, you will find that what she does and is best at, is not by benefit of any studio technical wizardry. In many ways this recording is the equal of "Rapture" for its directness, it's straight to the point delivery. Anita's voice is rich with big, rich tones. Those exhortations and unique vocal embellishments hold you transfixed. The band is first rate and she is backed unobtrusively by a band of some exceptional musicians, most notably James Bradley, Jr. and Gerald Albright. For me, "Mystery" and "(Caught up in the) Rapture" actually surpass the studio versions because Anita is just so much more direct in concert. Nothing gets in the way. This is an enhanced CD with three video files from the accompanying video. This is an excellent concert recording. She even attempts Van Morrison's "Moondance" which has now become a standard especially within the jazz world. This is where the more contemporary band gives it a perfunctory performance but Anita transcends this and captures the jazzy feel of the piece, somewhat faithfully. It's the one departure from what we all know is the Anita Baker repertoire. A truly compelling concert recording. ~ ND, NY, Amazon.com. 

Atlantic/Rhino Entertainment, 8122-78144-2, 2004
Recorded Live at Constitution Hall Washington, DC, 1986 (#2-4)
Recorded Live at The Montreux Jazz Festival, Montreux, Switzerland, July, 1986 (#7)
Recorded Live on Tour, 1986 (#1,5,6,8,9) 

Musicians:
Anita Baker - Vocals
Bobby Lyle - Keyboards, Musical Leader
Garry Glenn - Keyboards, Backing Vocals
Gerald Albright - Bass Guitar, Saxophone
Donald Griffin - Guitar
James Bradley, Jr. - Drums
Freida Williams, Gina Taylor, Joanne Funderburg - Backing Vocals 

Tracks:
1. Caught Up In The Rapture {Dianne Quander, Garry Glenn} (5:30)
2. Mystery {Rod Temperton} (5:23)
3. Been So Long {Anita Baker} (5:53)
4. No One In The World {Ken Hirsch, Marti Sharron} (4:10)
5. Same Ole Love [365 Days A Year] {Darryl K. Roberts, Marilyn McLeod} (4:01)
6. Watch Your Step {Anita Baker} (6:17)
7. Moondance {Van Morrison} (4:07)
8. You Bring Me Joy {David Lasley} (4:34)
9. Sweet Love {Anita Baker, Gary Bias, Louis A. Johnson} (4:51) 

Total Time: 44:46

Enhanced Content:
1. Sweet Love [mp4] (5:12)
2. You Bring Me Joy [mp4] (4:30)
3. No One In The World [mp4] (4:08) 

Credits:
Compilation - Barry "Rockbarry" Benson
Art Direction Nancy L. Hopkins
Design - Saori Soga
Photography [Front, Inlay] - Clayton Call
Liner Notes - Gary Jackson