Hubert Laws - Wild Flower (1972) [vinyl]

Wild Flower by Hubert Laws is praised for its sophisticated arrangements, which feature a blend of jazz improvisation with a string section, and a highly-talented studio ensemble. Reviewers note Laws' masterful flute playing, but also highlight the album's compositional depth, with arrangements by John Murtaugh and impressive performances from studio musicians like Chick Corea, Ron Carter, and Richard Davis. It is considered a classic and highly-rated album. AI Overview. 

A nice date from an earlier Laws period with a harder tone and more traditional jazz direction. ~ by Ron Wynn, AMG. 

Atlantic Records, SD 1624, 1972
Recorded 22nd October (#A2,A3) & 23rd November (#A1,B1,B2), 1971
and 27th January, 1972 (#B3) at Atlantic Recording Studios. New York 

Musicians:
Hubert Laws - Flute, Alto Flute, Piccolo, Flute [Amplified]
Ron Carter - Bass
Richard Davis - Bass (#A1-B2)
Chick Corea - Piano (#B3)
Gary Burton - Vibraphone (#B3)
Bernard Purdie - Drums (#B3)
Ramon "Mongo" Santamaría - Congas (#B3)
Joe Chambers, Airto Moreira, Warren Smith - Percussion (#B3) 

Strings:
Bernard Eichen, David Nadien, Harry Lookofsky,
Matthew Raimondi, Paul Gershman - Violin (#A1-B2)
Aaron Rosand, Gene Orloff - Violin (#A2,A3)
Guy Lumia, John Pintavalle - Violin (#A1,B1,B2)
Harold Coletta, Harry Zaratzian, Richard Dickler - Viola (#A1-B2)
Julian Barber - Viola (#A2,A3)
Selwart Clarke - Viola (#A1,B1,B2)
\George Ricci, Richard Bock - Cello (#A1-B2)
Alan Shulman, Seymour Barab - Cello (#A2,A3)
Charles McCracken, Harvey Shapiro - Cello (#A1,B1,B2)
John Murtaugh - Arranger, Conductor 

Tracks:
A1. Wildflower {John Murtaugh} (3:10)
A2. Pensativa {Clare Fischer} (4:02)
A3. Equinox {John Coltrane} (6:21)
B1. Ashanti {John Murtaugh} (5:27)
B2. Motherless Child {Traditional; Arr. John Murtaugh} (5:30)
B3. Yoruba {John Murtaugh} (6:04) 

Total Time: 30:34 

Credits:
Producer - Joel Dorn
Recording Engineer - Lew Hahn
Remixing Engineer - Neal Ceppos
Contractor [Musical] - Hal Grant
Cover - Robert Andrew Parker
Art Direction, Design - Richard Mantel
Lacquer Cut - GP

LINK

Pensativa

Gato Barbieri - Bolivia (1973)

In 1973, Argentinean saxophonist Gato Barbieri contemplated a move to a more commercially viable, accessible sound, one that appealed to both North and South American audiences. He moved from the jazz vanguard toward it's exotic center (and finally into the commercial world altogether) with a number of records, including this one, which explored the various rhythms, melodies, and textures of Afro-Cuban and Latin American sounds. Bolivia features Barbieri immediately prior to his Impulse recordings that resulted in the celebrated four-chapter Latin America series. Utilizing the talents of musicians as diverse as guitarist John Abercrombie, pianist Lonnie Liston Smith, drummer and percussionists Airto Moreira, M'tume, Bernard "Pretty" Purdie, Gene Golden, and Moulay Ali Hafid, as well as bassists Stanley and J.F. Jenny Clark. Barbieri's musical reach is everywhere here. There's the bolero-like romp of "Merceditas," where his normally raw-toned, feeling-centered playing is kicked up a couple notches into a frenetic, emotional tidal wave, and the haunting "Bolivia," full of shimmering percussion and pianistic glissandi courtesy of Smith. Barbieri's loping, spare playing is reminiscent of Coltrane stating of the melodic frames in "India." There is also the melody of the traditional "Eclypse" wedded to a gorgeous, sensual Cuban son-like melody "Michellina" (for Barbieri's Italian born wife). The final two of the album's five tracks are based in Argentinean folk forms associated with the tango, but are less formal, more open, and modally charged. Setting both "Niños" and "Vidala Triste" in minor keys with open modal themes, improvisation happens -- á la Ornette Coleman -- in the heart of the melody, despite the intricate nature and complex time and key changes inherent in both tunes. Ultimately, Bolivia is a sensual, musically adept, and groundbreaking recording, which offered Barbieri a chance to come in from the avant-garde before heading back to the fringes with the Latin America series. A fine effort that is finally getting the notoriety it deserves. ~ by Thom Jurek, AMG. 

Flying Dutchman, FD 10158, 1973
RCA Victor/BMG Music, 74321851472, 2001
Recorded 24th and 25th November, 1969 in New York City 

Musicians:
Gato Barbieri - Tenor Saxophone (#1-4), Flute (#3,5), Hands (#3,5), Vocals (#3,5)
Lonnie Liston Smith - Piano (#1-5)
John Abercrombie - Acoustic Guitar (#3,5), Electric Guitar (#1)
Jean-François Jenny-Clark - Bass (#1,2b)
Stanley Clarke - Bass (#2a,3-5)
Bernard "Pretty" Purdie - Drums (#1)
Airto Moreira - Drums (#2-5), Percussion (#1)
James M'tume - Congas (#1,2b-5)
Gene Golden - Congas (#2a)
Moulay "Ali" Hafid - Dumbeg (#4) 

Tracks:
1. Merceditas {Gato Barbieri} (9:07)
2. Eclypse {Traditional} / Michellina {Gato Barbieri} (6:24)
3. Bolivia {Gato Barbieri} (7:46)
4. Niños {Gato Barbieri} (7:14)
5. Vidala Triste {Gato & Michelle Barbieri} (5:30) 

Total Time: 36:03 

Credits:
Producer - Bob Thiele
Assistant Producer - Lillian Seyfert
Reissue Producer - Daniel Baumgarten
Sound Mixing - Tony May
Digital Remastering - Jean-Pierre Chalbos [La Source]
Cover & Liner Photos - K. Abe
Design - Haig Adishian
Cover Design - Michel Baulot

Wayne Shorter - Super Nova (1969)

Super Nova is an important transitional album for tenor saxophonist Wayne Shorter. Doubling on soprano (which he had recently begun playing), Shorter interprets five of his originals (including "Water Babies," which had been recorded previously by Miles Davis) and Antônio Carlos Jobim's "Dindi." He definitely used a forward-looking group of sidemen, because his "backup band" includes guitarists John McLaughlin and Sonny Sharrock, Walter Booker (normally a bassist) on classical guitar for "Dindi," bassist Miroslav Vitous, both Jack DeJohnette and Chick Corea (!) on drums, and percussionist Airto; Maria Booker takes a vocal on the touching version of "Dindi." The influence of Miles Davis' early fusion period is felt throughout the music, but there is nothing derivative about the often-surprising results. As with Wayne Shorter’s best albums, this set rewards repeated listenings. ~ by Scott Yanow, AMG. 

Blue Note Records, CDP 7 84332 2, 1988
Recorded 29th August and 2nd September, 1969 at A&R Studios, New York 

Musicians:
Wayne Shorter - Soprano Saxophone
Chick Corea - Vibraphone, Drums
John McLaughlin - Guitar, Classical Guitar (#2)
Sonny Sharrock - Guitar
Walter Booker - Classical Guitar (#3)
Miroslav Vitous - Bass
Jack DeJohnette - Drums, African Thumb Piano
Airto Moreira - Percussion
Maria Booker - Vocals (#3) 

Tracks:
1. Super Nova {Wayne Shorter} (4:52)
2. Swee-Pea {Wayne Shorter} (4:37)
3. Dindi {Antônio Carlos Jobim} (9:35)
4. Water Babies {Wayne Shorter} (4:54)
5. Capricorn {Wayne Shorter} (7:48)
6. More Than Human {Wayne Shorter} (6:12) 

Total Time: 37:59 

Credits:
Producer - Duke Pearson
Recording Engineer - Tony May
Digital Transfer - Ron McMaster
Art Direction - Frank Gauna
Cover Design - Tony DeStefano 

Wayne Shorter (25th August, 1933 - 2nd March, 2023)
RIP ☹

Rick Margitza - Color (1989)

Rick Margitza's debut features the playing of a young tenor-saxophonist who mixes together the usual influences: Michael Brecker, Wayne Shorter and John Coltrane. In his favor is that Margitza's 11 originals (performed with a septet that includes guitarist Steve Masakowski, pianist Joey Calderazzo and Jim Beard on synthesizers) range from a Coltranish blues to the poppish "Color Scheme," from brooding ballads to uptempo straightahead explorations. The main weak point is that some of Margitza's solos sound as if he they were taken straight from exercise books. Less formal studying and more jamming will probably eventually eliminate that problem for Margitza certainly had the technique and the power at this early point in his career. ~ by Scott Yanow, AMG. 

Blue Note, CDP 592279, 1989
Recorded April - May, 1989 at Power Station, New York 

Musicians:
Rick Margitza - Tenor Saxophone, Soprano Saxophone
Steve Masakowski - Guitars [7 & 12-String Acoustic, 7-String Electric]
Joey Calderazzo - Piano
Jim Beard - Synthesizers
Marc Johnson - Acoustic Bass
Adam Nussbaum - Drums
Airto Moreira - Percussion 

Tracks:
01. Widow's Walk (4:59)
02. Color Scheme (6:08)
03. Ferriss Wheel (5:18)
04. Our Song (3:16)
05. Walts (5:46)
06. Change-Up (7:12)
07. Anthem (4:40)
08. Brace Yourself (6:14)
09. Karensong (4:41)
10. We Stand Adjourned (5:00)
11. Point Of View (1:28) 

All Compositions by Rick Margitza

Total Time: 54:49

Credits:
Producer - Matt Pierson, Rick Margitza
Recording & Mixing Engineer - Jason Corsaro
Assistant Engineer - Bruce Calder, Ben Fowler, Dan Gellert
Mastering Engineer - Bob Ludwig [Masterdisk]
Art Direction & Photography - Carol Friedman

David Friesen - Other Times - Other Places (1989) [CD]

This album is a much-overlooked album by the master bassist David Friesen; featuring Denny Zeitlin, Phil Dwyer, Alan Jones, Airto and Flora Purim. The interplay between Denny Zeitlin is quite magical, highlighted on both "Song For My Family" and "Years Though Time". In many ways the album showcases the amazing saxophone skills of Phil Dwyer. It is an exploration of his ability to work seamlessly alongside Friesen and add depth of scale to Friesen’s variant and elusive compositions. Listen to "Tyrone's Dedication", "Father's Delight", "Our 25th Year", "Childhood Walk" and "Above And Beyond" for clarification. Both Alan Jones’ and Airto’s contributions render a solid backing to the majority of the tracks and Flora Purim’s vocals add a distinctive fusion-styled interest to "Festival Dance" and "Song For My Daughter". As always Friesen's bass sets the mood. His dynamically ranging sound is heard across a broad range of self-penned tunes, sharing one with Alan Jones. This album requires a few listens to truly appreciate its value, enjoy! 

Global Pacific Records, R2 79300, 1989
Bellaphon Records, 660·52·001, 1989
Recorded 1989 At Ark Studios, Tigard, Oregon 

Musicians:
David Friesen - Bass [Oregon Bass], Acoustic Bass, Synthesizers
[Emulator I I, Roland Jupiter - 6, Yamaha K X 88 Midi Keyboard Controller]
Phil Dwyer - Tenor Saxophone, Soprano Saxophone
Denny Zeitlin - Piano [Acoustic] (#5,8)
Alan Jones - Drums, Electronic Drums [Roland Octapad And Synth Bass] (#2)
Airto Moreira - Percussion
Flora Purim - Vocals (#1,3) 

Tracks:
01. Festival Dance {David Friesen} (4:07)
02. Tyrone's Dedication {Alan Jones, David Friesen} (3:43)
03. Song For My Daughter {David Friesen} (2:04)
04. Father's Delight {David Friesen} (3:15)
05. Song For My Family {David Friesen} (6:33)
06. Our 25th Year {David Friesen} (3:58)
07. Childhood Walk {David Friesen} (4:04)
08. Years Though Time {David Friesen} (4:18)
09. Above And Beyound {David Friesen} (4:27)
10. Song For My Sons {David Friesen} (3:04) 

Total Time: 39:33 

Credits:
Producer, Mixing - David Friesen
Producer, Engineer, Mixing - Jeff Johnson
Executive-Producer - Barklie Henry, Howard Morris, Howard Sapper
Mastering [Digital] - David Mitson, Joe Gastwirt
Photography - Hiroshi Iwaya

Grover Washington, Jr. - Inner City Blues (1971) [vinyl]

This 1971 date was Washington's first as a leader, after playing and recording with the small organ combos of Charles Earland and Johnny "Hammond" Smith. It's unheard-of for a jazz musician to make his debut complete with strings, horns, and vocal group, but Washington apparently got the opportunity when the backing tracks were in place for a Hank Crawford album and Crawford was out of the country. Stranger still, Washington is usually playing alto here rather than his customary soprano or tenor. It was an instrument he hadn't played in years, and the result of his horn switching is a compellingly original sound that's almost soprano-like. Despite the circumstances, Washington brings a lot of himself to this music, making personal statements of two contemporary Marvin Gaye songs, "Inner City Blues" and "Mercy, Mercy Me," and the standards "Georgia on My Mind" and "I Loves You, Porgy." He also puts together an effective combination of Bill Withers's "Ain't No Sunshine" and J.J. Johnson's "Theme from Man and Boy." Whether it's the tight combo of "Inner City Blues" or the full-blown orchestra with strings and backing vocals, this is soul jazz of the first rank. ~ Adam Rains.

Kudu Records, KU-03, 1971

Recorded September, 1971 at Van Gelder Studios, Englewood Cliffs, New Jersey

Musicians:

Grover Washington, Jr. - Alto & Tenor Saxophones

Thad Jones - Trumpet, French Horn

Eugene Young - Trumpet, Flugelhorn

Wayne Andre - Trombone

Don Ashworth - Baritone Saxophone

Bob James - Electric Piano

Richard Tee - Organ

Eric Gale - Guitar

Don Ashworth, Ron Carter - Bass

Idris Muhammad - Drums

Airto Moreira - Percussion

Strings:

Alan Shulman, Anthony Sophos, Charles McCracken, Maurice Brown - Cello

Harry Katzman, Julius Brand, Julius Held, Leo Kahn, Max Pollikoff, Paul Gershman, Paul Winter, Raoul Poliakin - Violin

Vocals:

Hilda Harris, Maretha Stewart, Marilyn Jackson, Tasha Thomas

Tracks:

A1. Inner City Blues {Marvin Gaye} (7:10)

A2. Georgia On My Mind {Hoagy Carmichael, Stuart Gorrell} (4:39)

A3. Mercy Mercy Me [The Ecology] {Marvin Gaye} (5:06)

B1. Ain't No Sunshine {Bill Withers} / Better Days {J.J. Johnson} (8:33)

B2. Until It's Time For You To Go {Buffy Sainte-Marie} (4:36)

B3. I Loves You Porgy {DuBose Heyward, George & Ira Gershwin} (5:06)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bob James

Design [Album] - Bob Ciano

Photography - Steve Salmieri

This is one of Grover Washington Jr.'s finest, yet funky, and complex works. Creed Taylor (a musical magician) had obviously been an inspiration as a producer. In Grover's later works, it shows. This one is so very soulfully deep, it is not to be missed for any Grover collector! ~ Beverly P, Amazon.

This is vintage Grover Washington in all his melodic genius and mellow tones. Grover's soulful style and creative riffs will entice new listeners to this genre as it continues to amaze and delight longtime jazz and soul fans since it's release in 1971. ~ Nora Rellihcs, Amazon

Astrud Gilberto - Gilberto with Stanley Turrentine (1971)

An Indie Darling Before Her Time:
Quite Possibly The One Gilberto Album You Must Own

Astrud Gilberto With Stanley Turrentine is such a nice surprise; an overlooked "fan favorite" that's worth discovering. Released in 1971, it came nearly a decade after Gilberto's "Girl From Ipanema" heyday. But several factors make this album truly unique. First, it's the only album Gilberto made for the CTI label, after a long relationship with Verve. Secondly, on several tracks she's paired with the great saxophonist and then-labelmate Stanley Turrentine (why not?!?). And finally, the album was produced and arranged by schlock-jazz mastermind Deodato.

Put it all together and you have a fun, dreamy record that sounds oddly contemporary. Here, Deodato adds a pop flash that's lacking on Gilberto's more stately Verve material. This combination of cool reticence and clever, sometimes cloying melody has since become an indie template. And for good reason. "Wanting Things" and "Where There's a Heartache", the pair of Bacharach/David tunes which bookend the album, are airy, almost impressionistic swatches of atmosphere. "Brazilian Tapestry" is the album's high point, with Deodato's melodramatic flute/viola arrangement segueing into an effortless sigh of a chorus that finds Gilberto completely in her element. "Zazueira" is another uptempo delight that's driven along by Deodato's electric piano and Ron Carter's bass; "soulful" isn't a word that's often associated with Gilberto, but it applies here. Turrentine's energetic blasts add to the fun. The minor-key "Solo el fin (For All We Know)", on the other hand, finds Gilberto and her accompaniment in a suitably resigned, reflective mood. Gilberto's singing is markedly stronger than on her '60s material, though she'll never be mistaken for Billie Holliday.

Apparently, Gilberto wasn't so impressed with the material or arrangements; she walked out of the sessions before ...With Stanley Turrentine was completed. That explains the two instrumentals, a muzak version of Stephen Stills' "To a Flame" that not even Turrentine can enliven, and the slightly groovy "Vera Cruz", on which Deodato's piano takes Gilberto's place. And it's easy to understand why Gilberto was less than thrilled with the helplessly slight, Deodato-penned "Traveling Light" or a Spanish-language troll through the theme from Love Story. Of the three bonus tracks, only the lovely, playful, Deodato-less rendition of Harry Nilsson's "The Puppy Song" is a keeper.

As for this reissue, the remastered sound is crisp but not extremely warm, which suits the material. Original engineering by the legendary Rudy van Gelder can't have hurt. Despite that incongruity, it's sweet, slightly fey fare for those who prefer their music in pastels. ~ Extract by John Bergstrom, Popmatters.com.

CTI Records, CTI 6008, 1971

Sony Music Inc., 5127892, 2003

Recorded 13^th January, 1^st & 4^th February, 19^th March and 6^th April 1971

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Astrud Gilberto - Vocals

Eumir Deodato - Electric Piano

Stanley Turrentine - Tenor Saxophone (#2,5,6,8)

Toots Thielemans - Harmonica (#6,11)

Gene Bertoncini - Guitar (#1,3,4,7,10,12)

Sivuca - Guitar (#2,5,6,8)

Sam Brown - Electric Guitar (#1,2,5,6,8,12,13)

Bob Mann - Electric Guitar (#3,4,7,9,12)

Ron Carter - Bass (#1-3,5-8,11)

Russell George - Bass (#4,9-13)

João Palma - Drums (#1,3,7,12)

Dom Um Romão - Drums (#2,5,11)

Dennis Seiwell - Drums (#4,9,10,13)

Airto Moreira - Percussion (#2,5,11)

Hubert Laws, George Marge, Romeo Penque,
Jerome Richardson - Flutes (#2,5,7,8,10)

Paul Gershman, Emanuel Green, Julie Held, Harry Katzman,
Joe Malin, Gene Orloff - Violin (#1-5,7-10)

Harold Coletta - Viola (#1,2,4,7-10)

George Ricci - Cello (#1-5,7-10)

Tracks:

01. Wanting Things {Burt Bacharach, Hal David} (2:41)

02. Brazilian Tapestry {Mulher Rendeira} (5:16)

03. To A Flame [Instrumental] {Stephen Stills} (3:22)

04. Solo El Fin [For All We Know] {Robb Wilson, Arthur James, Kathleen Freed} (3:18)

05. Zazueira {Jorge Ben} (3:47)

06. Ponteio {Edu Lobo, Capinan} (3:43)

07. Traveling Light {Eumir Deodato, Martha Everett} (2:31)

08. Vera Cruz [Instrumental] {Milton Nascimento, Fernando Brant, Gene Lees} (5:12)

09. Historia De Amor [Love Story] {Francis Lai, Carl Sigman, Alfonso Alpin} (3:35)

10. When There's A Heartache [There Must Be A Heart] {Burt Bacharach, Hal David} (3:11)

11. Just Be You {Astrud Gilberto} (2:29) *

12. Puppy Song, The {Harry Nilsson} (3:21) *

13. Polytechnical High {Eumir Deodato, Martha Everett} (2:48) *

* Bonus Tracks [Previously Unreleased]

Credits:

Producer - Creed Taylor

Recording & Mastering Engineer – Rudy van Gelder

Arranger, Conductor - Eumir Deodato

Design [Album] - Bob Ciano

Photography [Cover] - Peter Turner

Photography [Liner] - Price Givens

Sambrasa Trio - Em Som Maior 1965

A piano trio 'super group' on a par with ANY American example of that genre. These guys were just scary good and it almost painful that this is the only record that they ever made. Until I heard this, I had no idea that Hermeto was such a brilliant pianist on top of his embarrassment of other talents. This is a man 'made of music', much in the way that Kirk was!

"Sambrasa Trio is Hermeto Pascoal (piano and flute), Humberto Clayber (bass and harmonica) and Airto Moreira (drums). The group started to play in 1965, recording only one, though seminal record in the same year, ”Em Som Maior”.

A fundamental masterpiece and perfect example and influence of the so-called brazilian jazz, “Em Som Maior” is created among explosive grooves squeezing the virtuosis out of their instruments, all gathered and mixed with avantgarde recreations of traditional brazilian themes and bossa nova songs together with blistering, neat samba-jazz. The album was praised by critics and helped launch each musician own solo careers.

After the demise of the group, its three members never played together again. However, in pairs, they composed for other bands, after and before Sambrasa Trio, such as Sambalanço Trio, with Clayber and Airto, and Quarteto Novo, with Hermeto and Airto.

All three members follow a solo career and inumerous collaborations with musicians such as Miles Davis, Wayne Shorter, Santana, Chick Corea, Duke Pearson, Opa, Egberto Gismonti, among many others." Last FM

Hank Crawford - Help Me Make It Through The Night (1972) [vinyl>flac]

Help Me Make It Through the Night is one of those Hank Crawford albums: large band, many horns, funky chunky Hammond B-3, strings, and polyrhythms dropping all over the arrangements by Don Sebesky and company. This 1972 set by Crawford is an exemplary portrait of his movin' and groovin' style. With the help of Sebesky and Pee Wee Ellis, Crawford provides the deep groove side of his work without reservation. Jazz takes a back seat as the R&B pours forth all sweaty, greasy, and dripping with a raw, honeylike sweetness. With cats like Airto, Eric Gale, Cornell Dupree, Grover Washington, Jr., Pepper Adams, Snooky Young, and Richard Tee in the house, a masterful groove session was to be expected. Listeners get their money's worth after the opener, which is the title track. With the Junior Walker stinging alto countered by the Hammond, the mess is loose and the vibe is pure downtown. Other cuts such as "Imagine," "Go Away Little Girl," "Brian's Song" -- perfect string arrangement by Sebesky -- and "In the Wee Small Hours of the Morning" make this a date of some of the most stellar covers Crawford ever cut. There are no extra notes, but there are plenty of extra beats; the improvisation is red hot, but the strings and supporting rhythm section are out of this world. Help Me Make It Through the Night is indeed one of those Crawford records. ~ Thom Jurek, Rovi

Kudu Records, KU-06, 1972

Recorded January 1972, except #B3 August 1971 at Van Gelder Studios, Englewood Cliff, New Jersey

Personnel:

Hank Crawford - Alto Saxophone, Tenor Saxophone (#B3)

Grover Washington, Jr. - Tenor Saxophone (#B3)

Pepper Adams - Baritone Saxophone (#B3)

Al DeRisi, Eugene "Snooky" Young - Trumpet (#B3)

Wayne Andre - Trombone (#B3)

Richard Tee - Organ (#A1,A4,B3,B4), Piano (#A2,A3), El-Piano (#B1,B2)

Phil Kraus - Vibraphone (#A1,A4,B1)

Cornell Dupree - Electric Guitar

Eric Gale - Electric Guitar (#B3)

Ron Carter - Bass (#A2-A4,B1,B2,B4), Electric Bass (#A1,B3)

Bernard Purdie - Drums

Idris Muhammad - Drums (#B3)

Airto Moreira - Percussion (#B3)

Strings Section [All Tracks, except #B3]:

Bernard Eichen, Felix Giglio, Emanuel Green,
Harold Kohon, Harry Lookofsky, Joe Malin,

Gene Orloff, Max Polikoff, Elliot Rosoff - Violin

Alfred Brown, Theodore Israel, Emanuel Vardi - Viola

Charles McCracken, George Ricci - Cello

Margaret Ross - Harp

Track Listing:

A1. Help Me Make It Through The Night {Kris Kristofferson} (5:53)

A2. Brian's Song {Michel Legrand} (3:24)

A3. Uncle Funky {Hank Crawford} (5:36)

A4. In The Wee Small Hours Of The Morning {Bob Hilliard, Redd Evans} (2:51)

B1. Go Away Little Girl {Gerry Goffin, Carole King} (4:21)

B2. Imagine {John Lennon} (4:07)

B3: Ham {Alfred Ellis} (3:09)

B4. The Sun Died {Ann Grégory, Hubert Giraud, Pierre Delanoë, Ray Charles} (4:09)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger - Don Sebesky, Pee Wee Ellis (#B3)

Album Design - Bob Ciano

Photography - William Cadge

David Friesen - Other Times-Other Places (1989) [vinyl>flac]

The main reason to acquire this Global Pacific release is for the fine playing of Canadian saxophonist Phil Dwyer, who is heard on tenor and soprano. Otherwise, the music has its moments, particularly the interplay between pianist Denny Zeitlin and bassist David Friesen, and there are two vocals by Flora Purim, but the overall results are not all that memorable. Many of Friesen's dates as a leader tend to be on the sleepy and introspective side, fitting into the genre usually championed by Global Pacific but making the music less interesting than hoped for by jazz fans. ~ Scott Yanow, AMG.

This LP is a much overlooked album by the master bassist David Friesen; featuring Denny Zeitlin, Phil Dwyer, Alan Jones, Airto and Flora Purim. The interplay between Denny Zeitlin is quite magical, highlighted on both Song For My Family and Years Though Time. In many ways the album showcases the amazing saxophone skills of Phil Dwyer. It is an exploration of his ability to work seamlessly alongside Friesen and add depth of scale to Friesen’s variant and elusive compositions. Listen to Tyrone's Dedication, Father's Delight, Our 25th Year, Childhood Walk and Above And Beyond for clarification. Both Alan Jones’ and Airto’s contributions render a solid backing to the majority of the tracks and Flora Purim’s vocals add a distinctive fusion-styled interest to Festival Dance and Song For My Daughter. As always Friesen’s bass sets the mood. His dynamically ranging sound is heard across a broad range of self penned tunes, sharing one with Alan Jones. This LP requires a few listens to truly appreciate its value, something which Scott Yanow may have overlooked in his underrated review.

Global Pacific Records, OZ 45245, 1989

Personnel:

David Friesen - Bass, Acoustic Bass, Keyboards, Mixing, Synthesizer

Phil Dwyer - Soprano & Tenor Saxophones

Denny Zeitlin - Piano

Alan Jones - Drums, Percussion, Synthesizer Bass

Airto Moreira - Percussion

Flora Purim - Vocals (#A1,A3)

Track Listing:

A1. Festival Dance {David Friesen} (4:06)

A2. Tyrone's Dedication {David Friesen, Alan Jones} (3:43)

A3. Song For My Daughter {David Friesen} (2:04)

A4. Father's Delight {David Friesen} (3:14)

A5. Song For My Family {David Friesen} (6:30)

B1. Our 25th Year {David Friesen} (3:58)

B2. Childhood Walk {David Friesen} (4:04)

B3. Years Though Time {David Friesen} (4:18)

B4. Above And Beyond {David Friesen} (4:26)

B5. Song For My Son {David Friesen} (3:04)

Credits:

Producer - David Friesen, Jeff Johnson

Executive Producer - Howard Sapper, Howard Morris, Barklie Henry

Mastering - David Mitson, Joe Gastwirt

Photography - Hiroshi Iwaya

Norman Connors - Dance Of Magic (1973) [vinyl>flac]

Following on from the recent Carlos Garnett Muse posts; here’s a magnificent album where he collaborates with a young Norman Connors and other great players to produce what is got to be one of the best spiritual jazz albums from the seventies. Recorded in 1972 it was Connor's debut as a leader. The record features four tracks that include the full-sided "Dance of Magic", as well as "Morning Change", "Blue" and the short but potent "Give The Drummer Some". Apart from this final track, the album has a solid sound that comfortably blends together an overall spiritual feel with many funky and spacey grooves. The record boasts a "Dream Team" lineup that includes Gary Bartz & Carlos Garnett, Stanley Clarke & Cecil McBee, Herbie Hancock, Eddie Henderson, Airto Moreira, Billy Hart, and many others. Later Connors would alter his style to produce many soulful classics like "You Are My Starship" and "Betcha By Golly Wow", but "Dance of Magic" is a definitive early showcasing of Connor's true musical gifts; an exemplary producer, composer and masterful musician capable of assembling the right players and musical components to create great records.

This is definitely a true gem; not to be overlooked.

Alternative cover from 1976 Buddah Records [BDS 5674] release

Cobblestone Records, Catalog#: CST 9024

Recorded 1972 at Bell Sound Studios, New York City

Track Listing:

A. Dance of Magic {Norman Connors} (20:53)

B1. Morning Change {Cecil McBee} (6:22)

B2. Blue {Stanley Clarke} (10:17)

B3. Give The Drummer Some {Norman Connors} (2:22)

Personnel:

Norman Connors - Drums

Herbie Hancock - Piano, Fender Rhodes, Electric Piano

Gary Bartz - Alto & Soprano Saxophones

Carlos Garnett - Tenor & Soprano Saxophones

Eddie Henderson - Trumpet

Art Webb - Flute

Cecil McBee - Bass (A,B1)

Stanley Clarke - Bass

Anthony Wiles - Baliphone, Percussion

Airto Moreira - Percussion (B1,B2,B3)

Alphonse Mouzon - Percussion (A,B2)

Babafemi - Percussion (A)

Billy Hart - Percussion (B1,B2,B3)

Nat Bettis - Percussion, Congas

The U.B.F. Singers - Vocals

This album is drummer Norman Connors earliest and most rewarding date as a leader. Recorded with a who's who of fusion titans including trumpeter Eddie Henderson bassist Stanley Clarke, and keyboardist Herbie Hancock, Dance of Magic channels the lessons drummer Norman Connors learned in the employ of Pharoah Sanders, Sam Rivers and Sun Ra, marshaling Latin rhythms, electronic textures, and cosmic mysticism to create nondenominational yet deeply spiritual funk-jazz. The sprawling 21-minute title cut spans the entirety of the record's first half, capturing a monumental jam session that explores the outer edges of free improvisation but never steps past the point of no return. Connors' furious drumming is like a trail of bread crumbs that leads his collaborators back home. The remaining three tracks are smaller in scale but no less epic in scope, culminating with the blistering "Give the Drummer Some." ~ Jason Ankeny, All Music Guide.