Chihiro Yamanaka - Live In New York (2011)

Since the heyday of Oscar Peterson, few pianists have either refined the technique or cultivated the desire to play straight-ahead classic jazz with the kind of showboating virtuosity that makes listeners doubt their senses. Chihiro Yamanaka, the prizewinning classically trained pianist from Japan (and a rising star in her adopted New York), is one of the world’s most accomplished heirs to Peterson’s legacy, and some have compared her effortless virtuosity and warmth to that of the late great Mulgrew Miller, too. Like Peterson, Yamanaka favours opening a song at a quiet, lounge-jazz sway and winding it up to a sprint just as listeners are settling back in their chairs. Her originals often sound like old Broadway hits ~ John Fordham, theguardian.com. 

Along those lines the opener "Outside By The Swing" keeps in that vein, long enough for bassist Yasushi Nakamura and drummer John Davis to add their supporting touches to the piece. Invariably listeners are taken on a captivating journey as the performance evolves. To view the concert is to see Yamanaka's pintsized frame cover the whole keyboard; standing at times to deliver perfectly connected treble runs and rapidly pounded chords. Yamanaka’s impulsive twists and turns are clearly on display especially when she joins with guest veteran drummer Bernard "Pretty" Purdie and bassist Ben Williams for the final tune "So Long". Five of nine tunes are her own compositions, drawing in three other jazz classics and a traditional number to complete the set. No piano jazz loving fan should not embrace the opportunity to listen to this virtuoso showcase her craft! 

Verve Records, UCBJ 1006, 2011
Recorded 30th June, 2011 Live at "Iridium" Jazz Club, 1650 Broadway, New York 

Musicians:
Chihiro Yamanaka - Piano
Yasushi Nakamura - Bass (#1-3,6-8)
John Davis - Drums (#1-3,6-8)
Ben Williams - Bass (#4,5,9)
Bernard "Pretty" Purdie - Drums (#4,5,9)

Tracks:
0. Intro (0:42)
1. Outside By The Swing {Chihiro Yamanaka} (4:17)
2. Living Without Friday {Chihiro Yamanaka} (12:19)
3. Take Five {Paul Desmond} (9:19)
4. Antonio's Joke {Chihiro Yamanaka} (7:50)
5. When You Wish Upon A Star {Ned Washington, Leigh Harline} (7:46)
6. Sing, Sing, Sing {Louis Prima} (9:16)
7. 2'30'' Rag {Chihiro Yamanaka} (2:55)
8. Yagibushi {Traditional} (7:45)
9. So Long {Chihiro Yamanaka} (12:53) 

Total Time: 75:02 

Credits:
Producer, Director - Chihiro Yamanaka
Executive Producer - Kimitaka Kato, Hiroko Kawachi, Yoshihisa Saito
Director - Tomokazu Tazawa, Keiichi Yamamoto
Sound Mastering - Kenji Yoshino
Cover Photo - Tokio Kuniyoshi 

N.B.
Audio files ripped from DVD to WAV, edited, optimised and excess applause trimmed.
Finally converted to FLAC, tested OK and tagged, album art organised for post, enjoy!

LINK

2'30'' Rag

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

Gato Barbieri - Yesterdays (1974) [re-rip]

Fantastic slice of latin jazz. The album smokes from start to finish, with Gato in his prime as a sax player. Also featuring the great bass of Ron Carter and the fine drumming of Pretty Purdy. Check out "A John Coltrane Blues" and "Marnie". ~ jimslim11

Gato Barbieri wails his jazz-sax to some great latin rhythms. The title track is complex, driving, and joyous. Driving percussion, thumping bass. Brilliant playing. When they dive into Coltrane's "Village Blues" - (here called "A John Coltrane Blues), ya better strap on your seat belts. ~ phnuggle

Flying Dutchman, BDL 1-0550, 1974

Recorded in New York; 1974

Musicians:

Gato Barbieri - Tenor Saxophone

George Dalto - Piano

Ron Carter - Bass

Paul Metzke - Electric Guitar

Bernard "Pretty" Purdie - Drums

Babafemi - Congas

Raymond Mantilla - Timbales

Tracks:

A1. Yesterdays {Jerome Kern, Otto Harbach} (10:44)

A2. A John Coltrane Blues {John Coltrane} (8:19)

B1. Marnie {Bernard Herrmann, Peter Jason, Gloria Shayne} (7:08)

B2. Cariñoso {Pixinguinha} (10:53)

Total Time: 37:04

Credits:

Producer - Bob Thiele

Recording Engineer - Bob Simpson

Pucho & The Latin Soul Brothers - Jungle Fire! (1970)

Henry “Pucho” Brown, and his Latin Soul Brothers continue in the vein of their previous albums, exploring elements of jazz, Latin music, soul, and funk. What sets this LP apart from its predecessors is the interpretation of three Norman Whitfield, Barrett Strong tunes. Both writer and lyricist are renowned for their contribution to the Motown Sound and of the late-1960s subgenre of psychedelic soul. The remaining two tracks are penned by Sonny Phillips, an organist, composer and noted soul jazz giant; also, a featured musician and leader on a number of other Prestige LPs. Apart from the great songwriting the album is boosted by the inclusion of saxophonist Seldon Powell, guitarist Billy Butler and as a regular electric pianist Neal Creque, adds his own magical touch. Of course, the Latin beats would not come to much if Pucho & his Latin Soul Brothers didn’t insurmountably fuse into each of the tunes their intoxicating rhythms. In the end another fine and entertaining album, enjoy!

Prestige Records, PRST 7765, 1970

Beat Goes Public, BGPD 1049, 1992

Recorded 12^th January, 1970 At Van Gelder Studio, Englewood Cliffs, NJ

Musicians:

Pucho - Timbales

Al Pazant - Trumpet

Seldon Powell - Tenor Saxophone, Saxophone [Varitone], Flute

Eddie Pazant - Tenor Saxophone

Earl Neal Creque - Electric Piano

Billy Bivins - Vibraphone, Percussion

Billy Butler - Guitar

Seaborn Westbrook - Bass [Fender]

Bernard "Pretty" Purdie - Drums

Joe Armstrong - Congas

Norberto Appellaniz - Bongos

Tracks:

A1. Friendship Train {Norman Whitfield, Barrett Strong} (5:10)

A2. Got Myself A Good Man {Norman Whitfield, Barrett Strong} (5:48)

A3. The Spokerman {Sonny Phillips} (5:15)

B1. Cloud 9 {Norman Whitfield, Barrett Strong} (8:59)

B2. Jamilah {Sonny Phillips} (6:17)

Total Time: 31:29

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Photo - H. Armstrong Roberts

Hank Crawford - South - Central (1993)

All of the songs on this set except for the closing "Holy Night" (which was left over from a 1990 session) are from 1992. Altoist Hank Crawford is heard at his best on the ballads where he really caresses the melodies, giving them a great deal of soul and heartfelt feeling. Joined by guitarist Melvin Sparks, pianist Stan Hope, bassist Peter Martin Weiss and drummer Grady Tate (with an occasional hint of strings), Crawford digs into such songs as "I Should Care," "I Want To Talk About You," and "Fool That I Am," finding time to swing "In A Mellotone" and "Splanky." His alto playing is at its most vocal throughout this passionate yet tasteful set, which will be easily enjoyed by his many fans. ~  by Scott Yanow, AMG.

Milestone Records, MCD-9201-2, 1993

Recorded 11^th & 27^th August, 1992 (#1-8) At Nola Sound Studios, NYC;

February, 1990 (#9) At Giant Studios, New York City;

8^th September, 1992 Synthesizers At Malcolm Addey's Studio, New York City

Musicians:

Hank Crawford - Alto Saxophone, String Arrangements (#1-9)

Stan Hope - Piano (#1-8)

Melvin Sparks - Guitar (#1-9)

Peter Martin Weiss - Bass (#1-8)

Grady Tate - Drums (#1-8)

George Caldwell - Strings (#1-8)

#9. O Holy Night

Hank Crawford - Arranger [Horns]

Lew Soloff - Trumpet

Alan Rubin - Horns

Lou Marini - Tenor Saxophone

Howard Johnson - Baritone Saxophone

Gloria Coleman - Organ

Doctor John - Piano

Wilbur Bascomb - Bass

Bernard "Pretty" Purdie

Tracks:

1. Falling In Love With Love {Lorenz Hart, Richard Rodgers} (4:43)

2. I Should Care {Sammy Cahn, Axel Stordahl, Paul Weston} (6:16)

3. South Central {Hank Crawford} (8:31)

4. I Want To Talk About You {Billy Eckstine} (5:20)

5. In A Mellow Tone {Duke Ellington, Milt Gabler} (5:26)

6. Conjunction Mars {Hank Crawford} (8:07)

7. Fool That I Am {Hank Crawford} (5:57)

8. Splanky {Neal Hefti} (4:24)

9. O Holy Night {Adolphe Adam, John Sullivan Dwight} (3:28)

Credits:

Producer - Bob Porter

Recording Engineer - Malcolm Addey

Mastering Engineer - George Horn (Fantasy Studios, Berkeley)

Artwork - Phil Carroll

Photography - Frank Lindner

Design - Jamie Putnam

Liner Notes - David Ritz

Sonny Phillips - Sure 'Nuff (1969) [re-rip]

This LP was the first by organist Sonny Phillips on Prestige Records. Phillips is joined by Virgil Jones on trumpet, Houston Person on tenor sax, Joe "Boogaloo" Jones on guitar, Bob Bushnell on bass and Pretty Purdie on drums; quite a polished team. He presents four tunes of his own and the great Sonny Rollins number Oleo. It is a classic Soul Jazz album for its time. Production is by Bob Porter and recording by the masterful Rudy van Gelder.

The debut set as leader by organist Sonny Phillips is refreshingly free of the usual clichéd funky licks copped off Jimmy Smith and Brother Jack McDuff albums. Very early in his career, the Alabama-born, Chicago-based Phillips trained on piano under Ahmad Jamal, and Jamal's characteristic style remains imprinted on Phillips' loose, easy-flowing solos. (There's a little Ramsey Lewis in there as well, especially on the swinging soul-jazz title track.) This lighter touch and less blues-dependent style gives Sure 'Nuff an intriguing and unusual sound that keeps it from sounding like just another soul-jazz album. At times, Phillips sounds like he's been listening to jazz-rock pioneers like the Al Kooper-led Blood, Sweat & Tears or even the very early (pre-wimpy) Chicago, because tracks like "Be Yourself" and "The Other Blues" subtly integrate rock backbeats and rhythm guitar into jazz forms. Sure 'Nuff isn't an undiscovered masterpiece or anything, but it's considerably more interesting than the average soul-jazz album from the late '60s. ~ by Stewart Mason, AMG.

Prestige Records, PRST 7737, 1970

Recorded 20th October, 1969 At Van Gelder Studio, Englewood Cliffs, New Jersey

Track Listing:

A1. Sure 'Nuff, Sure 'Nuff {Sonny Phillips} (6:47)

A2. Be Yourself {Sonny Phillips} (4:32)

A3. Oleo {Sonny Rollins} (7:46)

B1. Mobile To Chicago {Sonny Phillips} (7:29)

B2. The Other Blues {Sonny Phillips} (9:35)

Personnel:

Sonny Phillips - Organ

Virgil Jones - Trumpet (#A1,A2,B1)

Houston Person - Tenor Saxophone

Joe "Boogaloo" Jones - Guitar

Bob Bushnell - Electric Bass

Bernard "Pretty" Purdie - Drums

Credits:

Supervisor - Bob Porter

Recording Engineer - Rudy van Gelder

Liner Notes - Bob Porter

Sonny Phillips - Black On Black (1970) [re-rip]

Sonny Phillips' third and final album for Prestige, coming just over a year after his first, shows the soul-jazz organist moving in a somewhat funkier direction than his first two efforts. The roiling title track actually has an edge of menace to it, an idea his other albums never even entertained. Of the five tracks, the most surprisingly effective is the nine-minute take on Creedence Clearwater Revival's "Proud Mary"; even more so than Ike and Tina Turner, Phillips and band completely reshape the song, taking off the edge of distance from Creedence Clearwater Revival's original and the campy showbiz of the better-known cover in favor of a pure soul-jazz workout that's among the finest things Phillips ever did in his short recording career. The other highlight is "The Doll House," a showcase for Rusty Bryant's tenor sax with the album's most satisfying soloing. Sonny Phillips isn't highly rated by some soul-jazz historians, but his unique and characteristic light tone -- heavily influenced by his early teachers, Jodie Christian and Ahmad Jamal -- makes his albums far more interesting to listen to than the usual barrage of Jimmy McGriff lifts. ~ by Stewart Mason, AMG.

This 1970 album "Black On Black" is another fine soul-jazz recording. It features Phillips with tenor saxophonist Rusty Bryant, guitarist Melvin Sparks, electric bassist Jimmy Lewis and drummer Bernard Purdie. The music is blues-and groove-oriented. Bryant in particular showcases some fine solos, while Phillips' chugging organ is always appealing.

Prestige Records, PR 10007, 1970

Recorded 27^th July, 1970 At Van Gelder Studio, Englewood Cliffs, New Jersey

Tracks:

A1. Black On Black {Phillips, Bryant, Sparks, Lewis, Purdie} (5:34)

A2. Check It Out {Sonny Phillips} (6:20)

A3. Blues In Maude's Flat {Grant Green} (6:30)

B1. Proud Mary {John Fogerty} (8:01)

B2. The Doll House {Jimmy Lewis} (7:40)

Personnel:

Sonny Phillips - Organ

Rusty Bryant - Tenor Saxophone

Melvin Sparks - Guitar

Jimmy Lewis - Bass [Fender]

Bernard "Pretty" Purdie - Drums

Credits:

Producer [Supervision] - Bob Porter

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten
Liner Notes - Tom Curry (December 1970)