Charles McPherson - Live At The Five Spot (1966) [+ Bonus Tracks]

Charles On Fire
=============
This album is a must have for jazz alto players in particular, as well as the bebop connoisseur. The whole group is burn in', especially on Shaw ‘Nuff. You'll never hear it played this fast! The R-section is stellar, with a rare appearance by little known Detroit bassist, Ray McKinney who is rock solid throughout. ~ Paco, 5 Stars, Amazon.com. 

I happened to hear a single cut from this set ("Shaw 'Nuff") played one night by my local FM station here in Pittsburgh, and realized that I had to hear the rest. The intensity of McPherson's work here, as well as the other musicians on the set are a testament to the genuine timelessness of be-bop in the evolution of this music. ~ Old & Improved, 5 Stars, Amazon.com. 

A monster recording. ~ Boblyn Austin, 5 Stars, Amazon.com. 

Prestige Records, PRCD-24135-2, 1994
Recorded 13th October, 1966 Live at the Five Spot, New York City 

Musicians:
Charles McPherson - Alto Saxophone
Lonnie Hillyer - Trumpet
Barry Harris - Piano
Ray McKinney - Bass
Billy Higgins - Drums 

Tracks:
1. The Viper {Charles McPherson} (4:22)
2. I Can't Get Started {Vernon Duke, Ira Gershwin} (9:10)
3. Shaw 'Nuff {Dizzy Gillespie, Charlie Parker} (10:24)
4. Here's That Rainy Day {James Van Heusen, Johnny Burke} (6:35)
5. Never Let Me Go {Jay Livingston, Ray Evans} (11:35)
6. Suddenly {Charles McPherson} (6:50)
7. I Believe In You {Frank Loesser} (8:13)
8. Epistrophy {Thelonious Monk, Kenny Clarke} (7:28)
9. Luminescence {Barry Harris}  (10:41) 

Total Time: 75:23 

Credits:
Producer - Don Schlitten
Engineer - Jerry Newman
Remastering - Phil De Lancie [Fantasy Studios, Berkeley, 1994]
Art Direction - Phil Carroll
Photography - Jim Marshall
Liner Notes - Ira Gitler 

Notes:
#1-6 originally released as Charles McPherson/The Quintet/Live! (Prestige 7480);
#7-9 previously unissued. 

The Viper

Donald Brown - Enchanté ! (1998)

Donald Brown is a phenomenal composer in his own right, but he primarily concentrates on overlooked gems during these 1998 sessions. He's joined by alto saxophonist Bill Easley (who doubles on clarinet and flute), trumpeter and flügelhornist Stephane Belmondo, vibraphonist Steve Nelson, bassist Essiet Essiet, and drummer Billy Higgins. Brown's imaginative scoring of Billy Strayhorn's gorgeous ballad "Day Dream" showcases Nelson's sparse vibes and Easley's lyrical clarinet. Thad Jones' "Quiet Lady," one of many treasures that awaits discovery by the jazz world, is an easygoing waltz with crisp brushwork by Higgins. Duke Pearson, another neglected composer, is represented with a driving rendition of "Big Bertha," a piece that could easily have been a part of Brown's repertoire while he was music director for Art Blakey. Easley's haunting flute is backed solely by Brown's thoughtful piano in a brilliant arrangement of Billie Holiday's "Don't Explain," which also spotlights Belmondo's rich flügelhorn. The one standard of the date is a snappy cover of "Like Someone in Love." Donald Brown also contributed three originals, with the upbeat "Enchanté!" especially standing out. Fans of this veteran pianist should snap up this French CD without hesitation. ~ by Ken Dryden, AMG. 

Space Time Records, BG 9910, 1998
Recorded 12th & 13th January, 1998 at Avatar Studios, New York City 

Musicians:
Donald Brown - Piano, Arranger, Composer
Stéphane Belmondo - Trumpet, Flugelhorn
Bill Easley - Alto Saxophone, Clarinet, Flute
Steve Nelson - Vibraphone
Mark Boling - Guitar, Guitar [Electric]
Essiet Essiet - Bass
Billy Higgins - Drums
Daniel Sadownick - Percussion 

Tracks:
01. Strangers In Paradise {Donald Brown} (9:47)
02. Diane {Lew Pollack, Erno Rapee} (8:55)
03. Day Dream {Duke Ellington, John Latouche, Billy Strayhorn} (6:50)
04. Quiet Lady {Thad Jones} (4:54)
05. A Dance For Marie-Do {Donald Brown} (6:10)
06. You're Looking At Me {Bobby Troup} (8:26)
07. Big Bertha {Duke Pearson} (7:16)
08. Don't Explain {Billie Holiday} (8:13)
09. Like Someone In Love {James Van Heusen} (6:52)
10. Enchanté! {Donald Brown} (7:04) 

Total Time: 74:27 

Credits:
Producer - Donald Brown
Production Coordination - Xavier Felgeyrolles
Executive Producer - Walter Squindo
Engineer - Jim Anderson
Mastering - Raphaël Jonin
Mixing - Allan Tucker

Hank Mobley - Far Away Lands (1967)

Of all the Blue Note artists of the 1960s, tenor saxophonist Hank Mobley may very well be the most underrated. A consistent player whose style evolved throughout the decade, Mobley wrote a series of inventive and challenging compositions that inspired the all-stars he used on his recordings while remaining in the genre of hard bop. For this lesser-known outing, Mobley teams up with trumpeter Donald Byrd, pianist Cedar Walton, bassist Ron Carter, and drummer Billy Higgins for four of his songs (given such colorful titles as "A Dab of This and That," "No Argument," "The Hippity Hop," and "Bossa for Baby"), along with a song apiece from Byrd and Jimmy Heath. An excellent outing, fairly late in the productive career of Hank Mobley. ~ by Scott Yanow, AMG. 

Blue Note, BST 84425, 1985
Blue Note, CDP 7 84425 2, 1988
Recorded 26th May, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Hank Mobley - Tenor Saxophone
Donald Byrd - Trumpet
Cedar Walton - Piano
Ron Carter - Bass
Billy Higgins - Drums 

Tracks:
1. A Dab Of This And That {Hank Mobley} (5:11)
2. Far Away Lands {Jimmy Heath} (5:32)
3. No Argument {Hank Mobley} (6:31)
4. The Hippity Hop {Hank Mobley} (5:39)
5. Bossa For Baby {Hank Mobley} (6:06)
6. Soul Time {Donald Byrd} (6:48) 

Total Time: 35:47 

Credits:
Producer - Alfred Lion
Recording Engineer - Rudy van Gelder
Reissue Producer, Liner Notes - Michael Cuscuna
Digital Transfer - Ron McMaster
Design - Richard Mantel

Richard "Groove" Holmes - Get Up & Get It! (1967) [re-rip]

The organ trio format is so ensconced in the minds of soul-jazz fans that hearing this album, which puts Richard "Groove" Holmes' funky Hammond B3 in the context of a larger group, sounds odd and over-produced at first. Putting Holmes' bottom-heavy instrument against a guitar-bass-drums trio and then adding Teddy Edwards' tenor saxophone on top to take most of the melody lines sounds on paper like it should be a thick, muddy mess, but thankfully, Holmes' sidemen are up to the task at hand and steer clear of over-playing. The great Paul Chambers, one of the best bassists of the post-bop generation, mostly leaves the bottom to Holmes' left hand, leaving himself free to add intriguing little accents and filigrees to the rhythm, and guitarist Pat Martino wisely avoids the temptation to do much more than comp unobtrusively and take the occasional brief solo. Billy Higgins, of course, is one of the great drummers of his time and plays solidly throughout. The original "Groove's Blue Groove" is a particular highlight, but the entire album is worthy. ~ by Stewart Mason, AMG.

Prestige Records, PRST 7514, 1967

Recorded 29^th May, 1967 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Richard "Groove" Holmes - Organ [Hammond B3]

Teddy Edwards - Tenor Saxophone

Pat Martino - Guitar

Paul Chambers - Bass

Billy Higgins - Drums

Tracks:

A1. Get Up And Get It {Teddy Edwards} (5:41)

A2. Lee-Ann {Teddy Edwards} (5:08)

A3. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (9:20)

B1. Broadway {Billy Bird, Teddy McRae, Sir Henry Joseph Wood} (5:24)

B2. Groove's Blues Groove {Richard "Groove" Holmes} (8:02)

B3. Pennies From Heaven {Johnny Burke, Arthur Johnston} (6:26)

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Rudy van Gelder

Liner Notes - Bob Porter (July 1967)

Roy Hargrove - Approaching Standards (1994)

This compilation serves as a fine entrance point into Hargrove's work. The playing is measured and a fine representation of he the jazz played by the Young Lions of the early 90's. Hargrove would evolve and his sound would change. These 10 songs are the sound of promise, later albums would arguably deliver on that promise. This is a must have if you're interested in the early sound of Hargrove's ballads. ~ by Dave Rullo, AMG.

Here Is Beauty Pure And Simple

Every track is a delight, just put it on and let it go. It very beautifully showcases the trumpet as a jazz instrument and reaffirms Roy Hargrove as a main interpreter of the standards. This CD is a good introduction into jazz for anyone not yet acquainted. It is also one of my favorites to put on at night for go-to-sleep music. ~ Paul Phelps, Amazon.com

RCA/Novus Records, 01241 63178 2, 1994

Jazz Heritage, 513900W, 1995

Recorded December, 1989 to February, 1993
At BMG Studios & Clinton Recording, New York

Personnel:

Roy Hargrove - Trumpet, Flugelhorn

Frank Lacy - Trombone

Ran Blake - Soprano Saxophone, Tenor Saxophone

John Hicks - Piano

Stephen Scott - Piano

Christian McBride - Bass

Rodney Whitaker - Bass

Scott Colley - Bass

Al Foster - Drums

Billy Higgins - Drums

Gregory Hutchinson - Drums

Tracks:

01. Easy To Remember {Lorenz Hart, Richard Rodgers} (6:17)

02. Ruby My Dear {Thelonious Monk} (6:17)

03. Whisper Not {Benny Golson} (7:31)

04. What's New? {Johnny Burke, Bob Haggart} (5:10)

05. September In The Rain {Al Dubin, Harry Warren} (7:23)

06. You Don't Know What Love Is {Gene DePaul, Don Raye} (6:20)

07. End Of A Love Affair {Thelonious Monk} (8:05)

08. Things We Did Last Summer {Sammy Cahn, Jule Styne} (5:38)

09. Everything I Have Is Yours {Burton Lane, Harold Adamson}
/Dedicated To You {Sammy Cahn, Hy Zaret} (4:48)

10. My Shining Hour {Harold Arlen, Johnny Mercer} (6:09)

Credits:

Producer - Larry Clothier

Mastering - Jimmy Nichols At BMG Studios, NYC

Photography - Ruedi Hofmann

Art Direction - Jacqueline Murphy

Design - Amy Wenzler

James Spaulding - Plays The Legacy Of Duke Ellington

Duke Ellington's passing in 1974 left a giant hole not only in Jazz, but in music itself.  Undoubtedly one of the 20th century's most important artists.  Many musicians were moved to pay tribute, and James Spaulding was one of them.

There are no shortage of Duke tribute albums, and I certainly have my favorites.  A couple that stand out for me are Art Farmer's - To Duke With Love; and Sempre Amore from the duo of  Steve Lacy & Mal Waldron.  That said, Spaulding has given us a solid upbeat treatment of some Ellington classics.

A few things stand out on this record for me.  Firstly, Spaulding moves between several instruments and is technically wonderful on all.  His flute work is particularly incredible.  The addition of Avery Brooks also makes this session a touch different.  The vocalist has a baritone voice, akin to Paul Robeson and adds a nice flavour to the chosen songs.  Mtume's presence is also strongly felt, and helps to drive the band with an upbeat and joyous feel to all of the songs.  Overall, a really strong album which serves to honour the great Duke Ellington.  I would say it's a must have for fans of James Spaulding.

This minty vinyl was ripped at 24/48 wav and compressed to 24/48 FLAC for your convenience.  As always, hi-rez scans of the cover are included.  Remember people... "it don't mean a thing if it ain't got that swing!!"  Enjoy!!

_____________________________________________________

Storyville ‎– SLP 4034

1978

BOOKER ERVIN - BACK FROM THE GIG (1976 COMPILATION) 24~48 VINYL

1976
Blue Note BN-LA488-H2
MY Vinyl Rip
Front, Back, & Inside Covers
DR Value 13
WAVE
994 MB

 AllMusic Review by Scott Yanow

This two-LP set consists of a pair of classic Blue Note sets that were not originally released until 1976. The great tenor Booker Ervin (whose hard passionate sound was always immediately recognizable) is well-showcased with the Horace Parlan Sextet in 1963 (a group also featuring pianist Parlan, trumpeter Johnny Coles and guitarist Grant Green) and with his own all-star quintet from 1968 (which also stars trumpeter Woody Shaw and pianist Kenny Barron). The stimulating group originals and advanced solos (which fall somewhere between hard bop and the avant-garde) still sound fresh and frequently exciting.

The Tracks:

01 Home In Africa / 02 A Tune For Richard / 03 Back From The Gig / 04 Dexi / 05 Kucheza Blues / 

06 Happy Frame Of Mind / 07 Gichi / 08 Den Tex / 09 In A Capicornian Way / 10 Lynn's Tune / 11 204

Ornette Coleman - The Best Of Ornette Coleman (1970) [vinyl>flac]

A great compilation of various quartets led by Ornette Coleman from 1959-1960. Even though this LP is a random selection taken from Coleman’s classic Atlantic albums, the sound of the LP is outstanding, Enjoy!

Atlantic Records, SD 1558, 1970

Personnel:

#A1,B1

Ornette Coleman - Alto Saxophone

Donald Cherry - Pocket Trumpet

Charlie Haden - Bass

Billy Higgins - Drums

#A2,A3

Ornette Coleman - Alto Saxophone

Donald Cherry - Pocket Trumpet

Charlie Haden - Bass

Ed Blackwell - Drums

#A4

Ornette Coleman - Alto Saxophone

Donald Cherry - Cornet

Charlie Haden - Bass

Billy Higgins - Drums

#B2

Ornette Coleman - Alto Saxophone

Donald Cherry - Pocket Trumpet

Scott LaFaro - Bass

Ed Blackwell - Drums

Track Listing:

A1. Una Muy Bonita {Ornette Coleman} (5:58)

Recorded 10th October, 1959 at Radio Recorders Studio, Hollywood, California

Recording Engineer - Bones Howe

From Atlantic LP 1327

A2. Embraceable You {George & Ira Gershwin} (4:52)

Recorded 26th July, 1960 at Atlantic Recording Studios, New York

Recording Engineer - Tom Dowd

From Atlantic LP 1353

A3. Blues Connotation {Ornette Coleman} (5:16)

Recorded 19th July, 1960 at Atlantic Recording Studios, New York

Recording Engineer - Tom Dowd, Phil Iehle

From Atlantic LP 1353

A4. Lonely Woman {Ornette Coleman} (4:58)

Recorded 10th October, 1959 at Radio Recorders Studio, Hollywood, California

Recording Engineer - Bones Howe

From Atlantic LP 1317

B1. Ramblin' {Ornette Coleman} (6:35)

Recorded 9th October, 1959 at Radio Recorders Studio, Hollywood, California

Recording Engineer - Bones Howe

From Atlantic LP 1327

B2. C & D {Ornette Coleman} (13:11)

Recorded 26th July, 1960 at Atlantic Recording Studios, New York

Recording Engineer - Tom Dowd

From Atlantic LP 1378

Credits:

Producer - Nesuhi Ertegun

Cover Photo - Lee Friedlander

Cover Design - Loring Eutemey

Liner Notes - Nat Hentoff

Ornette Coleman - Twins (1959-1961) [vinyl>flac]

Ornette Coleman's Twins has been looked at as an afterthought in many respects. A collection of sessions from 1959, 1960, and 1961 with different bands, they are allegedly takes from vinyl LP sessions commercially limited at that time to 40 minutes on vinyl, and not initially released until many years later. Connoisseurs consider this one of his better recordings in that it offers an overview of what Coleman was thinking in those pivotal years of the free bop movement rather than the concentrated efforts of The Art of the Improvisers, Change of the Century, The Shape of Jazz to Come, This Is Our Music, and of course the pivotal Free Jazz. There are three most definitive selections that define Coleman's sound and concept. "Monk & the Nun" is angular like Thelonious Monk, soulful as spiritualism, and golden with the rhythm team of bassist Charlie Haden and drummer Billy Higgins driving the sweet and sour alto sax of Coleman and piquant trumpeting of Don Cherry. "Check Up" is a wild roller coaster ride, mixing meters, tempos, and dynamics in a blender in an unforgettable display of sheer virtuosity, and featuring bassist Scott LaFaro. "Joy of a Toy" displays the playful Ornette Coleman in interval leaps, complicated bungee jumps, in many ways whimsical but not undecipherable. It is one of the most intriguing of all of Coleman's compositions. Less essential, "First Take" showcases his double quartet in a churning composition left off the original release This Is Our Music, loaded with interplay as a showcase for a precocious young trumpeter named Freddie Hubbard, the ribald bass clarinet of Eric Dolphy, and the first appearance with Coleman's groups for New Orleans drummer Ed Blackwell. "Little Symphony" has a great written line with room for solos in a joyful hard bop center with the quartet of Coleman, Cherry, Haden, and Blackwell. All in all an excellent outing for Coleman from a hodgepodge of recordings that gives a broader view of his vision and the music that would come later in the '60s. ~ by Michael G. Nastos, AMG.

Atlantic Records, SD 1588, 1971

"First Take" 21^st December, 1960 at A&R Studios, New York City

"Little Symphony" 19^th July, 1960, at Atlantic Recording Studios, New York City

"Monk And The Nun" 22^nd May, 1959, at Radio Recorders, Hollywood, California

"Check Up" 31^st January, 1961, at Atlantic Recording Studios, New York City

"Joy Of A Toy" 26^th July, 1960, at Atlantic Recording Studios, New York City

Personnel:

Ornette Coleman - Alto Saxophone (#A1-B3)

Don Cherry - Pocket Trumpet (#A1,B2), Cornet (#B1), Trumpet (#A2,B3)

Freddie Hubbard - Trumpet (#A1)

Eric Dolphy - Bass Clarinet (#A1)

Scott LaFaro - Bass (#A1,B2)

Charlie Haden - Bass (#A1-B1,B3)

Ed Blackwell - Drums (#A1,A2,B2,B3)

Billy Higgins - Drums (#A1,B1)

Track Listing:

A1. First Take (16:56)

A2. Little Symphony (5:13)

B1. Monk And The Nun (5:52)

B2. Check Up (10:07)

B3. Joy Of A Toy (4:55)

Credits:

Producer - Nesuhi Ertegun

Recording Engineer - Tom Dowd (#A1,A2,B2,B3), Phil Iehle (#A2), Bones Howe (#B1)

Mastering Engineer - George Piros

Mixing [Re-Mix Engineer] - Geoffrey Haslam

Cover Design - Haig Adishian

Cover Photo - Omar Kharem

Liner Notes - Martin Williams

Billy Higgins - Bridgework (1980/86) [vinyl 24/48]

An mp3 rip of this was posted at the old Crypt, this is from my own LP.

One of the few times drummer, Billy Higgins recorded as a leader. This 1986 Contemporary release is comprised of two sessions: one from 1980, and another from 1986. Billy Higgins is arguably the most recorded drummer in the history of jazz. Having the ability to float between hard bop and free jazz, Higgins was the perfect drummer for the modern world. Never in your face, Billy was always there, subtly conducting his business in amazing ways ~ eat.sleep.vinyl

Review by Scott Yanow:
This LP features drummer Billy Higgins in a rare leadership role at two unrelated sessions separated by six years. The three titles from 1980 match Higgins with the underrated (and generally underrecorded) but talented tenor James Clay, pianist Cedar Walton and bassist Tony Dumas; they perform Thelonious Monk's "Evidence," a standard, and a Walton tune. The equally rewarding later set (cut in 1986) has Higgins, Walton, tenor saxophonist Harold Land, and bassist Buster Williams playing three group originals and a nearly 11-minute rendition of "I Hear a Rhapsody." The music overall is excellent hard bop with some strong moments but no major surprises.

Harold Land (tenor saxophone) Cedar Walton (piano) Buster Williams (bass) Billy Higgins (drums)
Los Angeles, CA, April 23, 1986
1. Deception
2. I Hear A Rhapsody
3. Plexus

James Clay (tenor saxophone) Cedar Walton (piano) Tony Dumas (bass) Billy Higgins (drums)
Los Angeles, CA, January 4-5, 1980
4. Evidence
5. Bridgework
6. Old Folks
7. The Theme

Don Wilkerson - Preach Brother!

With the release of The Complete Blue Note Sessions, Don Wilkerson seems to have finally received some long overdue recognition.  Firmly planted in the soul jazz style, he stands alongside greats like Fathead Newman, Stanley Turrentine and Hank Crawford.  It's still fascinating to me, that with the incredible popularity and exposure of Blue Note, Wilkerson can still remain a mystery to jazz fans.

You won't find any spiritual or higher powered jazz on Preach Brother!.  The order of the day is fun, upbeat jazz with a heavy leaning towards R&B.  Wilkerson is never at a loss for a funky, groovy chorus - and the band follows suit accordingly.

Obviously, most of you have this album one way or the other, as part of a collection or as a reissue.  I am offering my minty, reissued LP in hopes of capturing the few out there who need an introduction.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!