Willis Jackson - Soul Grabber (1967) [vinyl>flac]

One of our favorite albums ever by Willis Jackson - and in fact one of our favorite soul jazz sides of the 60s! There's a mad groove here that's quite different than any of Jackson's earlier work - freer, looser, and more experimental - handled with a sound that's almost fuller in the arrangements, but which also gives the soloists more room to groove around. Willis himself plays the amazing ‘Gator’ horn on "Alfie" - a long funny-looking variation on the tenor, and a horn that has an almost George Braith or Roland Kirk-like sound. The rest of the group features some great guitar by Wally Richardson and smoking organ by Carl Wilson - plus electric bass at the bottom from Bob Bushnell, a key component to the harder-hitting quality of the grooves. The set features a fantastic version of Baden Powell's "Song of Ossanha", plus great covers of "Sunny", "Girl Talk", and "Ode to Billy Joe" - and the tracks "Soul Grabber", "Alfie", "I Dig Rock & Roll Music", and "Rhode Island Red". © Dusty Groove America, Inc.

Prestige Records, PRST 7551, 1968

Recorded 20^th October, 1967 (#A1,A4,B4,B5) in New York City;

25^th October, 1967 (#A2,A3,A5-B3) at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis “Gator” Jackson - Tenor Sax, Gator Horn (#B3)

Wilbur “Dud” Bascomb - Trumpet

Sammy Lowe - Trumpet

Heywood Henry - Baritone Saxophone (#A1,A4,B4,B5)

Carl Wilson - Organ

Lloyd Davis - Guitar

Wally Richardson - Guitar

Bob Bushnell - Electric Bass

Lawrence Wrice - Drums

Tracks:

A1. The Song Of Ossanha {Baden Powell, Vinícius de Moraes} (2:39)

A2. Sunny {Bobby Hebb} (6:35)

A3. Girl Talk {Neal Hefti, Bobby Troup} (5:26)

A4. Ode To Billie Joe {Bobbie Gentry} (2:55)

A5. Sometimes I'm Happy {Vincent Youmans, Irving Caesar, Clifford Grey} (5:13)

B1. Soul Grabber {Willis "Gator" Jackson} (1:58)

B2. Rhode Island Red {Willis "Gator" Jackson} (3:33)

B3. Alfie {Hal David, Burt Bacharach} (8:22)

B4. I Dig Rock & Roll Music {Noel Paul Stookey, James Mason, Dave Dixon} (2:49)

B5. These Blues Are Made For Walking {Willis "Gator" Jackson} (5:49)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design, Liner Photo - Don Schlitten

Art - Irving Riggs

Liner Notes - Chris Albertson (Feb. 1968)

Note: “The Song Of Ossanha” also listed as “The Song Of Ossahna”

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

Billy Butler - Night Life (1971) [re-rip]

Butler was a versatile musician who, on ballads in particular displayed a very interesting sound, sometimes sliding between notes as if he were playing a steel guitar. ~ Scott Yanow, AMG.

The music on this LP is generally in the Soul Jazz vein. Butler apart from the title track Nightlife performs mostly standards including Wave, Watch What Happens, Prelude To A Kiss and In A Mellow Tone; along with one of his own; Peacock Alley. His sidemen include Houston Person or Jesse Powell on tenors, Johnny "Hammond" Smith on keyboards (electric piano or organ), electric bassist Bob Bushnell, and Jimmy Johnson on drums. This is a distinct improvement on "This Is BillyButler!" and is highly recommended

Prestige Records, PRST 7854, 1971

Recorded in 1971 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Billy Butler - Guitar

Johnny "Hammond" Smith - Organ, Electric Piano (#A3)

Jesse Powell - Tenor Saxophone

Houston Person - Tenor Saxophone (#A3,B3)

Bob Bushnell - Electric Bass

Jimmy Johnson - Drums

Tracks:

A1. Nightlife {Walt Breeland, Paul Buskirk, Willie Nelson} (5:57)

A2. Wave {Antonio Carlos Jobim} (5:52)

A3. Watch What Happens {Jacques Demy, Norman Gimbel, Michel Legrand} (5:03)

B1. Peacock Alley {Billy Butler, Bill Doggett} (4:08)

B2. Prelude To A Kiss {Duke Ellington, Irving Mills, Irving Gordon} (5:07)

B3. In A Mellotone {Duke Ellington, Milt Gabler} (9:44)

Credits:

Producer, Recording Supervisor - Bob Porter

Recording Engineer - Rudy van Gelder
Design - Don Schlitten

Liner Notes - Sonny Mann: WFAS Radio, White Plains, N.Y. (February, 1971)

Whether you as an individual are a “day lifer" or a "night lifer", Billy Butler has something to say to you. Within this jacket is an album that will appeal to people young and also not so young. And better appeal - or diversity - is hard to come by! ~ Extract from Liner Notes by Sonny Mann.

Billy Butler - Guitar Soul! (1969) [re-rip>flac]

If you haven't heard Billy Butler before this, you're due for a welcome surprise. On the other hand, if you've checked out Billy’s first Prestige LP This Is Billy Butler! (Prestige 7622) or remember his work with Bill Doggett's combo, then you already know that he's just about the best all-around guitarist going. The first thing about Billy's music that's likely to get to you is the rich, deep tone he produces on every member of the guitar family he plays. Interestingly, that sound is matched almost exactly by the warm, masculine baritone of his speaking voice. Of course, when you're talking about sound you can't neglect the unique "singing sound" which is becoming Billy's trademark. He politely declined when I asked him if he cared to reveal the method he uses to make the guitar sound like a swinging violin - after all, when you've got something good that's all your own you don't broadcast trade secrets. Still, he did explain that it involves careful co-ordination between the volume control and picking. You can hear the results all through 'Honky Tonk' and as occasional spice on other tracks. After sound, there’s the matter of swing and ideas, and here too Billy is right on top. His time has the mellow maturity that can only come from experience, and, to quote from my review of his first album, he has the ability to construct long, graceful melodies which resolve with an all’s-right-with-the-world equilibrium. You might say that there's something for everyone on this LP, but I prefer to think that everyone will dig all of it. And, if there's an annual award for the Noblest Deed By A Record Company. I nominate Prestige for turning the spotlight on Billy Butler. Albums like this are going to keep him there. ~ Extract from Liner Notes by Larry Kart (November, 1969).

Prestige Records, PRST 7734, 1969

Recorded 22^nd September, 1969 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Billy Butler - Guitar, Bass Guitar, Classic Guitar, Vocals (#A1)

Seldon Powell - Tenor Saxophone, Flute, Varitone

Sonny Phillips - Organ

Bob Bushnell - Electric Bass

Specs Powell - Drums

Tracks:

A1. Blow For The Blessing {Billy Butler, Charles Black} (9:28)

A2. Golden Earrings {Ray Evans, Jay Livingston, Victor Young} (4:04)

A3. The Thumb {Wes Montgomery} (4:18)

B1. Honky Tonk {Bill Doggett, Billy Butler, Clifford Scott, Shep Shepherd} (5:46)

B2. B & B Calypso {Bob Bushnell} (3:03)

B3. Seven Come Eleven {Benny Goodman, Charlie Christian} (5:43)

B4. Autumn Nocturne; You Go To My Head {Josef Myrow, Kim Gannon; J. Fred Coots, Haven Gillespie} (3:28)

Credits:

Supervision - Bob Porter

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Larry Kart

Billy Butler - This Is Billy Butler! (1968) [re-rip]

In the 1960s, Billy Butler was not only one of the top guitarists in the soul-jazz field - he was also a busy, in-demand session player who backed his share of R&B heavyweights. Butler, one of the countless jazz greats who came out of Philadelphia, had so much work as a sideman that it took him a long time to record an album under his own name. In fact, the guitarist had just turned 43 when, in December 1968, he recorded his first session as a leader, This Is Billy Butler. This vinyl LP is a soul-jazz/hard bop classic, and Butler has a talented cast of players to help him pull it off - one that includes producer Bob Porter and engineer Rudy van Gelder, as well as tenor saxman Houston Person and pianist/organist Ernie Hayes (among others). While Person delivers his share of inspired solos, Butler is the man in the driver's seat, and he really soars on material that ranges from Nat Adderley's "Work Song" to Butler originals like "Bass-ic Blues" and "The Soul Roll." Butler and his sidemen also turn their attention to Don Redman's "Cherry," a standard that has often been heard in classic jazz and swing settings, but easily lends itself to an inspired soul-jazz makeover. In retrospect, it's surprising that a guitarist of Butler's stature didn't record as a leader extensively - after providing four of his own LPs for Prestige in 1968-1970, he only recorded a few more LPs for various independent labels. But then, Butler's sidemen work didn't leave him with a lot of free time. It took the Philadelphian 43 years to record as a leader, and this excellent LP proved that he was certainly up to the task. ~ by Alex Henderson, AMG.

Prestige Records, PRST 7622, 1969

Recorded 16^th December, 1968 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Billy Butler - Guitar, Bass Guitar (#B3)

Houston Person - Tenor Saxophone (Except #B3)

Ernie Hayes - Organ (#A1,A3-B2), Electric Piano (#A2,B3)

Bob Bushnell - Electric Bass

Rudy Collins - Drums

Tracks:

A1. The Twang Thang {Billy Butler, Ernie Hayes} (5:13)

A2. Cherry {Don Redman, Ray Gilbert} (6:44)

A3. Work Song {Nat Adderley} (5:52)

B1. The Soul Roll {Billy Butler} (4:41)

B2. She Is My Inspiration {Connie Wharton, Edward Wharton} (5:12)

B3. Bass-ic Blues {Billy Butler} (6:23)

Credits:

Supervision, Liner Notes - Bob Porter

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Willis Jackson - Smoking With Willis (1965) [vinyl>alac]

A great album from Willis Jackson - a real sleeper, and with a very groovy feel! Willis smokes with an organ combo that has Butch Cornell at the keys, and which also features Vince Corrao on guitar and Franklyn Robinson on trumpet. The tracks are a mix of originals and Beatles covers (believe it or not!), and Willis is in that playful mid-60s mode, where he's working with so much profiency on the tenor that he can take some groovy chances on the solos. The rhythm's got a great Cadet soul jazz vibe to it - and the album fits nicely with some of Jack McDuff's work on the same label. Titles include "Yesterday", "Hard Day's Night", "Goose Pimples", and "Doin' The Mudcat". © Dusty Groove America, Inc.

Cadet Records, LPS-763, 1965

Recorded November, 1965 at A&R Recording Studios, New York City

Musicians:

Willis Jackson - Tenor Saxophone

Franklyn Robinson - Trumpet

Butch Cornell - Organ

Vincent Corrao - Guitar

Bob Bushnell - Bass

David Niskanan - Drums

Tracks:

A1. Doin' The Mudcat {David C. Randolph, Willis Jackson} (4:16)

A2. And I Love Her {John Lennon, Paul McCartney} (5:34)

A3. Goose Pimples {David C. Randolph, Willis Jackson} (4:38)

A4. Yesterday {John Lennon, Paul McCartney} (3:13)

B1. Broadway {Bill Bird, Henry Woode, Teddy McCrae} (6:51)

B2. Who Can I Turn To [When Nobody Needs Me] {Anthony Newley, Leslie Bricusse} (4:44)

B3. A Hard Day's Night {John Lennon, Paul McCartney} (5:37)

Credits:

Producer, Supervisor, Design [Cover], Photography - Esmond Edwards

Gene Ammons - Brother Jug! (1969) [vinyl>flac]

A swinging soul-jazz set from just before the point where soul-jazz turned once and for all into fusion, 1970's Brother Jug is very much an album of its time. (Note Billy Butler's funky-cheesy wah-wah guitar underpinning "Jungle Strut.") That said, while the album doesn't have the classic timelessness of Gene Ammons' best '50s and early-'60s work, Brother Jug is one of Ammons' better albums released soon after the tenor saxophonist's release from a seven-year prison sentence. Ammons' playing on this album has an unaccustomed grit; even on ballads like "Didn't We," there's an R&B-style honk to Ammons' tone that suits the funky, electric arrangements well. Brother Jug is not an all-time classic -- the closing take on "Son of a Preacher Man," with Sonny Phillips' in-your-face wah-wah organ, is hampered by a too-sluggish rhythm section and some unimaginative, braying solos by Ammons -- but even the weakest tunes have a certain historical interest. ~ by Stewart Mason, AMG.

Nice soul jazz vibes from Mr. Ammons featuring Bernard Purdie, Candido and Billy Butler amongst others. The track Jungle Strut is a stone cold B-boy throwdown. ~ Mista WARZ!!!

Prestige Records, PR 7792, 1969

Recorded 10th (#B3) & 11th (#A1-B2) November, 1969 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Gene Ammons - Tenor Saxophone

Sonny Phillips - Organ (#A1-B2)

Junior Mance - Piano (#B3)

Billy Butler - Guitar (#A1-B2)

Bob Bushnell - Electric Bass (#A1-B2)

Buster Williams - Bass (#B3)

Bernard Purdie - Drums (#A1-B2)

Frankie Jones - Drums (B3)

Candido - Congas (#B3)

Track Listing:

A1. Son Of A Preacher Man {John Hurley, Ronnie Wilkins} (4:20)

A2. Didn't We {Jimmy Webb} (5:58)

A3. He's A Real Gone Guy {Nellie Lutcher} (4:59)

B1. Jungle Strut {Gene Ammons} (5:03)

B2. Blue Velvet {Lee Morris, Bernie Wayne} (4:02)

B3. Ger-Ru {Gene Ammons} (8:37)

Credits:

Supervisor - Bob Porter

Recording Engineer - Rudy Van Gelder

Liner Notes - Dan Morgenstern (May 1970)

Note:

There is discrepancy in the session listing at the ‘Prestige Records Discography Project’.
Prince James not listed, but is on album cover. Also Billy Butler only seems to play on tracks A1, B1.