Booker Ervin - Booker 'n' Brass

I believe I left us on such a solemn note this morning that it would be quite difficult for any of my blogmates to dare break the mood so I will do it by offering that first recording that Ron sent me long ago (at least I think this was it, roll with me, okay?). This was at the time the only Booker Ervin recording that I did not possess and when Jazzman posted it at his blog and dedicated it to me, I was deeply flattered. This was made from Ron's own CD.

Booker Ervin - Booker 'n' Brass
Pacific Jazz, 1967

  "East Dallas Special" (Booker Ervin) - 4:37
    "Salt Lake City" (Johnny Lange, Leon René) - 4:22
    "Do You Know What It Means to Miss New Orleans?" (Louis Alter, Edgar DeLange) - 4:28
    "L.A. After Dark" [Master - Take 6] (Teddy Edwards) - 5:03
    "Kansas City" (Jerry Lieber, Mike Stoller) - 3:00
    "Baltimore Oriole" (Hoagy Carmichael, Paul Francis Webster) - 4:42
    "Harlem Nocturne" (Earle Hagen, Dick Rogers) - 4:18
    "I Left My Heart in San Francisco" (George Cory, Douglass Cross) - 4:13
    "St. Louis Blues" (W. C. Handy) - 4:11
    "L.A. After Dark" [Alternate Take 3] (Edwards) - 5:08 Bonus track on CD reissue
    "L.A. After Dark" [Alternate Take 7] (Edwards) - 5:05 Bonus track on CD reissue

        Recorded at Webster Hall in New York City on September 12 (tracks 4, 6 & 9-11), September 13 (tracks 1, 2 & 5), and September 14 (tracks 3, 7 & 8), 1967.

"To hear Booker Ervin as the leading solo voice on a recording with a larger ensemble is a treat, not only for his fans, but for those interested in modern big-band sounds grown from the bop era that are flavored with urban blues. A trio of different sessions done at Webster Hall in New York City features groups ranging from ten to eleven pieces, with personnel switched up, and no supplemental saxophonists. Freddie Hubbard is the only other soloist besides Ervin, the trombone section features top-rate players Bennie Green, Britt Woodman, and Garnett Brown, and the rhythm section of pianist Kenny Barron, bassist Reggie Johnson, and drummer Lenny McBrowne is as solid as can be. The session is based entirely on themes dedicated to major cities in the U.S.

Three versions of "L.A. After Dark," featuring different solos from Hubbard, are included on the CD version, written by the arranger of the date Teddy Edwards, a quintessential uptown homage to his adopted home. Ervin's "East Dallas Special" - a mix of "Night Train" and "Sister Sadie" - and the short, tuneful Jerry Lieber-Mike Stoller penned hit of Wilbert Harrison's "Kansas City," and the energetic 12-bar "St. Louis Blues" all shuffle along, powered by the soulful McBrowne. Four typical standards are included, with Ervin's tart-sweet post-John Coltrane saxophone sound undeniably leading the way. "Do You Know What It Means to Miss New Orleans?" is a slow spare horn chart accented by the booming bass of Johnson, while "I Left My Heart in San Francisco" is a polite and heartfelt treatment of this all-time favorite. "Harlem Nocturne" is quite dissimilar from the Joe Harnell hit version of the era, this one approximating tango proportions. Closest to true big-band regalia, "Salt Lake City" depicts a not very jazzy or bluesy city with a sophistication that suggests the best progressive charts of Duke Ellington, and especially Oliver Nelson, with two-note horn shout-outs. While the charts of Edwards and the emphasis on brass instruments holds interest, the overall sounds are only somewhat arresting. Ervin is the straw that stirs this tasteful martini, but he is heard to better effect on his numerous small ensemble recordings, and especially his work with Charles Mingus." AMG

Certainly one the most unique Ervin sessions, it reminds me a bit of Kirk in front of the Quincy Jones Orchestra. Thanks Ron.

Booker Ervin - Back From The Gig [vinyl 24/96]

 I am aware that Tom Ryan posted an excellent vinyl rip of this here some years ago, but I've decided to share my own hi-res version as well.

Both sessions were originally give catalogue numbers and scheduled for release when recorded, however they subsequently languished in the Blue Note vaults until Cuscuna rescued them for this 1976 vinyl issue; both have since been issued individually.

Johnny Coles (tp) Booker Ervin (ts) Horace Parlan (p) Grant Green (g -1/5) Butch Warren (b) Billy Higgins (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, February 15, 1963

[originally intended for BST 84134]

A1        Home In Africa (Ronnie Boykins)
A2        A Tune For Richard (Booker Ervin)
A3        Back From The Gig (Horace Parlan)
B1        Dexi (Johnny Coles)
B2        Kucheza Blues (Randy Weston)
B3        Happy Frame Of Mind (Horace Parlan)

Woody Shaw (tp) Booker Ervin (ts) Kenny Barron (p) Jan Arnet (b) Billy Higgins (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 24, 1968

[originally intended for BST 84314]

C1        Gichi (Kenny Barron)
C2        Den Tex (Booker Ervin)
C3        In A Capricornian Way (Woody Shaw)
D1        Lynn's Tune (Booker Ervin)
D2        204 (Booker Ervin)

Booker Ervin - Lament For Booker Ervin (vinyl rip)

Also a repost of a 2014 rip 

"At an overbooked all-star saxophone concert held in 1965 Berlin, the musicians were supposed to only play for 15 minutes. Tenor saxophonist Booker Ervin protested against the restrictive situation by performing the intense and stirring "Blues for You" for 27½-minutes, tearing down the house. A decade later (after Ervin's 1970 death) the performance (with pianist Kenny Drew, bassist Neils Pedersen and drummer Alan Dawson) was released for the first time and its passion was worth waiting for. Also on this historic album is pianist Horace Parlan's somber solo tribute to Ervin ("Lament for Booker") which was recorded in 1975." AMG

The first rip on my new Pro-Ject carbon turntable!

The Return of the Royal Pastry (... and eventually some Booker Ervin)

 I am reflecting on my history here in the blog world - I have a landmark event to set in my mind when it started... it was named Katrina - The original Kingcake Crypt would have started about a month prior, had maybe 3 posts, then it took a 6 month nap...that puts us in 2006. It was a solo act for 3 or 4 years and then I got the brilliant idea to invite partners because they could keep things going and growing with or without me. Turns out to be one of my better ideas in life. I grabbed grumpy before he even had his own place, although that was both imminent and inevitable, I just threw out the first invite. Chris came on board not long after and eventually became the rock of this place that he is now - other partners have come and gone and may be back. We got robot infected and 5 years in did a restart to this place which has 10 years on it now. I kept getting new ideas and wandering off, we did new blogs and met new folks - I guess the smartest thing that I did in all this is pick awesome partners, give them full admin autho so they could do what they wanted...they kept things alive and cooking even when I disappeared for long times - it is cool to have a 'home' to come back to and I've been thinking about what the hell to do to actually contribute here again... I have not ripped a new record for a long time (that is about to change), so I am going to start with some cool stuff I did way back when that hasn't been seen for years - I am gonna start with a Booker Ervin Festival because he is one of MY 'major dudes'.  

the tags say that I ripped this album in 2014 - my memory is that the cover was kind of chewed, but the vinyl was pretty clean It is in 16/48 and sounds pretty dang good.
                         

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

Eric Kloss - In The Land Of The Giants (1969) [vinyl]

This set from 1969, finds the emerging Kloss in full flight, whether the setting is post-bop or modal, standard or balladic. At this juncture, Kloss shows maturity, outstanding technical chops and depth while the now famous supporting cast were obviously motivated and geared up for this session. The personnel here consists of Kloss; Alto Sax, Booker Ervin; Tenor Sax; Jaki Byard; Piano; Alan Dawson; Drums and Richard Davis; Bass. Highlights are, an absolutely stunning, up-tempo version of Miles Davis’ “So What” featuring the towering and vigorous tenor saxophone work of the late Booker Ervin. Here, Kloss and Ervin take turns reaching for the stars via soaring and electrifying lead soloing!........Not a cutting contest yet these esteemed gentlemen perform with conviction as if they were possessed by spirits... Kloss' sweet alto sax tone and sumptuous phrasing is evident on "When Two Lovers Touch". On the Ellington classic, "Things Ain't What They Used To Be" Kloss' expressionism and emotive lyricism displays mature sensibilities and expertise for such a young lad. ~ by Glenn Astarita.

Prestige Records, PRST 7627, 1989

Recorded 2^nd January, 1969 in New York City

Musicians:

Eric Kloss - Alto Saxophone

Booker Ervin - Tenor Saxophone

Jaki Byard - Piano

Richard Davis - Bass

Alan Dawson - Drums

Tracks:

A1. Summertime {George Gershwin, Ira Gershwin, DuBose Heyward} (7:30)

A2. So What {Miles Davis} (11:00)

B1. Sock It To Me Socrates {Eric Kloss} (5:17)

B2. When Two Lovers Touch {Eric Kloss} (5:34)

B3. Things Ain't What They Used To Be {Duke Ellington, Ted Persons} (5:48)

Total Time: 35:09

Credits:

Producer, Design - Don Schlitten

Recording Engineer - Dave Jones

Notes - Don Lass (May 1969)

Don Patterson - The Exciting New Organ Of Don Patterson (1964) [vinyl]

Great album with Booker Ervin on tenor sax. ~ by Michael Erlewine, AMG.

Presumably, as it goes, Prestige headquarters called it The Exciting New Organ Of Don Patterson for marketing purposes. Three years of experience playing alongside tenor and alto giant Sonny Stitt saw Patterson cooperating with guitar player Paul Weeden, and the remaining decade he would strike up an engaging companionship with Pat Martino. Martino and Patterson certainly inspired each other to career heights. Without the guitar, however, Patterson is far from handicapped. The dynamics are not so much better as different.

Patterson original S'Bout Time is a whole different ballgame. By far the album’s greatest achievement, eclipsing the rendition of Sonny Rollins' Oleo, itself a fine performance that receives meticulous attention to its tricky theme and a fair dose of fast-fingered bop-blues riffs from Patterson and tenorist Booker Ervin, and Up In Betty's Room, a lively blues composition containing some freewheeling improvisation. S'Bout Time stretches the boundaries of soul jazz by way of a modal "feel" reminiscent of the work of contemporaries such as Joe Henderson, Wayne Shorter and Herbie Hancock.

A sassy build-up from drummer Billy James and Patterson's "walkin" bass lines is followed by a simple melody that is somewhat in the vein of (a speeded-up) So What, from whence Booker Ervin takes off. And I do mean take off! Ervin, an astute contributor to many of Charles Mingus' finest recordings, is fiery all the way, splendid in his combination of blues and the depth of Coltrane. Patterson's answer to Ervin's spontaneous combustion is dynamic, coherent, unashamedly free flowing. Patterson uses his right hand almost exclusively and the effect is mesmerizing. After four and a half minutes of classy soloing, Ervin re-enters for a few heated bars and the trio trades fours down to the coda.

It’s a powerful statement from a refreshing record of organ jazz. ~ Extract from Flop House Magazine

Prestige Records, PRST 7331, 1964

Recorded 12^th May, 1964 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Booker Ervin - Tenor Saxophone (#A1-B1)

Billy James - Drums

Tracks:

A1. S'bout Time {Don Patterson} (10:08)

A2. Up In Betty's Room {Don Patterson, Billy James} (5:12)

A3. Oleo {Sonny Rollins} (3:50)

B1. When Johnny Comes Marching Home {Traditional} (10:56)

B2. The Good Life {Sacha Distel, Jack Reardon} (9:59)

Credits:

Supervision - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Robert Levin (July, 1964)

Don Patterson - The Best Of Don Patterson (1969) [vinyl]

A fine compilation of tracks from Don Patterson albums released on Prestige Records stretching from 1964-1967. He is joined by a solid cast of players including: Houston Person, David “Fathead” Newman, Sonny Stitt, Booker Ervin, Jerry Byrd, Pat Martino, Vinnie Corrao, Billy James on broad selection of soul jazz tunes, Enjoy!

Prestige Records, PRST 7704, 1969

See Session Info text file for Dates & Personnel

==============================

Tracks:

A1. 42639 {Sonny Stitt} (5:21)

A2. Satisfaction {Richard Carpenter} (3:21)

A3. Up In Betty's Room {Don Patterson} (5:12)

A4. Last Train From Overbrook {James Moody} (3:57)

B1. Humpa Snapa Blues {Don Patterson} (5:01)

B2. Up Tight {Don Patterson} (3:13)

B3. Big C's Rock {Don Patterson} (3:12)

B4. Sister Ruth {Don Patterson} (4:56)

Recording Engineer - Rudy van Gelder

=========================================================

42639 was originally released on:

Don Patterson - Patterson's People (1965)

PR7381

Satisfaction was originally released on:

Don Patterson - Satisfaction! (1965)

PRST 7430

Up In Betty's Room was originally released on:

Don Patterson - The Exciting New Organ Of Don Patterson (1964)

PRST 7331

Last Train from Overbrook was originally released on:

Don Patterson - Four Dimensions (1967)

PRST 7533

Humpa Snapa Blues was originally released on:

Don Patterson - Mellow Soul (1967)

PRST 7510

Up Tight was originally released on:

Don Patterson - Soul Happening (1967)

PRST 7484

Big C's Rock was originally released on:

Don Patterson - The Boss Men (1965)

PRST 7466

Sister Ruth was originally released on:

Don Patterson - Hip Cake Walk (1964)

PRST 7349

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

Don Patterson with Booker Ervin - Hip Cake Walk (1964) [vinyl>flac]

A massive pairing of the tenor of Booker Ervin and Hammond of Don Patterson – a record that's got a very famous cover image, and which marks for one of the greatest meetings of soul and modernism at mid-60s Prestige Records! There's no bass at all on the set – just lots of quick, tight rhythm lines from Patterson on the pedals of the Hammond – mixed with drums from Billy James, and served up with plenty of space for Ervin to open up on tenor – blowing with more soul than on some of his modernist sides of the time! The title cut – "Hip Cake Walk" – is a 16 minute groover, and other tracks include "Rosetta", "Sister Ruth", and "Donald Duck". Very cool cover, too! © Dusty Groove, Inc.

Organist Don Patterson went through a richly productive period in the 1960s, fashioning a fortress of funky organ jazz hi-fi on the Prestige label. Various brave knights marched forth through the massive gates which can be imagined as fronting this real estate, their identity at times key to decisions made by fussy collectors regarding which Don Patterson album to own, which to stroll on by. Hip Cake Walk can also get the nod based on album title coolness, a set of standards promoted by individuals who absorb this kind of information as if blotting up anaesthetic. Meanwhile the aforementioned scouts have identified brave knight Booker Ervin, a favourite of tenor saxophone fans one and all, the man who plays a beat as if winning the penalty kick, whose horn was once used to cook fish soup for Pancho Villa. The presence of one solid Patterson original after the other, from the title tune through the holistic introduction of 'Sister Ruth' and the webbed-foot swing of 'Donald Duck', trumps any previously stated reason for this album's special status. 'Hip Cake Walk' is sliced and strolled with for more than a quarter-of-an-hour, alto saxophonist Leonard Houston jousting, knocking burning candles off drummer Billy James' head which he then replaces with icing dripped off his sticks. Cover material is also nicely selected, an Earl Hines classic given a clever updating and 'Under The Boardwalk' allowed to conclude the program with an enduring vision of the Drifters drifting out to sea, clinging to the keys of Patterson's organ, a lifesaver indeed. ~ Eugene Chadbourne, All Music Guide.

Prestige Records, PR 7349, 1965

Recorded 12^th May (#B1) 10^th July (#A1-A3,B2), 1964 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Booker Ervin - Tenor Saxophone (#A1-A3)

Leonard Houston - Alto Saxophone (#B1)

Billy James - Drums

Track Listing:

A1. Sister Ruth {Don Patterson} (4:56)

A2. Donald Duck {Don Patterson} (5:48)

A3. Rosetta {Earl Hines, Henri Woode} (8:02)

B1. Hip Cake Walk {Don Patterson} (16:30)

B2. Under The Boardwalk {Arthur Resnick, Kenny Young} (3:02)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Walter Catt (Oct. 1964)

Don Patterson - Tune Up! (1964-1969) [vinyl>flac]

An enjoyable set of stretched organ/tenor grooves. This LP is made up of four different sessions from Patterson's Prestige days; including the title track, all given the strong early groove of organist Don at a time when some of his contemporaries were tightening things up on the B-3, going for shorter tunes aimed at the jukebox and radio crowd. Don Patterson was a great reminder that the organ was best used on lengthier jamming tracks, on tunes that stretched out nicely with a style that was heard best in the clubs, and where an organ player could really do his thing. The album kicks off  with "Just Friends'', Patterson uses a cut down trio format; Billy James on drums and tenorist Booker Ervin,  another player who always knows what to do with plenty of space! The other titles include versions of "Flyin' Home", "Tune Up" a Miles Davis tune featuring Sonny Stitt on Varitone and Grant Green, listed on the album cover as Blue Grant! The album finishes up with "Blues For Mom", Don's own composition, showcasing a dual tenor line-up of George Coleman & Houston Person plus Virgil Jones on trumpet. Overall this LP is quite a magnificent soul jazz package.

Prestige Records, PR 7852, 1971

Recorded 10^th July, 1964 (#A1); 25^th August, 1964 (#A2);
15^th September, 1969 (#B1) and 2^nd June, 1969 (#B2)
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Booker Ervin - Tenor Saxophone (#A1,A2)

Sonny Stitt - Tenor Saxophone (#A2,B1)

Grant Green - Guitar (#B1)

Virgil Jones - Trumpet (#B2)

Houston Person - Tenor Saxophone (#B2)

George Coleman - Tenor Saxophone (#B2)

Billy James - Drums (#A1,A2,B1)

Frankie Jones - Drums (#B2)

Tracks:

A1. Just Friends {John Klenner, Sam M. Lewis} (5:56)

A2. Flyin' Home {Lionel Hampton, Benny Goodman} (10:12)

B1. Tune Up {Miles Davis} (4:24)

B2. Blues For Mom {Don Patterson} (12:52)

Credits:

Producers - Ozzie Cadena (Side A), Bob Porter (Side B)

Recording Engineer - Rudy van Gelder

Liner Notes - Joe Segal (January, 1971)

Booker Ervin - Booker N' Brass (lp rip to flac)

I know that I've posted the cd version of this (which came from our old friend Ron The Jazzman) on a couple of previous occasions, but I came upon a vinyl copy a while back and couldn't resist. It was an original Pacific Jazz pressing and in the store it looked really clean.....It wasn't....my old eyes deceived me. Fortunately there have been some serious upgrades to both hardware and software on the KCC ripping rig. It took some work, I think it sounds better than the cd. It feels more dynamic to me. Vinyl ripping freaks please let me know what ya think.

Randy Weston Sextet - Monterey '66

Recorded in Monterey, California. The Monterey Jazz Festival of 1966. "I think this is the best band I've ever had. We were together almost 3 years. It was Booker Ervin on tenor saxophone, Ray Copeland on trumpet; Bill Wood was on bass; Lenny McBrowne on drums, and Big Black on congas. It was very difficult for us to be recorded because it was a very strong African message. I'm talking about around maybe 1963, '64, '65 during that period. So it was hard for us to get gigs, you know. And so finally, our last appearance together was at the Monterey Jazz Festival, the same night as Duke Ellington, the same night as Carmen McRae. So you know we had to play strong. And it was an incredible band because number one, we had Booker Ervin. Booker Ervin, for me, was on the same level as John Coltrane. He was a completely original saxophonist. I don't know anybody who played like Booker. But Booker, he was very sensitive, very quiet-not the sort of guy to push himself or talk about himself. You know what happens with Black artists-they (the industry) can never let too many come out at the same time. There was a big emphasis on Sonny Rollins and John Coltrane. And everybody was into Coltrane but meanwhile Booker Ervin was kind of left out. He was a master saxophonist, and the song I wrote for my mother, Portrait of Vivian, only he could play it; nobody else could play that song.

In fact, the African Cookbook, which I composed back in the early 60's, was partly named after Booker because we (musicians) used to call him "Book," and we would say, "Cook, Book." Sometimes when he was playing we'd shout, "Cook, Book, cook." And the melody of African Cookbook was based upon Booker Ervin's sound, a sound like the north of Africa. He would kind of take those notes and make them weave hypnotically. So, actually the African Cookbook was influenced by Booker Ervin. By the way. Ervin was from Texas and he had the typical big sound from Texas. I don't know why, but for some reason many great tenor saxophonists come from Texas and they have all got this big sound. For instance, Billy Harper is from Texas, Dexter Gordon, Frank Haynes. I could go on and on and on....Randy Weston

Jaki Byard - Out Front

"Out Front is one of my favorite Jaki Byard albums, though it doesn't really get to his wilder side. I love hearing him play with Bob Cranshaw and Walter Perkins on this track they lay down some serious music. Jaki has a certain way of playing his bebop knowledge, he's able to turn the phrases to make them feel just a bit off. That's to say, he switches the phrase to the other side of the beat with such ease, and then switches it back. Also, I remember him telling me that he wrote this piece with Herbie Nichols' touch in mind. I thought that was such a great way to start a composition, with "touch" in mind."

Reviewer: Jason Moran

Booker Ervin - That's It!

 That smoldering intensity that was kept largely under the covers in the previous two albums burns through the bed clothes on this date! For me, this is Booker's coming out party, that wonderful slightly unhinged wail is in full throat. It is that tone that first captured MY ear.

I think you would have to call this music pretty advanced for 1961. The four Ervin originals in particular are just glorious. These guys were a regular working unit at the time, they were communicating on a nearly magical level and pushing on into the post-bop frontier.

 "Booker Ervin, who always had a very unique sound on the tenor, is heard in prime form on his quartet set with pianist Horace Parlan, bassist George Tucker and drummer Al Harewood. In virtually all cases, the jazz and blues musicians who recorded for Candid in 1960-61 (during its original brief existence) were inspired and played more creatively than they did for other labels. That fact is true for Ervin, even if he never made an indifferent record. In addition to "Poinciana" and "Speak Low," Ervin's quartet (which was a regular if short-lived group) performs four of the leader's originals; best known is "Booker's Blues."

Booker Ervin 1960

 A pair of one-off sessions made during Ervin's Mingus time. These catch him in a more straight ahead hard bop mode than the later recordings.

"Booker Ervin's debut as a leader teamed the intense tenor saxophonist with fellow tenor Zoot Sims (one will have little difficulty telling the cool-toned Zoot apart from Booker), trumpeter Tommy Turrentine, pianist Tommy Flanagan, bassist George Tucker and drummer Dannie Richmond. Ervin (who has his ballad "Largo" as a feature) performs five originals and "Poor Butterfly"; best are the slow blues "The Blue Book" and the rapid blues "The Book Cooks." AMG

The same year Ervin did a Savoy session with a trio of Mingus band mates including his roommate Horace Parlan and the brilliant Richard Williams, a memorable trumpet voice that was lost too soon. The album has a more coherent feel than many Savoy sessions of the time because this was a frequent working unit in clubs.

Charles Mingus - Nostalgia In Times Square: The Immortal 1959 Sessions

Hey gang.  Been really busy this last couple of weeks, during which I have been mostly listening to soul music anyhow.  However I have a really amazing 2LP Mingus album for y'all to dig on.

There's not much point in me going on about this one.  If you know anything about jazz, all of the clues are here which point to an amazing set of tunes.  For those not so savvy, let me help you...  Mingus + 1959 + insane cast of talent = one hard swingin joint!!  This is certainly my favorite era of Mingus, one of his greatest collectives.

Not a dud on this 1979 reissue which collected a bunch of "throwaway" tunes from a few different sessions.  The fidelity is wonderful from a minty hunk of vinyl.  Ripped at 24/44.1 and dithered to 16/44.1 FLAC... enjoy!!!






Columbia JG-35717
1979

A1 Pedal Point Blues 6:29
A2 GG Train 4:38
A3 Girl Of My Dreams 4:08
A4 Strollin' 4:33
B1 Jelly Roll 6:15
B2 Boogie Stop Shuffle 5:00
B3 Open Letter To Duke 5:50
B4 New Now Know How 4:13

C1 Birdcalls 6:19
C2 Slop 6:43
C3 Things Ain't What They Used To Be 7:37
D1 Pussy Cat Dues 9:15
D2 Song With Orange 6:50
D3 Gunslinging Bird 5:12 

Bass – Charles Mingus
Cello – Maurice Brown (tracks: C2), Seymour Barab (tracks: C2)
Drums – Dannie Richmond
Flute – Jerome Richardson (tracks: B4,)
Piano – Horace Parlan, Nico Bunick (tracks: B4), Roland Hanna (tracks: C2, C3, D2, D3)
Saxophone [Alto] – John Handy, Shafi Hadi
Saxophone [Baritone] – Jerome Richardson (tracks: A4, B4, D2, D3)
Saxophone [Tenor] – Benny Golson (tracks: A4, D2), Booker Ervin
Trombone – Jimmy Knepper, Willie Dennis
Trumpet – Don Ellis (tracks: C2, C3), Richard Williams (tracks: B4, D2, D3)
Vibraphone – Teddy Charles (tracks: B4, D2, D3)