Woody Herman - Light My Fire (1968) [vinyl]

Light my fire, indeed! Woody's been lighting fires for years. But his new torch lights up an infernal blaze of new colors and sounds. Swinging new fires are being lit by Woody's fresh "now" music every night as he searingly blasts through a heretofore perplexing membrane to reach the young generation. His forces have already emerged as the most fiery and communicative big band to light up thousands of students of the likes of Miami University, University of Oklahoma, and University of Toledo among other college and high school bastions of rock fever. They have not allowed Woody's band to get off the bandstand during dance-concerts - right through intermissions non-stop, even though established rock groups have been co-featured on the billings. Bear in mind, this album is not merely the result of enthusiastically-held desire of Woody, of Dick La Palm - Cadet executive who is Woody's close friend and fan, and of Richard Evans the talented, resourceful arranger of the album's tunes, but it is more vital that it is a true reflection of the incredible, volatile chemistry existing between Woody's "now thing" and the young people's "now thing". They all dig it! The amazing Woody Herman has another raging runaway gas of a band! So, get this fuming hot album and get lit up!! ~ Herg Wong, Liner Notes. 

Cadet Records, LPS-819, 1969
Chess Records, CRLS 4544, 1969
Recorded October, 1968 at Ter Mar Studios, Chicago, Illinois 

Musicians:
Woody Herman - Clarinet, Alto Saxophone, Soprano Saxophone
Gary Grant, Henry Hall, James Bossert, Nat Pavone, Sal Marquez - Trumpet
Robert Burgess, Henry Southall, Vincent Prudente - Trombone
Frank Vicari, Sal Nistico, Steve Lederer, Thomas Boras - Reeds
John Hicks - Piano
Phil Upchurch - Guitar
Arthur Harper - Bass
Ed Soph - Drums
Morris Jennings - Percussion 

Tracks: [Details] 

A1. Ponteio {Edu Lobo, Capinam} (3:34)
Soloist: Frank Vicari - Tenor Saxophone
Soloist: Nat Pavone - Trumpet 

A2. Here I Am, Baby {Smokey Robinson} (3:48)
Soloist: Frank Vicari - Tenor Saxophone 

A3. Hard To Keep My Mind On You {Jake Holmes} (3:31)
Soloist: Woody Herman - Soprano Saxophone 

A4. MacArthur Park {Jim Webb} (8:33)
Soloist [Pt. 1]: Woody Herman - Alto Saxophone
Soloist [Pt. 1]: Robert Burgess - Trombone
Soloist [Pt. 2]: Henry Hall - Trumpet (1)
Soloist [Pt. 2]: Sal Marquez - Trumpet (2)
Soloist [Pt. 2]: Gary Grant - Trumpet (3)
Soloist [Pt. 2]: Nat Pavone - Trumpet (4)
Soloist [Pt. 2]: James Bossert - Trumpet (5)
Soloist [Pt. 2]: John Hicks - Piano
Soloist [Pt. 2]: Steve Lederer - Tenor Saxophone 

B1. Light My Fire {Jim Morrison, John Densmore, Ray Manzarek, Robby Krieger} (3:34)
Soloist [1]: Sal Marquez - Trumpet
Soloist [2]: Henry Hall - Trumpet
Soloist: Robert Burgess - Trombone 

B2. I Say A Little Prayer {Burt Bacharach, Hal David} (3:31)
Soloist: Frank Vicari - Tenor Saxophone
Soloist: Henry Hall - Trumpet 

B3. Hush {William Stevenson} (4:14)
Soloist: Sal Nistico - Tenor Saxophone
Soloist: Henry Hall - Trumpet 

B4. For Love Of Ivy {Bob Russell, Quincy Jones} (3:33)
Soloist: Frank Vicari - Tenor Saxophone
Soloist: Gary Grant - Trumpet 

B5. Impression Of Strayhorn {Richard Evans} (3:23)
Soloist: Woody Herman - Clarinet, Alto Saxophone 

B6. Keep On Keepin' On {Richard Evans} (4:14)
Soloist: Sal Nistico - Tenor Saxophone
Soloist: Henry Hall - Trumpet 

Total Time: 41:55

Credits:
Producer, Arranger - Richard Evans
Recording Engineer - Stu Black
Supervisor [Album] - Dick LaPalm
Design [Album] - Hurvis, Binzer & Churchill
Photography [Cover] - Peter Coutroulis
Liner Notes - Herb Wong

Woody Herman - Heavy Exposure (1969) [re-rip]

Ever since listening to a few Sal Nistico albums I was intrigued to find some examples of his work with other bands. Invariably this led to his time with Woody Herman and this particular LP. Nistico on this album puts in a few unique solos, but overall, this album is a Big Band Soul-Jazz rendition. As a result, it is quite a distinctive LP in Woody Herman’s discography. Produced and arranged by Richard Evans who also composed “Lancaster Gate” and “The Hut”. Taken as a whole it is a greatly entertaining album with a big sounding groove. Ripped from a well-loved LP, Enjoy!

---------------------------------
Cadet Records, LPS 835, 1969
Recorded 2nd-3rd September, 1969 at Ter Mar Studios, Chicago, Illinois 

Personnel:
Woody Herman - Saxophone, Clarinet
Alan Gauvin, Frank Vicari, Sal Nistico, Steve Lederer - Reeds
Bobby Burgess, Pete Dalbis, Tom Malone - Trombone
Bill Chase, Harry Hall, Jeff Brillinger, Richard Murphy, Rigby Powell,
William Byrne - Trumpet
Donny Hathaway - Organ
John Hicks - Piano
Phil Upchurch - Guitar
Gene Perla - Bass
Edward Soph - Drums (#A1,A5,B1,B2,B4,B5)
Morris Jennings - Drums (#A2-A4, A6,B3)
Marshall Thompson, Richard Powell - Percussion 

Track Listing:

A1. Flying Easy {Donny Hathaway} (3:09)
Soloists: Bobby Burgess, Frank Vicari, Woody Herman
A2. I Can't Get Next To You {Barrett Strong, Norman Whitfield} (2:52)
Soloist: Sal Nistico
A3. Aquarius {Galt MacDermot, Gerome Ragni, James Rado} (4:26)
Soloist: Woody Herman
A4. Memphis Underground {Herbie Mann} (3:30)
Soloists: Bill Chase, Frank Vicari, Woody Herman
A5. High School Hero {Jake Holmes} (2:59)
Soloist: Alan Gauvin
A6. Lancaster Gate {Richard Evans} (3:17)
Soloists: Bobby Burgess, Harry Hall, Woody Herman
-------------------------------------------------------------------
B1. The Hut {Richard Evans} (3:42)
Soloists: Bill Chase, Bobby Burgess, Harry Hall, Sal Nistico
B2. My Cherie Amour {Henry Cosby, Stevie Wonder, Sylvia Moy} (2:43)
Soloists: Bobby Burgess, Woody Herman
B3. It's Your Thing {O'Kelly Isley, Ronald Isley, Rudolph Isley} (2:58)
Soloists: Bill Chase, Sal Nistico
B4. Catch That Bird {Loonis McGlohon} (2:49)
Soloists: Bill Chase, Bobby Burgess, Frank Vicari
B5. Sex Machine {Sylvester Stewart} (5:48)
Soloists: Alan Gauvin, Bill Chase, Bobby Burgess, Phil Upchurch, Woody Herman

Total Time: 38:13

Credits:
Producer, Arranger - Richard Evans
Engineer - Ron Malo, Stu Black
Album Supervisor - Dick LoPalm
Cover Photo - Vincent P. Lucarelli
Album Design - Dick Fowler

"Excellent stuff!; We used to pass this one by all the time, thinking that it was some sort of fake jazz album -- but these days, we love it to death, and listen to it all the time! Woody Herman's band meets the soulful arrangements of Richard Evans, and the whole thing cooks nicely in the Chess studios in Chicago. The result is a tasty blend of soulful big band tracks, with a strident groove that Woody never duplicated, and with the kind of baroque arrangements that Evans was bringing to some of the best soul work on Cadet at the time. Donny Hathaway plays organ, and the group does a killer version of his own "Flying Easy". Other titles include "The Hut", "Sex Machine", and "It's Your Thing" -- but it's all great!" ~ Dusty Groove.

Phil Upchurch - Upchurch (1969) [re-rip]

An incredible album from one of the greatest talents on the Chicago soul scene of the late 60s - guitarist Phil Upchurch, a player with an amazing sound! Phil could work in worlds that were equal parts soul and psychedelia - making his guitar a perfect accompaniment for the best Chicago soul of Curtis Mayfield, Donny Hathaway, Minnie Riperton, and other greats of the time. This album's easily one of Phil's best - a mindblowing set of arrangements put together by the groundbreaking producer Charles Stepney - bringing together bits of jazz, rock, soul, and funk - all providing the perfect genre-blending space for Upchurch to solo! Given that there's no singer on the set, Phil's work on guitar is a lot freer than you're used to hearing – in a really great way, one that puts him in a space somewhere between Shuggie Otis and Jimi Hendrix! Brilliant all the way through, with tracks that include "Adam & Charlene", "You Wouldn't You Couldn't Be True", "Crosstown Traffic", "More & More", "Black Gold", "America", and "As You Said". © Dusty Groove America, Inc. 

Cadet Records, LPS 826, 1969
Recorded March 1969 at Ter Mar Studios, Chicago, Illinois 

Personnel:
Phil Upchurch - Guitar
Donny Hathaway - Keyboards, Organ
Louis Satterfield - Bass
Morris Jennings - Drums
Bobby Christian - Percussion
Dave Chausow - Strings, Horns
James Mack Singers - Choir Vocals 

Tracks:
A1. Black Gold {Charles Stepney} (4:37)
A2. America {Paul Simon} (3:38)
A3. As You Said {Jack Bruce, Pete Brown} (2:29)
A4. You Wouldn't, You Couldn't Be True {Phil Upchurch} (3:05)
A5. Cross Town Traffic {Jimi Hendrix} (3:54)
B1. Adam And Charlene {Charles Stepney} (4:20)
B2. Spinning Wheel {David Clayton-Thomas} (3:22)
B3. Voodoo Chile {Jimi Hendrix} (2:52)
B4. More And More {Don Juan, Vee Pee} (2:42)
B5. Midnight Chile {Phil Upchurch} (3:59) 

Total Time: 34:58

Credits:
Producer, Arranger, Conductor - Charles Stepney
Recording Engineer - Stu Black
Cover Photograph - Jim Taylor
Liner Photograph - Victor Skrebneski
Album Design - Randy Harter

Shirley Scott - Lean On Me (1972) [vinyl]

A great little Shirley Scott album - perhaps her best for Cadet! Unlike the others, which have a complicated set of arrangements, this one has a stripped-down jazz funk feel that reminds us a lot of the classic early 70s groovers on Prestige Records. Shirley plays some very nice lines on the organ, over tight drums from Idris Muhammad that hit that tasty breakbeat sound on the best cuts! The standout numbers are the album's versions of "Lean On Me" and "By The Time I Get To Phoenix", both strong sample tracks with nice drums. The rest of the group includes George Coleman, Roland Prince, and J. Daniel Turner - and tracks include Carla's Dance", "Funky Blues", and "Royal Love". © Dusty Groove, Inc.

Cadet Records, CA 50025, 1972

Recorded and Mixed 1972 At Sound Exchange Studio, New York City

Musicians:

Shirley Scott - Organ

George Coleman - Tenor Saxophone

J. Daniel Turner - Alto Saxophone, Flute

Roland Prince - Guitar

Idris Muhammad - Drums

Tracks:

A1. Lean On Me {Bill Withers} (4:51)

A2. Royal Love {Shirley Scott} (5:07)

A3. Smile {Charlie Chaplin, Geoffrey Parsons, John Turner} (5:32)

A4. Funky Blues {Shirley Scott} (8:30)

B1. By The Time I Get To Phoenix {Jimmy Webb} (8:31)

B2. How Insensitive {Antônio Carlos Jobim, Norman Gimbel} (8:54)

B3. You Can't Mess Around With Love {Shirley Scott} (5:56)

B4. Carla's Dance {Shirley Scott} (5:09)

Credits:

Producer - Esmond Edwards

Supervision - Bob Scerbo

Engineer - Steve Katz

Mastering - Lee Hulko (Sterling Sound)

Art Direction - David Krieger

Coordinator [Album] - Mia Krinsky

Photography - Joel Brodsky

This is the 2^nd of Shirley Scott’s LP’s released on Cadet. She is joined by a powerhouse of other players including the formidable tenorist George Coleman, alto and flautist J. Daniel Turner, the remarkable guitarist Roland Prince and the mighty drummer Idris Muhammad. In many ways within this unique grouping Shirley takes a back seat, but between the other’s soloing she burst forth with some magnificent and striking lines on her gutsy organ. For this album she chooses some popular tunes and three of her own. But without a doubt having the presence of George Coleman in the mix this album truly evolves into a top-notch session; and with 46 years gone by it’s still a great chunk of jazz to get your teeth into, Enjoy!

Shirley Scott - Mystical Lady (1971) [vinyl]

An overlooked early 70's LP by the 'Queen Of The Organ'. The first of three albums she would cut for Cadet Records. At the age of 37 Shirley seeing the threat of the rock world started to turn her hand to a funkier soul jazz vibe. Her mastery on the organ is increasingly evident on this LP. She surrounds herself with a proven core of fine players, all of whom embrace and express the soul jazz style to the full on their own releases. For this album Shirley presents a number of covers of popular songs leaving space for only one her own co-written tunes. Overall the sound is dynamic and truly reflects how jazz musicians were trying to move with the times. This is a great sounding rip [DR 14] taken from an original LP, which is yet to surface as a CD. Enjoy!

Cadet Records, CA 50009, 1971

Recorded 1971 At Sound Exchange, New York, New York

Musicians:

Shirley Scott - Organ, Vocals (#A2)

George Patterson - Alto Saxophone (#B1)

Danny Turner - Tenor Saxophone (#A1,A2,B1,B2)

Pee Wee Ellis - Tenor Saxophone (#A3,B3)

Wally Richardson - Guitar (#A1,A2,B1,B2)

George Freeman - Guitar (#A3,B3)

Ron Carter - Bass (#A1,A2,B1,B2)

Richard Davis - Bass (#A3,B3)

Bobby Durham - Drums (#A1,A2,B1,B2)

Freddie Watts - Drums (#A3,B3)

Tracks:

A1. Mystical Lady {Esmond Edwards} (7:54)

A2. Your Song {Elton John, Bernie Taupin} (5:52)

A3. Hall Of Jazz {Shirley Scott, Gregg Hall} (6:17)

B1. Proud Mary {John C. Fogerty} (6:39)

B2. Love Dreams {George Patterson} (5:00)

B3. Let It Be {John Lennon, Paul McCartney} (7:14)

Credits:

Producer - Esmond Edwards

Recording Engineer - Steve Katz

Arranger - George Patterson (#A3)

Album Design - Maurer Productions

Ray Bryant - Sound Ray (1969) [re-rip]

Great work from Ray - and very much in the formula of his best Cadet records! The formula is simple - stick in 2 great original groovers, and fill the record with a few other covers of pop and jazz standards. Thanks to Richard Evans, who produced the sessions for Cadet, the grooves are great on nearly every track - and Ray sounds better here than on any other sides that we remember! In this case the originals are "Stick With It" and "Sound Ray" - both hard piano jams with a great downbeat and a nice dose of funk. Covers include "Song For My Father", "Con Alma", "Look Of Love", and "Scarborough Fair" - all very very nice! © Dusty Groove, Inc.

Cadet Records, LPS 830, 1969

Recorded in June, 1969 at Ter Mar Studios, Chicago, Illinois

Musicians:

Ray Bryant - Piano

James Rowser - Bass

Harold White - Drums

Tracks:

A1. A Song For My Father {Horace Silver} (5:24)

A2. Con Alma {Dizzy Gillespie} (4:10)

A3. Scarborough Fair {Paul Simon, Art Garfunkel} (4:39)

A4. Stick With It {Ray Bryant} (5:08)

B1. Broadway {Henri Woode, Teddy McRae, Billy Bird} (5:31)

B2. Li'l Darlin' {Neal Hefti} (5:12)

B3. The Look Of Love {Burt Bacharach, Hal David} (5:30)

B4. Sound Ray {Ray Bryant, Richard Evans} (3:41)

Credits:

Producer - Richard Evans

Arranger - Ray Bryant

Recording Engineer - Dave Purple
Album Design, Cover Photo - Jerry Griffith
Liner Notes - Ed Williams "Maiden Voyage" WLIB/FM, NYC

Gene Ammons - Makes It Happen (1948-51) [re-rip]

This 1967 Cadet release repackages the 1958 Chess date Soulful Saxophone, itself a session originally recorded in 1950 in the months prior to Gene Ammons' landmark stint with the Prestige label--and while the provocative cover suggests a collection of lush romantic ballads, Gene Ammons Makes It Happen is instead deep and dark, underscored by the tenorist's potently soulful sound. A melancholy reading of "My Foolish Heart" was Ammons' first hit and sets the tone for the remainder of the material, which boasts an affecting, late-night atmosphere--the music absolutely marinates in echo, transcending the waking world into the dreamscape. ~ Jason Ankeny, AMG.

Argo Records, LPS-783, 1967

Cadet Records, CA 783, 1977

Recorded October 1948 through May 1951 in Chicago, Illinois

12^th October, 1948; (#B5)

28^th February, 1949; (#B4)

8^th January, 1950; (#B1)

2^nd May, 1950; (#A1,A3,B3)

August, 1950; (#A2,A4)

3^rd May, 1951; (#A5,B2)

Personnel:

Gene Ammons - Tenor Saxophone

Bill Massey - Trumpet (#A1-A4,B3)

Matthew Gee - Trombone (#A1-A4,B1,B3)

Charlie Bateman - Piano (#A1-A4,B3)

Gene Wright - Bass (#A1-A5,B2,B3)

Wesley Landers - Drums (A1-A4,B1,B3,B5)

Sonny Stitt - Baritone Saxophone (#A2,A4)

Junior Mance - Piano (#A5,B1,B2)

Teddy Stewart - Drums (#A5,B2)

Jesse Miller - Trumpet (#B1)

Leo Blevins - Guitar (#B1,B4)

Leroy Jackson - Bass (#B1,B5)

Christine Chatman - Piano (#B4,B5)

Lowell Pointer - Bass (#B4)

Ike Day - Drums (#B4)

Tom Archia - Tenor Saxophone (#B5)

Tracks:

A1. My Foolish Heart {Victor Young, Ned Washington} (2:48)

A2. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (2:59)

A3. Goodbye {Gordon Jenkins, Benny Goodman} (3:08)

A4. Can Anyone Explain {Bennie Benjamin, George David Weiss} (2:52)

A5. It's You Or No One {Jule Styne, Sammy Cahn} (2:43)

B1. Pennies From Heaven {Johnny Burke, Arthur Johnston} (2:36)

B2. Happiness Is A Thing Called Joe {Harold Arlen, E.Y. "Yip" Harburg} (2:48)

B3. You Go To My Head {J. Fred Coots, Haven Gillespie} (2:59)

B4. Once In A While {Michael Edwards, Bud Green} (3:11)

B5. It's The Talk Of The Town {Jerry Livingston, Marty Symes, Al J. Neiburg} (2:50)

Preserved in the tracks of this album are ten memorable performances that represent an early Gene Ammons. This time, these sounds have been further enhanced through the process of re-channeled stereo. The crooning tones emanating from Gene's tenor on these ballads are the ideal purveyors of warmth and thoughtfulness of a quiet mood. To those who recall with fondness the excitement created by these recordings when they first were issued, this album will be a welcome treat. This album is a good starting place, and as you listen to evergreens like My Foolish Heart, Prelude To A Kiss, Pennies From Heaven, Once In A While, and You Go To My Head, I'm sure you'll nod in agreement with this album title ...Gene Ammons always MAKES IT HAPPEN. ~ Excerpts from Liner Notes by Burt Burdeen (WSDM, Chicago).

Credits:

Cover Photo - Michel Ditlove

Art Direction - Howard Blume, Bill Sharp

Note:

Originally released in 1959 as "Soulful Saxophone" [Chess Records - LP 1442]

Ray Bryant - In The Cut (1974) [vinyl>flac]

Recorded in 1974, Ray Bryant's In the Cut is the one recording in his career that stands out from all the others - not necessarily because it is the best thing he ever cut, but because it is unlike anything in his vast oeuvre. Bryant and producer Esmond Edwards set out to make a contemporary album while the great pianist was with Cadet. No solo, no trio, no quartet - this time out, Bryant's In the Cut is recorded with a full-on big band playing everything from contemporary soul tunes (such as the Jacksons' "I'll Be There," which opens this remarkable offering) to his own hard bop blues numbers such as "Cool Struttin'" and the title track to tough line-punchers like Herbie Hancock's "Watermelon Man." The entire Cadet house band was involved in this baby, including Charles Stepney, who did all the horn and, yes, string arrangements (and plays some synth, too). Bryant also plays a fair amount of electric piano here, and is accompanied by, among others, guitarists Jimmy Ponder and John Tropea, bassists Stanley Clarke and Ron Carter, drummer Jimmy Johnson, percussionist and conguero Montego Joe, trumpeters Marvin Stamm and Joe Wilder, and George Marge on tenor, flute, and oboe. The sound of In the Cut is literally startling. Bryant's trademark gait on the piano is immediate from the very opening bars of "I'll Be There." When the horns enter full-force, it's a new sound world - disorienting, yes, especially if you can't let yourself get beyond what Bryant's "normal" m.o. is. But the groove - gentle, soulful, and pronounced - is everywhere in these tracks. ~ Extract by Thom Jurek, AMG.

Cadet Records, CA 50052, 1974

Recorded At Sound Exchange Studios and A&R Studios, New York City

Mastered At Sterling Sound, New York City

Musicians:

Ray Bryant - Piano, Electric Piano

Joe Wilder - Trumpet (#A1,A3-B3)

Marvin Stamm - Trumpet (#A1,A3-B3)

George Marge - Flute, Tenor Saxophone, Oboe (#A1,A3-B3)

Charles Stepney - Synthesizer [Moog] (#A1-A3,B1), Arranger [Strings & Horns]

Jimmy Ponder - Guitar [Soloist] (#A2)

John Tropea - Guitar, Acoustic Guitar (#A2)

Margaret Ross - Harp (#A1,A3-B3)

Richard Davis - Bass (#A1)

Ron Carter - Bass (#A2,A4))

Stanley Clarke - Bass (#A3,B1-B3)

Jimmy Johnson - Drums

Montego Joe - Congas

Alfred Brown, Emanuel Vardi, Julian Barber, Selart Clarke, Theodore Israel - Viola (#A1,A3-B3)

Diana Halprin, Emanuel Green, Harry Glickman, Max Polikoff, Paul Gershman - Violin (#A1,A3-B3)

Tracks:

A1. I'll Be There {Bob West, Hal Davis, Willie Hutch, Berry Gordy, Jr.} (4:59)

A2. Andalusan Nights {Esmond Edwards} (4:45)

A3. Stop, Look & Listen To Your Heart/You Are Everything {Thom Bell, Linda Creed} (6:47)

A4. Cool Struttin' {Ray Bryant} (4:44)

B1. Land Of Make Believe {Chuck Mangione} (5:41)

B2. In The Cut {Ray Bryant} (6:16)

B3. Watermelon Man {Herbie Hancock} (4:53)

Credits:

Producer - Esmond Edwards

Production Supervision - Bob Scerbo

Album Co-ordination - Gwen Williams

Engineer - Skip Juried (Sound Exchange Studios, NYC)

Engineer - Don Hahn (A&R Studios, NYC)

Art Direction - Neil Terk

Photography - P.B. Kaplan

RAMSEY LEWIS - DANCING IN THE STREETS - 1967 (FLAC)

1967
Cadet LPS 794
My Vinyl Rip
Front & Back Covers
DR Value 16
FLAC

Only a little over a year old at the time of recording, this incarnation of the Ramsey Lewis Trio -- Ramsey Lewis, Cleveland Eaton, and Maurice White (later of Earth, Wind & Fire) -- were well on their way to the pristine and symbiotic gel that would define their style. They were, however, still undergoing that process when they laid down this "live" set at San Francisco's Basin Street West club in July 1967. It's that somewhat formative vibe that makes this particular performance such a complete and utter joy. Dancing in the Street is this trio's recorded debut and, across a wide range of covers and styles, it's a captivating portrait of contemporary jazz. The title track, a cover of the Martha & the Vandellas R&B classic, is so smooth and stylish that it nearly outshines the original. "Django," meanwhile, is a delightful tribute to the Belgian Gypsy musician Django Reinhardt. Lewis pays further homage to the greats across his cover of the Billy Taylor classic "Mood for Mendes." Also of note is the Ramsey Lewis Trio's rendition of the country song "You Don't Know Me." Originally a hit for Jerry Vale in 1956, it was revisited in 1960 by Lenny Welch and again in 1962 by Ray Charles, and it's from that great bluesman's version that Lewis took his cue with this wonderful jam. These three musicians are a joy to hear, and it's within their far-reaching vision, and the effortless incorporation of so many styles into contemporary jazz, that they were -- and remain -- among the genre's finest.
....AllMusic Review by Amy Hanson

The Tracks:

01 Dancing In The Street / 02 Mood For Mendes / 03 Struttin' Lightly / 04 You Don't Know Me / 05 Django / 

06 Medley From 'Black Orpheus' / 07 What Now My Love / 08 Quiet Nights (Corcovado)

Al Grey - Basic Grey

Mwha...MMMwhaaaaaaaa.

That one of a kind, distinct sound was Al Grey's calling card. Infact, he literally wrote the book on it. Grey's career is the stuff of jazz legend, setting the bar for all who follow. He did it all...composer, arranger, player, performer, recording artist, author, educator and all around purveyor of all things jazz.

Al Grey played for years with Count Basie, but luckily for us, set out to lay down his own path. For the most part, he brought his Basie bandmates along forming firstly the Al Grey/Billy Mitchell sextet, and The Basie Wing. During the 60's he recorded several wonderful sides for Argo/Cadet, the jazz arm of Chess Records.


Basic Grey is a collection from his Argo sessions. More specifically, it's actually 3 full length sides released on two LPs. This album was released on the Chess Jazz Masters Series, which took a close look at their jazz catalogue, re-issuing some greats. Unlike many of the two-fers that Prestige or Riverside released, Chess decided to give the listeners the full experience of each album, even keeping the track listings as they originally appeared. We are treated to Snap Your Fingers, The Al Grey/Billy Mitchell Sextet and The Last Of The Big Plungers. "Sextet" is actually a live album, recorded in NYC.

I will keep this review limited to generalizations. Clearly from the list of sidemen, this collection is a monster. Grey favours larger groups as far as the "small" group goes, usually between 6 - 9 players. The front line is generally weighed down with brass and as a result is real, real heavy. Dynamically the impact is just like a big band...fantastic.


All manner of tunes are called upon, but the consistent theme with Al Grey is the blues. It's best fit to his style, and he is relentless during a full on blues jam.


This double set is in NM condition. The fidelity of these recordings is outstanding making these transfers a real joy. Of course, they were ripped at 24/44.1 wav and dithered to 16/44.1 FLAC. The tracks from the live set are best enjoyed with no dead space or cross fade between. I have included all images from the original gatefold, and the notes will help to guide anyone wishing to re-tag these into single sides. And here we go again...Crypt style!! Enjoy!!

Snap Your Fingers:
Al Grey (tb); Billy Mitchell (ts); Dave Burns (tp); Bobby Hutcherson (vibes); Floyd Morris (p); Herman Wright (b); Ed Williams (d) also Al Grey (tb); Billy Mitchell (ts); Donald Byrd (tp); Herbie Hancock (p); Bobby Hutcherson(vibes); Herman Wright (b); Ed Williams (d)

The Last Of The Big Plungers: Al Grey (tb); Bennie Powell (tb); Joe Newman (tp); Billy Mitchell (ts); Charlie Fowlkes (bs); Floyd Morris (p); Ed Jones (b); Sonny Payne (d)

The Al Grey/Billy Micthell Sextet: Al Grey (tb); Billy Mitchell (ts); Henry Boozier (tp); Gene Kee (p); Art Davis (b); Jule Curtis (d); Ray Barretto (c)

Charlie Parker Memorial Concert

Charlie Parker Memorial Concert
Cadet Records – 2CA 60002
 2 × Vinyl, LP, Album, 1970

A1 Billie's Bounce        
A2 Just Friends        
B1 Scrapple From The Apple        
B2 Summertime        
C1 Ornithology        
C2 Groovin' High        
D1 Yardbird Suite        
D2 Now's The Time        
D3 Parker's Mood        
D4 Disappointed/Oh, Lady Be Good (Medley)

    Alto Saxophone – Vi Redd (tracks: C1)
    Alto Saxophone, Tenor Saxophone – Lee Konitz (tracks: B1, C2, D1 to D4)
    Bass – Rufus Reid
    Drums – Philly Joe Jones* (tracks: B1, C2, D1 to D4), Roy Haynes (tracks: A1), Wilbur Campbell (tracks: A2, B2, C1)
    Piano – Jodie Christian (tracks: A1, C1), John Young (16) (tracks: B1, C2, D1 to D4), Richard Abrams* (tracks: A2, B2)
    Tenor Saxophone – Dexter Gordon (tracks: A1), Joe Daly* (tracks: A2, B2), Von Freeman (tracks: A1)
    Trumpet – Howard McGhee (tracks: C1), Kenny Dorham (tracks: A2, B2), Red Rodney (tracks: A1)
    Trumpet, Flugelhorn – Arthur Hoyle (tracks: B1, C2, D1 to D4)
    Trumpet, Violin – Ray Nance (tracks: A2, B2)
    Vocalese – Eddie Jefferson (tracks: B1, C2, D1 to D4)