Archie Shepp - Lady Bird (1978)

One of the best records from Shepp's "new tradition" late 70's period devoted to the exploration of Charlie Parker. The album features extended readings of tracks that are either Parker originals, or which were strongly associated with him - and titles include "Donna Lee", "Lady Bird", "Now's The Time", and "Relaxin At Camarillo". Shepp's actually right at home in this setting, and his "out" background really brings a new twist to a traditional understanding of Bird. The rest of the group is made up of Jaki Byard, Cecil Mc Bee, and Roy Haynes.  © Dusty Groove, Inc. 

Denon Records, DC-8546, 1989
Recorded 7th December, 1978 at Sound Ideas Studio, New York City 

Musicians:
Archie Shepp - Alto Saxophone
Jaki Byard - Piano
Cecil McBee - Bass
Roy Haynes - Drums

Tracks:
1. Donna Lee {Charlie Parker} (6:37)
2. Relaxin' At Camarillo {Charlie Parker} (7:18)
3. Now's The Time {Charlie Parker} (7:49)
4. Lady Bird {Tadd Dameron} (7:51)
5. Flamingo {Ed Anderson, Ted Grouya} (12:30) 

Total Time: 42:07 

Very good album by Archie Shepp
Atypical album where Archie Shepp plays only the alto, well supported by pianist Jackie Byard, Cecil McBee on bass and Roy Haynes on drums. It is a quality recording, as always with the Japanese label Denon, although a little short (42 min) which includes 3 tunes by Charlie Parker, (notably a beautiful version of "Relaxin' at Camarillo" as well as "Now's the time"), a tune by Tadd Dameron ("Lady bird") and above all a real little gem: an admirable version of "Flamingo" by Ed Anderson of more than 12 min which is worth, on its own, the acquisition of this rare and expensive album... ~ L. Pierre, 4.0 Stars, Amazon.com. [Translated From French] 

Relaxin' At Camarillo

Larry Willis - Steal Away (1992)

An unusual 1991 trio piece recorded by Larry Willis with Gary Bartz's alto saxophone and Cecil McBee's bass. Bart's earthy saxophone, Willis' beautiful grainy piano, and McBee's all-encompassing bass create a bluesy atmosphere. ~ ventoazul.shop-pro.jp. 

Larry plays solo on three tracks (#1,3,6), and is joined in a trio grouping by both Gary and Cecil on two (#2,4) and additionally Cecil joins him in a duo on another (#5). Larry contributes three of his own compositions (#1,3,5), Cecil also offers up another (#4) and the remaining two are well-known bluesy numbers. The title track "Steal Away" was popularised by singer Jimmy Hughes and "The Meaning Of The Blues" by revered jazz composer Bobby Troup. This is a pure analog recording. The tracks were recorded "live" direct to two-track! 

AudioQuest Music, AQ-CD1009, 1992
Sledgehammer Blues, 2-AQM-1009, 1992
Recorded 23rd & 24th December, 1991 at Mapleshade Studios, Upper Marlboro, Maryland 

Musicians:
Larry Willis - Piano [Steinway], Solo (#1,3,6)
Gary Bartz - Alto Saxophone (#2,4)
Cecil McBee - Bass (#2,4,5)

Tracks:
1. Valdosta Blues {Larry Willis} (6:25)
2. Steal Away {Traditional} (13:33)
3. Fallen Hero {Larry Willis} (3:15)
4. "D" Bass-ic Blues {Cecil McBee} (8:35)
5. Ethiopia {Larry Willis} (9:03)
6. The Meaning Of The Blues {Bobby Troup, Leah Worth} (6:41) 

Total Time: 47:34 

Credits:
Producer - Joe Harley
Recording Engineer - Pierre M. Sprey
Mastering Engineer - Bernie Grundman
Art Direction, Design - Hilary Weiss, Merlin Clarke
Cover - Joanna Ashe
Photography - Mark Kornbluth, Michael Wilderman
Liner Notes - Bill Kohlhaase 

Steal Away

Joanne Brackeen Trio, The - Havin' Fun (1985)

After 3½ years off records, Joanne Brackeen returned by getting signed to Concord and cutting her first standards album. Joined by bassist Cecil McBee and drummer Al Foster, Brackeen explores such unlikely tunes as “I've Got the World on a String,” “This Is Always” and “Day by Day,” but that does not mean that she was suddenly sounding like Teddy Wilson. Brackeen's distinctive style is heard very much intact in this fairly accessible format, and she makes the ancient tunes sound fresh. Recommended. ~ Scott Yanow, AMG. 

Concord Jazz, CCD-4280, 1985
Concord Jazz, K32Y 6061, 1986
Recorded June, 1985 at Classic Sound Productions, New York 

Musicians:
Joanne Brackeen - Piano
Cecil McBee - Bass
Al Foster - Drums 

Tracks:
1. Thinking Of You {Bert Kalmar, Harry Ruby} (5:03)
2. I've Got The World On A String {Harold Arlen, Ted Koehler} (5:33)
3. Emily {Johnny Mandel, Johnny Mercer} (6:51)
4. Just One Of Those Things {Cole Porter} (4:04)
5. This Is Always {Harry Warren, Mack Gordon} (5:14)
6. Everything She Wants {George Michael} (4:17)
7. Manha De Carnaval {Antonio Maria, Luiz Bonfá} (7:20)
8. Day By Day {Axel Stordahl, Paul Weston, Sammy Cahn} (5:33) 

Total Time: 43:58 

Credits:
Producer - Carl E. Jefferson
Recording Engineer - A.T. Michael MacDonald
Assistant Engineer - M. Denise McGrath
Mastering Engineer - George Horn
Design - Joanne Moss Design 

I've Got The World On A String

Woody Shaw - Love Dance (1975) [Jap-CD]

A fantastic album by Woody Shaw - spiritual, soulful, and filled with some nice modal grooving! The group's one of the best he ever worked with on Muse - with Billy Harper on tenor, plus Rene McLean, Steve Turre, Joe Bonner, and Cecil McBee - and the approach reminds us of some of the work on Strata East from the same time. The highlight of the record is the cut "Sunbath", which was done in a more famous jazz dance version by singer Joyce Hurley - but Shaw's version has a very similar groove. Harper makes many of the other tracks shine brilliantly, and titles include "Love Dance", "Obsequious", and Harper's own beautiful composition "Soulfully I Love You". ~ Dusty Groove.

Muse Records, MR 5074, 1976
Sony Records, SRCS 9405, 1998
Recorded November, 1975 at Blue Rock Studio, New York City 

Musicians:
Woody Shaw - Trumpet
Steve Turre - Trombone, Bass Trombone
Rene McLean - Alto & Soprano Saxophones
Billy Harper - Tenor Saxophone
Joe Bonner - Piano, Electric Piano
Cecil McBee - Bass
Victor Lewis - Drums
Guilherme Franco - Percussion
Tony Waters - Congas 

Tracks:
1. Love Dance {Joe Bonner} (12:37)
2. Obsequious {Larry Young} (9:28)
3. Sunbath {Peggy Stern} (6:33)
4. Zoltan {Woody Shaw} (6:48)
5. Soulfully I Love You [Black Spiritual Of Love] {Billy Harper} (8:13) 

Total Time: 43:58 

Credits:
Producer - Michael Cuscuna
Engineer - Eddie Korvin
Mastering - Joe Brescio
Art Direction, Design, Photography - Hal Wilson
Liner Notes - Dan Morgenstern 

Love Dance

Ted Curson - Ted Curson & Co. (1976) [vinyl]

The distinctive trumpeter Ted Curson is well showcased on this LP, a workout with a particularly strong quartet comprised of pianist Jim McNeely, bassist Cecil McBee and drummer Steve McCall. Curson stretches out on four of his originals (including the 12½-minute "Blue Piccolo") and "All the Things You Are." As usual his solos are both adventurous and (due to his appealing tone and roots in earlier styles of jazz) fairly accessible. Worth searching for. ~ by Scott Yanow, AMG. 

India Navigation, IN 1054, 1982
Recorded 1st July, 1976 at Vanguard Studios, New York City 

Musicians:
Ted Curson - Trumpet, Flugelhorn, Pocket Trumpet
Jim McNeely - Piano
Cecil McBee - Bass
Steve McCall - Drums 

Tracks:
A1. Song Of The Lonely {Ted Curson} (8:01)
A2. Blue Piccolo {Ted Curson} (12:21)
B1. Open The Door [Dwackdi Mun Fudalick] {Ted Curson} (5:28)
B2. Playhouse March {Ted Curson} (7:06)
B3. All The Things You Are {Jerome Kern, Oscar Hammerstein II} (9:32) 

Total Time: 42:28 

Producer Bob Cummins under license from Trio Records.
This recording was previously released as "Blue Piccolo" on Why Not Records (Japan).

Dick Griffin - Time Will Tell (2011)

This set of eight original tunes, all penned by trombonist/leader Dick Griffin is a testament to the old KISS adage: keep it simple, stupid. Get some good players together, write some straightforward melodies, and blow, and Griffin has assembled some good players. "Could It Be the Blues" strikes the perfect mood to open this record. Few instruments lend themselves to a blues as well as a trombone. Naturally plaintive, in the hands of a player like Griffin, the instrument takes on a human quality, an extension of the trombonist's voice. Griffin is widely known in the free jazz world and has made a name for himself for his circular breathing technique, but here - and throughout the session - he sounds happy to be just blowing, carefree. This is a blues in 3/4, with a few nice little twists along the way. "Home Song" is a very intuitive, hummable song with a memorable melody, while "For the Love in My Heart" cries out for lyrics. "Let's Take a Chance" shows off Griffin's ability to take a simple, singable little tune and craft it into a complete song - nothing fancy, just respect for where the melody wants to go. As with much of the record, this is a strong showcase for his sidemen, though there really are no sidemen on a project like this, especially with players of this caliber, and here everyone contributes to getting the songs off the ground and keeping the energy going. The combined experience of the group is quite something, typified by alto saxophonist/flautist James Spaulding - always such a joy to hear, and this record is no exception. The songs featuring him on flute ("Time Goes By", "My Fantasy") are some of the best of the set. His original plays off of the very famous title track, and the entry of flute, followed by bassist Cecil McBee and Griffin are sonically scrumptious. The band is at its finest on the cookin,' slightly sinister and vamp-driven "Mind Over," while the closing title track is like much of the record encapsulated. It features a very catchy phrase, endearingly played loosely by a front line of interesting sonic textures, followed by solid solos and empathetic accompaniment. Easy as pie. Griffin is a wonderful musician who has contributed mightily to improvised music. He is also a very talented painter, and is responsible for the wonderful cover art featured on Time Will Tell. ~ by William Carey, AAJ. 

Ruby Records, 0884501515689, 2011 

Musicians:
Dick Griffin - Trombone, Arranger
James Spaulding - Alto Saxophone, Flute (#5,7)
George Cables - Piano
Cecil McBee - Bass
Victor Lewis - Drums 

Tracks:
1. Could It Be The Blues {Dick Griffin} (5:01)
2. Home Song {Dick Griffin} (5:32)
3. For The Love In My Heart {Dick Griffin} (6:37)
4. Let's Take A Chance {Dick Griffin} (6:25)
5. Time Goes By {Dick Griffin} (6:02)
6. Mind Over {Dick Griffin} (5:47)
7. My Fantasy {Dick Griffin} (7:28)
8. Time Will Tell {Dick Griffin} (8:29) 

Total Time: 51:21 

Credits:
Producer - Dick Griffin
Cover Photo - Adjua Mantebea
Group Photo - Joanne Klein
Design - Sandy Jordan 

Some wonderful bop, some wonderful blues, a wonderful album.

Listen to Track here:
My Fantasy

Mike Nock Almanac, 1967

Mike Nock - Almanac (24/48 vinyl rip)
Improvisational Artists 1967

1) Specific Gravity One
2) Symbiosis
3) Emovations
4) Almanac
5) Hallucinogen
6) Double Split
7) J.C. Dudley

Mike Nock Piano, Cecil McBee bass, Bennie Maupin tenor sax, flutes, Eddie Marshall drums

If there is an earlier Mike Nock album, I am unaware of it. Even here this was a Band that used the name Almanac, so this may be better described as their eponymous first album rather than Mike's first as a leader. My first exposure to Nock was with Yusef Lateef and Cannonball Adderley and then the magnificent Fourth Way. This album slides right in between, on the eve of the Fourth Way, it was likely the only record on Improvisational Artists that wasn't free jazz.

The record is a modal magic carpet ride, an album boldly pointing the way to the new music of the 70's....three years earlier. The core of Nock, Cecil and Eddie is nothing short of breathtaking, As remarkable and sensitive a three-way conversation as you will ever hear. They clearly inspire young Bennie Maupin to some of his best pre-Mwandishi sextet work on record. All of the album is original and memorable music. This stuff is still fresh and exciting even 46 years later, don't miss it. 
 

Stanley Cowell - New World (1981) [vinyl]

This album was released in 1981 by Ohio jazz pianist Stanley Cowell, one of the founders of the prestigious label "Strata East". It has a similar style as heard on his previous albums, but with a slightly sharper feeling, but still quite easy listening. In its favour are the fine arrangements and solos. Firstly, he presents the only standard, the well-known Duke Ellington piece "Come Sunday" which comes off well. "Ask Him" has a sacred gospel type chorus; "Island Of Haitoo" where the sound of the mbira produces a calypso sound; and a replay of a tune from "Regeneration", "I'm Trying To Find A Way", the rhythm is fusion that will get you dancing. Followed by "El Space-O" with its killer bassline and a strange 'spacey' electric piano, and then finally rounded off with "Sienna: Welcome To This New World". Essentially an album with a lyrical, sophisticated, and lively touch of the piano makes this LP a feel-good outing, Enjoy! 

Galaxy Records, GXY 5131, 1981
Recorded November, 1978 At Fantasy Studios, Berkeley, California 

Musicians:
Stanley Cowell - Piano, Electric Piano, Prepared Pianos, Kalimba,
Hammond Organ, Orchestra Chimes, Backing Vocals
Pat Patrick - Piccolo, Flute, Clarinet, Tenor Saxophone
Julian Priester - Alto, Tenor & Bass Trombones
Eddie Henderson - Trumpet, Electric Trumpet, Flugelhorn
Nate Rubin - Violin
Terry Adams - Cello
Cecil McBee - Bass
Roy Haynes - Drums
Kenneth Nash - Percussion
Judy Lacey - Vocals
Robert & Linda Mandolph - Vocals 

Tracks:
A1. Come Sunday {Duke Ellington} (8:39)
A2. Ask Him {Stanley Cowell, Cecil McBee} (4:45)
A3. Island Of Haitoo {Stanley Cowell, Scott} (4:13)
B1. I'm Trying To Find A Way {Stanley Cowell, Viki McLaughlin} (7:27)
B2. El Space-O {Stanley Cowell, Cecil McBee, Roy Haynes} (8:18)
B3. Sienna: Welcome To This New World {Stanley Cowell} (2:42) 

Total Time: 36:04

Credits:
Producer - Ed Michel
Engineer - Baker Bigsby
Assistant - Wally Buck
Mastering - George Horn
Art Direction & Design - Phil Carroll
Photography - Phil Bray 

Notes:
Arranger & Conductor - Stanley Cowell
Mixing & Mastering At Fantasy Studios, Berkeley 

A surprisingly righteous little album from Stanley Cowell - a set cut after his more famous music for the Strata East label, but one that still hangs onto a similar vibe! The style's a bit tighter than before, but still filled with soul and spirit - thanks to a lineup that includes Julian Priester on trombone, Eddie Henderson on trumpet, and Pat Patrick on reeds - making a key appearance here away from the Sun Ra Arkestra! Cowell plays both piano and keyboards, and the record has a bit of strings, and a bit of vocals - but all used tastefully, in ways that further enforce the depth of the tunes. Tracks include "El Space-O", "Ask Him", "Island Of Haitoo", and "I'm Tryin To Find A Way".  © Dusty Groove, Inc.

Stanley Cowell - Equipoise (1978) [vinyl]

Prior to recording this album as a leader, Stanley Cowell had mainly worked as an accompanist for other well-known artists such as Max Roach, Marion Brown, Sonny Rollins, JJ Johnson, Art Pepper and many others. In 1978 he assembled a trio with Cecil McBee on double bass and Roy Haynes on drums to release "Equipoise". On the program were four of his own compositions including the title track, as well as "Lady Blue" a composition by Cecil and "Dr Jackie" by Jackie McLean. On this album Cecil McBee makes his presence heard with a very rounded and resonant bass, especially showcased by his moving and poignant solo on "Lady Blue". In addition, heard in action is the masterful drumming of Roy Haynes particularly expressed on the faster tracks, such as "Dave's Chant" where he expounds his full potential. Cowell is one of those wonderful jazz pianists who isn’t a huge innovator, but has forged a distinctive style all of his own for many decades embodied in his expansive discography. “Equipoise” is a valuable example of his earlier work, an indication of a profound career to come, well recommended! 

Galaxy Records, GXY 4121, 1979
Recorded 28^th-30^th November, 1978 At Fantasy Studios, Berkeley, California 

Musicians:
Stanley Cowell - Piano
Cecil McBee - Bass
Roy Haynes - Drums 

Tracks:
A1. Equipoise {Stanley Cowell} (4:46)
A2. Lady Blue {Cecil McBee} (4:19)
A3. Musa And Maimoun {Stanley Cowell} (9:09)
B1. Dr. Jackle {Jackie McLean} (3:14)
B2. November Mood {Stanley Cowell} (8:32)
B3. Dave's Chant {Stanley Cowell} (7:00) 

Total Time: 37:00

Credits:
Producer - Ed Michel
Engineer - Baker Bigsby
Engineer [Assistant] - Danny Kopelson, Wally Buck
Mastering - David Turner
Photography - Phil Bray
Art Direction - Phil Carroll
Design - Lucinda Cowell

Arthur Blythe - Retroflection (1994)

Arthur Blythe, whose alto tone has been quite original ever since the start of his career, is joined by pianist John Hicks, bassist Cecil McBee, and drummer Bobby Battle on this superior quartet date from Enja. Blythe really stretches out on this "Live at the Village Vanguard" set, with six of the seven songs being over nine minutes long. "Jana's Delight" (which is based on a five-note pattern), "JB Blues," a remake of Blythe's "Lenox Avenue Breakdown," and one of the best versions ever of Thelonious Monk's "Light Blue" are the high points of the explorative program. Arthur Blythe fans are strongly advised to pick up this particularly strong effort. ~ by Scott Yanow, AMG.

Enja Records, ENJ-8046 2, 1994

Digitally Recorded 25^th & 26^th June, 1993 Live > Two-Track at The Village Vanguard, NY

Musicians:

Arthur Blythe - Alto Saxophone

John Hicks - Piano

Cecil McBee - Bass

Bobby Battle - Drums

Tracks:

1. Jana's Delight {Don Pullen} (9:17)

2. JB Blues {Arthur Blythe} (9:31)

3. Peacemaker {Cecil McBee} (5:55)

4. Light Blue {Thelonious Monk} (11:51)

5. Lenox Avenue Breakdown {Arthur Blythe} (11:12)

6. Faceless Woman {Arthur Blythe} (11:33)

7. Break Tune {Arthur Blythe} (9:21)

Credits:

Producer - Matthias Winckelmann

Recording Engineer - David Baker

Recording Engineer Assistant - K. Naito

Design [Cover] - Elisabeth Winckelmann

Photography - Gene Martin

Typography - Jürgen Hübner

Liner Notes - T. Brooks Shepard

Marion Brown - Soul Eyes (1979) [re-rip]

On this date Brown assembles an amazing quartet of similarly gifted musicians of which none need any introduction. This album eluded US sales by being released in Japan. Although a CD was released later, it still remains hard to obtain. The music presented is a well performed mixture of Brown, Waldron, Heyman, Sour, Eyton & Green Mingus and Monk compositions. Apart from Brown’s own tunes all players place their mark to great effect and cohesion to the other familiarised pieces. If you were to procure this album for just one track my choice would be the beautifully executed title track “Soul Eyes” {Mal Waldron}. Brown’s tone and deliverance is impeccable and alongside Barron’s clean piano lines the piece is a joy right throughout. In having praised the main soloists it would be criminal not to shower additional accolades on the rhythm section. McBee manages to really lock together these sets and of course without Jones’ driving percussive force there would have been ample opportunity for the tunes, especially Mingus’ and Monk’s to be trivialised. Overall this album is a must have if you are a Marion Brown aficionado or a newcomer to Modern-Avant-Garde Jazz.

Baystate Records, RVJ-6036, 1979

Recorded 14^th & 15^th November, 1978 at Sound Ideas Studios, New York City

Personnel:

Marion Brown - Alto Saxophone

Kenny Barron - Piano

Cecil McBee - Bass

Philly Joe Jones - Drums

Track Listing:

A1. Sunshine Road {Marion Brown} (9:13)

A2. Soul Eyes {Mal Waldron} (10:15)

A3. Body And Soul {Heyman, Sour, Eyton, Green} (7:14)

B1. Afrisa {Marion Brown} (5:18)

B2. Goodbye Pork Pie Hat {Charles Mingus} (8:40)

B3. Blue Monk {Thelonious Monk} (11:25)

Credits:

Producer - Yoshio Ozawa

Co-Producer - Fumimaru Kawashima

Recording & Mixing Engineer - Jim McCurdy

Assistant Engineer - Kathy Dennis

Mastering Engineer - Tohru Kotetsu

Photography - Shingo Satoh

Design - Katsuhiko Iida

Billy Parker's Fourth World - Freedom Of Speech (1975)

One of the greatest albums ever on the legendary Strata East label - and that's saying a hell of a lot! Drummer Billy Parker is a player that we don't know much, but he'll always be well-remembered for this album's sublime blend of spiritual jazz styles! The lineup is wonderful - a hip quintet with Ron Bridgewater on tenor and Cecil Bridgewater on trumpet - plus sister Dee Dee on additional vocals at a few points too! Donald Smith (Lonnie Liston's brother) also plays piano, and sings a bit - with his warmly soulful style that makes the album's leadoff track a killer classic - and the rest of the group is rounded out by Cecil McBee on bass and Parker on drums. Tracks have those perfect blends of searching, soaring elements that virtually define the Strata East vision in the 70s - and titles include the sublime "Dance of The Little Children", plus "Gemini's Lullaby", "Home", "Get With It", and "Freedom Of Speech".

Strata-East Records, SES-19754, 1975

Recorded 24^th May, 1974

Musicians:

Billy Parker - Drums

Cecil Bridgewater - Trumpet

Ronald Bridgewater - Tenor Saxophone

Donald Smith - Piano, Vocals

Cecil McBee - Bass

Dee Dee Bridgewater - Vocals

Tracks:

A1. Dance Of The Little Children {Donald Smith, Ronald Bridgewater} (5:06)

A2. Gemini's Lullabye {Cecil Bridgewater} (6:56)

A3. Home {Arr. Cecil McBee, Cecil McBee} (8:19)

B1. Get With It {Arr. Cecil Bridgewater, Ronald Bridgewater} (4:05)

B2. Freedom Of Speech {Billy Parker} (15:29)

Credits:

Producer - Billy Parker

Recording Engineer - Ron Carran

Mixing Engineer - Randy Adler

Design [Inside Cover Design] - Vernon Grant

Photography - Darnell C. Mitchell

Liner Notes - Billy Earl Parker Jr.

Dick Griffin - The Eighth Wonder (1974)

Trombonist Dick Griffin's big, hearty sound has been a well-defined asset in any of the musical buffets he has taken part in during his long career. Whether part of a James Brown horn section or a small modern jazz band, Griffin's trombone is a steaming dish - if it was literally part of a smorgasbord spread there would always be several hungry customers lined up behind it, ladles ready. Jazz buffs wanted to dig right in when the trombonist served up his own album for the Strata-East co-operative label in the '70s, but the result was more like a stew that is not fully cooked at mealtime. By the time this one gets to full boil, many of the guests have gone home and hit the hay, to continue the analogy. When Sam Rivers takes off on a tenor solo during "Flying Back Home," the listener does the usual standing at attention, ears cocked, that is a required part of experiencing a Rivers solo. Yet by this time the record has already been flipped, it is only a bit more than ten minutes until the whole thing is over, and worst of all, the Rivers fan has already contemplated in sullen sadness why the first side went by without much more than a few peeps from the man. Bassist Cecil McBee does get in one of his gorgeous bass solos on the first side. He is part of an exceptional rhythm section partly made up of Griffin associates from Rahsaan Roland Kirk's Vibration Society. Kirk would never had let the first side of one of his albums drag so badly, despite his love of ballads. He would have known when enough was enough in terms of a beautiful sound and would have made an effort to shake things up. In many ways "The Eighth Wonder" shows that Griffin's greatest abilities may not be as a bandleader; the recorded sound and technical execution is as flawless as the multi-phonic chops he displays when the needle first hits, but there isn't much sign of the expressive drive that makes the music of many of Griffin's employers over the years so compelling. ~ Extract by Eugene Chadbourne, AMG.

Strata-East Records, SES-19747, 1974

Musicians:

Dick Griffin - Trombone

Sam Rivers - Tenor Saxophone, Soprano Saxophone, Flute

Warren Smith - Vibraphone, Percussion

Ron Burton - Piano

Cecil McBee - Bass

Freddie Waits - Drums

Leopolodo F. Fleming - Percussion, Congas, Bells

Tracks:

A1. Eighth Wonder (5:59)

A2. It Could Be     (6:50)

A3. Girl, I Really Love You So (6:43)

B1. Jakubu's Dance (4:07)

B2. Flying Back Home (8:21)

B3. Come Be With Me (9:31)

All Compositions and Arrangements by Dick Griffin

Credits:

Producer, Arranger, Composer, Liner Notes - Dick Griffin

Recording Engineer - Rudy Cotman

Photography [Front Cover] - Clarence Eastman

WOODY SHAW - LOVE DANCE - 1975 - 24/48

Muse  MR-5074
My Vinyl Rip
Front & Back Covers
FLAC
DR Value 13

Love Dance is the fourth album led by trumpeter Woody Shaw which was recorded in 1975 and released on the Muse label.  Love Dance was reissued by Mosaic Records as part of Woody Shaw: The Complete Muse Sessions in 2013.   Shaw gives us a polished performance as he shows his versatility throughout the session.  I like the title track Love Dance as the highlight.  At over twelve minutes in length, it's a showcases of wonderful solos by all the players.    

01 Love Dance / 02 Obsequious / 03 Sunbath / 04 Zoltan /
05 Soulfully I Love You (Black Spiritual of Love)

Woody Shaw - trumpet;  Steve Turre - trombone, bass trombone;  René McLean - alto saxophone, soprano saxophone;
Billy Harper - tenor saxophone;  Joe Bonner - piano, electric piano;  Cecil McBee - bass;  Victor Lewis - drums:
Guilherme Franco - percussion;  Tony Waters - congas

Mike Nock Almanac 1967 [24/48 vinyl rip]

When you consider that this little post-bop miracle was recorded in 1967, you can't help but be impressed with how modern this music sounds. Perhaps that is why Improvising Artists, a label thoroughly devoted to free jazz, would have bought an already finished album that did not fit their profile at all. Nock and Marshall would soon be 1/2 of The Forth Way, Bennie would soon be with Miles and Herbie, and Cecil would soon be making countless superior recordings at Strata East, ECM and more. This album serves as a lovely snap-shot of a Bay Area jazz scene in the period just months before the Summer of Love.

I came across an near mint copy of this one a couple weeks ago!

Cecil McBee Sextet With Chico Freeman ‎– Compassion (1977) [Vinyl> flac 24bit]

The companion to 'Alternate Spaces'.
An album that has never had a CD release, this is my own rip from a mint sealed LP with full scans.

Review by Scott Yanow:
Performed the day after Music From The Source (also recorded at Sweet Basil in New York), this excellent post-bop set features the brilliant bassist Cecil McBee, up-and-coming saxophonist Chico Freeman (heard on tenor and soprano), trumpeter Joe Gardner, pianist Dennis Moorman, drummer Steve McCall and Don Moye on conga. They perform long renditions of a pair of McBee originals, along with Freeman's "Pepe's Samba." The excellent solos, particularly those of Freeman, are adventurous, yet still based in the hard bop/modal tradition.

1. Pepi´s Samba 13:15
2. Undercurrent 10:55
3. Compassion 17:25

Joe Gardner (t) Chico Freeman (ss,ts) Dennis Moorman (p) Cecil McBee (b) Steve McCall (d) Famoudou Don Moye (pc)
Recorded live at Sweet Basil, New York City, August 3, 1977.
(Enja 3041)

Bill Barron Quartet - Live At Cobi's, Vol. 2 (1985)

As indicated in the previous post, Bill Barron in two distinct quartet formations was recorded ‘Live at Cobi’s’ during the mid to late eighties and made available through SteepleChase Records as two volumes. This is the 2^nd of the two. However, it must be noted that the music found here was recorded earlier and released a year later than the first. In some ways the best was kept till last. Bill is joined by his very talented brother Kenny on piano; Santi Debriano is replaced by the master bassist Cecil McBee whilst Ben Riley maintains his position on drums. Straight away the listener is swept along by the exuberant synergy developed by the brothers’ years of interaction. Kenny’s playing flows beautifully alongside his brother’ soloing. Equally Cecil and Ben offer a solid backing for this wonderful quartet. For this date the majority of the tunes were penned by Bill with one by Kenny and like before two additional well-known standards are showcased. On ‘Tragic Magic’ Bill swaps to soprano, but for the rest of the tracks he is featured on tenor. Any way as before Enjoy!

SteepleChase Records, SCCD 31596, 2006

Recorded 5^th October, 1985 at Cobi's, New York City

Personnel:

Bill Barron - Tenor Sax, Soprano Sax (#5)

Kenny Barron - Piano

Cecil McBee - Bass

Ben Riley - Drums

Track Listing:

1. September 1979 {Bill Barron} (11:22)

2. Spring Thing {Bill Barron} (15:37)

3. What's New? {Bob Haggart, Johnny Burke} (8:50)

4. Interpretation {Bill Barron} (14:57)

5. Tragic Magic {Kenny Barron} (8:23)

6. Cherokee {Ray Noble} (11:18)

Credits:

Producer, Mastering, Restoration, Photography - Nils Winther

Cecil McBee - Alternate Spaces (1977) [vinyl>flac]

I've been listening to some Chico Freeman of late and I thought I'd resurrect this from the old Crypt. Although I prefer the contemporary Enja live recording 'Music From The Source', the calmer, more reflective music on offer here has much to recommend it. It was at one time available on CD, if you would like to own a copy, the last time I checked there was one available on Amazon for $480+...

Review by Scott Yanow:
Bassist Cecil McBee and Chico Freeman (who triples on tenor, soprano and flute) teamed up many times during the late 1970s and '80s. Their collaborations found them playing music that was a spiritual extension on hard bop, adventurous while moving forward. On this LP, they perform five of McBee's originals in a sextet that also includes trumpeter Joe Gardner, the percussive pianist Don Pullen (a major asset to the date), drummer Allen Nelson and percussionist Don Moye. The often melodic but unpredictable music definitely holds one's interest.

01 - Alternate Spaces
02 - Consequence
03 - Come Sunrise
04 - Sorta, Kinda Blue
05 - Expression

Norman Connors - Dance Of Magic (1973) [vinyl>flac]

Following on from the recent Carlos Garnett Muse posts; here’s a magnificent album where he collaborates with a young Norman Connors and other great players to produce what is got to be one of the best spiritual jazz albums from the seventies. Recorded in 1972 it was Connor's debut as a leader. The record features four tracks that include the full-sided "Dance of Magic", as well as "Morning Change", "Blue" and the short but potent "Give The Drummer Some". Apart from this final track, the album has a solid sound that comfortably blends together an overall spiritual feel with many funky and spacey grooves. The record boasts a "Dream Team" lineup that includes Gary Bartz & Carlos Garnett, Stanley Clarke & Cecil McBee, Herbie Hancock, Eddie Henderson, Airto Moreira, Billy Hart, and many others. Later Connors would alter his style to produce many soulful classics like "You Are My Starship" and "Betcha By Golly Wow", but "Dance of Magic" is a definitive early showcasing of Connor's true musical gifts; an exemplary producer, composer and masterful musician capable of assembling the right players and musical components to create great records.

This is definitely a true gem; not to be overlooked.

Alternative cover from 1976 Buddah Records [BDS 5674] release

Cobblestone Records, Catalog#: CST 9024

Recorded 1972 at Bell Sound Studios, New York City

Track Listing:

A. Dance of Magic {Norman Connors} (20:53)

B1. Morning Change {Cecil McBee} (6:22)

B2. Blue {Stanley Clarke} (10:17)

B3. Give The Drummer Some {Norman Connors} (2:22)

Personnel:

Norman Connors - Drums

Herbie Hancock - Piano, Fender Rhodes, Electric Piano

Gary Bartz - Alto & Soprano Saxophones

Carlos Garnett - Tenor & Soprano Saxophones

Eddie Henderson - Trumpet

Art Webb - Flute

Cecil McBee - Bass (A,B1)

Stanley Clarke - Bass

Anthony Wiles - Baliphone, Percussion

Airto Moreira - Percussion (B1,B2,B3)

Alphonse Mouzon - Percussion (A,B2)

Babafemi - Percussion (A)

Billy Hart - Percussion (B1,B2,B3)

Nat Bettis - Percussion, Congas

The U.B.F. Singers - Vocals

This album is drummer Norman Connors earliest and most rewarding date as a leader. Recorded with a who's who of fusion titans including trumpeter Eddie Henderson bassist Stanley Clarke, and keyboardist Herbie Hancock, Dance of Magic channels the lessons drummer Norman Connors learned in the employ of Pharoah Sanders, Sam Rivers and Sun Ra, marshaling Latin rhythms, electronic textures, and cosmic mysticism to create nondenominational yet deeply spiritual funk-jazz. The sprawling 21-minute title cut spans the entirety of the record's first half, capturing a monumental jam session that explores the outer edges of free improvisation but never steps past the point of no return. Connors' furious drumming is like a trail of bread crumbs that leads his collaborators back home. The remaining three tracks are smaller in scale but no less epic in scope, culminating with the blistering "Give the Drummer Some." ~ Jason Ankeny, All Music Guide.