Red Holloway - Red Holloway & Company (1987)

Underestimated as a bop or straight jazz player. This CD finds Red in a quartet setting where the group plays two originals and six others more or less familiar tunes. Highlights: "But Not For Me", which starts off with a mellow first chorus before Red displays his individualistic improvisation while still retaining the melody. The group really wrings out all the possibilities of "Caravan". "Passion Flower" sounds good as a tenor sax spotlight almost as well as the unforgettable alto treatment by Johnny Hodges. Holloway shows some break-neck chops on a burning "Well, You Needn't". "Summertime" has a real unusual treatment with the lead off beat and first few notes which had me thinking of "St. Louis Blues". On "What's New?" Red switched to alto sax and from what I heard, he's one of those few players that is equally adept at playing both tenor and alto. The rhythm section on this set is tremendous, led by pianist Cedar Walton. The best accolade for Cedar is a comment made by Sonny Stitt, "If you play with Cedar, be sure to solo first. He sure is a tough man to follow". Bassist Richard Reid and drummer Jimmie Smith are the other two members of this superb section. ~ Extract by Robert J. Ament, Amazon.com. 

Concord Jazz, CCD-4322, 1987
Recorded January, 1987 at Coast Recorders, San Francisco, California 

Musicians:
Red Holloway - Alto & Tenor Saxophones
Cedar Walton - Piano
Richard Reid - Bass
Jimmy Smith - Drums 

Tracks:
1. But Not For Me {George Gershwin, Ira Gershwin} (6:14)
2. Caravan {Duke Ellington, Irving Mills, Juan Tizol} (5:37)
3. Passion Flowers {Billy Strayhorn} (5:02)
4. Blues For C.J. {Red Holloway} (5:38)
5. Well, You Needn't {Thelonious Monk} (4:21)
6. What's New? {Johnny Burke, Bob Haggart} (6:37)
7. Summertime {George & Ira Gershwin, DuBose Heyward} (5:46)
8. Tokyo Express {Red Holloway} (4:52) 

Total Time: 44:07 

Credits:
Producer - Carl E. Jefferson
Recording & Mixing Engineer - Phil Edwards
Cover Photograph - Don Saban
Art Direction - Tom Burgess

Hank Mobley - Far Away Lands (1967)

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

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

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

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

Total Time: 35:47 

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

Houston Person - Naturally (2012)

Active on the scene for decades, 78-year-old tenor saxophonist Houston Person still seems to be a discovery for some. Both newcomers to his music and longtime fans will no doubt enjoy this latest recording featuring a formidable group: veteran pianist Cedar Walton (with whom Person first collaborated in the 1960s), bassist Ray Drummond and drummer Lewis Nash. Person showcases his warm, enveloping tone and big sound, steeped in bop, blues and the Great American Songbook, on a set of beloved tunes, some still relatively unexplored. Opening is Milt Jackson’s “Bags’ Groove,” where Walton takes the first solo, laidback yet abounding with spirit and sentiment; Person stretches out in luxurious fashion while Drummond and Nash contribute their own groove-enhancing statements. One of three ballads in the program, “My Foolish Heart” illustrates Person’s fundamental approach to his horn, eloquently expressing heartfelt emotion in much the same way a vocalist might. Nash’s swinging brushwork shines on the sumptuous “That’s All” and “How Little We Know,” and Walton shimmers on “Red Sails in the Sunset.” The Ellington/Hodges gem “It Shouldn’t Happen to a Dream,” largely unrecorded since the 1950s, is revived in grand style, with poignant solos by Person and Walton, as Nash and Brown sustain taut yet fluid movement. Recorded at the legendary Van Gelder Studio, this throwback album is nonetheless fresh and imaginative. Aptly titled, it’s a relaxed, compelling set on which Person and his bandmates demonstrate unaffected dexterity, swing and soul. ~ Sharonne Cohen, JazzTimes. 

HighNote Records, HCD 7245, 2012
Recorded 5th July, 2012 At Van Gelder Recording Studio, Englewood Cliffs, New Jersey 

Musicians:
Houston Person - Tenor Saxophone
Cedar Walton - Piano
Ray Drummond - Bass
Lewis Nash - Drums 

Tracks:
1. Bag's Groove {Milt Jackson} (7:09)
2. That's All {Bob Haymes} (5:52)
3. [How Little It Matters] How Little We Know {Phil Springer, Carolyn Leigh} (4:30)
4. Namely You {Gene DePaul, Johnny Mercer} (6:53)
5. My Foolish Heart {Victor Young, Ned Washington} (6:34)
6. Red Sails In The Sunset {Wilhelm Grosz, Jimmy Kennedy} (4:25)
7. Don' Cha Go 'Way Mad {Illinois Jacquet, Jimmy Mundy, Al Stillman} (5:38)
8. It Shouldn't Happen To A Dream {Duke Ellington, Johnny Hodges, Don George} (5:54)
9. Sunday {Jule Styne, Chester Conn, Bennie Krueger, Ned Miller} (5:24) 

Total Time: 52:18

Credits:
Producer - Houston Person
Executive Producer - Joe Fields
Engineer, Mixing, Mastering - Rudy van Gelder
Assistant Engineer - Maureen Sickler
Photography - Alan Nahigian
Design - Brad Wrolstad
Liner Notes - David Jaye

Houston Person - Broken Windows, Empty Hallways (1972) [re-rip]

This is the tenth Album by Houston Person released on Prestige Records.

This LP in many ways is atypical of the earlier albums Houston released in the mid to late sixties. In the early seventies he started moving away from smaller combos towards larger groups with a range of musical charts and at times orchestral arrangements. Jazz as we know it was under the pressure of newer forms of music; Rock and Pop music were dominating. Some musicians started to dabble in Free Jazz, Fusion and Funk. As a result many jazz artists including Houston turned their attention to interpreting some of the more popular tunes of the day. This album is one such an attempt to claw back some interest in jazz. Some jazz critics have denounced these explorations as direct commercial exploits. Forty years have passed and jazz aficionados are returning to this period with newer ears. Broken Windows, Empty Hallways contains a unique assortment of tunes, mostly pop oriented with only one penned by Houston ‘Bleecker Street ‘and another by Thelonious Monk ‘Let's Call This’. Houston steps up grandly to the challenge adding further richness to his powerful soulful tenor readings. This is especially noticeable when launching into some of the ballads. He seems to be able blow a lot more freely on his solos leaving main development of rhythm to rest of the players. This is enhanced by the orchestral arrangements of Billy Ver Planck and the musical scores of Ozzie Cadena who also contributes a tune ‘Moan Er-uh Lisa’. Houston is joined by some fine musicians including Joe Wilder & Victor Paz on trumpet, organist Ernest Hayes, Hubert Laws on flute & tenor, Cedar Walton on piano and drummer Grady Tate; to name a few. In time with repeated listens this album will prove to be of great merit amongst the rest of Houston’s vast discography. Enjoy!

Prestige Records, PRST-10044, 1972

Recorded 1^st May, 1972 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Joe Wilder - Trumpet

Victor Paz - Trumpet [Solo #B1]

Hubert Laws - Flute, Tenor Saxophone

Buzz Brauner - Baritone & Tenor Saxophones, English horn, Oboe, Piccolo, Clarinet, Flute

Ronnie Jannelli - Baritone Saxophone, Clarinet, Flute

Jim Buffington - French horn

Ernest Hayes - Organ

Jimmy Watson - Organ (#B4)

Cedar Walton - Piano

Grady Tate - Drums

Bunny Briggs - Tap Dancing (#A4)

Billy Ver Planck - Orchestrations

Track Listing:

A1. I Think It's Going To Rain Today {Randy Newman} (6:05)

A2. Don't Mess With Bill {William Robinson} (3:04)

A3. Everything's Alright {Tim Rice, Andrew Lloyd Webber} (4:25)

A4. Mr. Bojangles {Jerry Jeff Walker} (4:05)

B1. Moan Er-uh Lisa {Ozzie Cadena} (6:21)

B2. Imagine {John Lennon} (5:01)

B3. Let's Call This {Thelonious Monk} (4:10)

B4. Bleecker Street [The Pimp] {Houston Person} (4:10)

Credits:

Musical Charts, Supervision - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Art Direction - Tony Lane

Photography - Lee Friedlander

James Spaulding - Plays The Legacy Of Duke Ellington

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

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

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

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

_____________________________________________________

Storyville ‎– SLP 4034

1978

Archie Shepp - For Losers (1968+1969) [vinyl]

One of the grooviest albums from Archie Shepp's post-new thing years for Impulse - a nicely grooving session that mixes soul-based tracks with more righteous spiritual jazz moments! The approach here is a nicely varied - a laidback, collaborative spirit that's even quite different from Shepp's work in France at the time, or even from some of his other sessions for Impulse. At one moment, Archie's playing in a gently spare and soulful mode - foreshadowing his late 70s sides - but at another, he'll be opening up with intensity, egged on by a group of well-matched players who include Woody Shaw, Grachan Moncur III, James Spaulding, and Cedar Walton. Side 2 features the extended "Un Croque Monsieur" - a modally building number with some free post-Coltrane energy, and a righteous poem from Chinalin Sharpe. Sharpe returns in a completely different spirit on "I Got It Bad" - singing the lyrics in a Billie Holiday mode alongside Shepp's solo - and Leon Thomas sings on the soul-based number "Stick Em Up", again very different than usual! Titles also include a great version of Cal Massey's "What Would It Be Without You" and the funky groover "Abstract". © Dusty Groove, Inc.

Impulse! Records, AS-9188, 1970

Recorded 9^th September, 1968 (#A1) at RCA Studios, New York City

Recorded 17^th February, 1969 (#A2) at RCA Studios, New York City

Recorded 26^th August, 1969 (#A3,A4,B) at RCA Studios, New York City

Personnel:

A1. Stick 'Em Up {Archie Shepp} (2:05)

Archie Shepp - Tenor Saxophone

Robin Kenyatta - Alto Saxophone

Grachan Moncur III - Trombone

Martin Banks - Trumpet, Flugelhorn

Andrew Bey - Piano

Mel Brown - Organ, Guitar

Bert Payne - Guitar

Albert Winston - Fender Bass

Wilton Felder - Fender Bass

Beaver Harris - Drums

Doris Troy - Vocals

Leon Thomas - Vocals

Tasha Thomas - Vocals

A2. Abstract {Archie Shepp} (4:21)

Archie Shepp - Tenor Saxophone

James Spaulding - Alto Saxophone

Charles Davis - Baritone Saxophone

Grachan Moncur III - Trombone

Jimmy Owens - Trumpet, Flugelhorn

Wally Richardson - Guitar

Dave Burrell - Organ

Bob Bushnell - Fender Bass

Bernard Purdie - Drums

A3. I Got It Bad [And That Ain't Good] {Duke Ellington, Paul Webster} (5:15)

Archie Shepp - Tenor Saxophone, Soprano Saxophone

Clarence Sharpe - Alto Saxophone

Cedar Walton - Piano

Wilbur Sharpe - Bass

Joe Chambers - Drums

Chinalin Sharpe - Vocals

A4. What Would It Be Without You {Cal Massey} (4:05)

Archie Shepp - Tenor Saxophone, Soprano Saxophone

Cecil Payne - Baritone Saxophone, Flute

Cedar Walton - Piano

Wilbur Sharpe - Bass

Joe Chambers - Drums

B. Un Croque Monsieur [Poem: For Losers] {Archie Shepp} (21:47)

Archie Shepp - Tenor Saxophone, Soprano Saxophone

Cecil Payne - Baritone Saxophone

Clarence Sharpe - Alto Saxophone

Woody Shaw - Trumpet

Matthew Gee - Trombone

Cedar Walton - Piano

Wilbur Sharpe - Bass

Joe Chambers - Drums

Chinalin Sharpe - Vocals

Credits:

Producer - Ed Michel

Supervision - Bob Thiele (#A1,A2), Ed Michel (#A4,A4,B)

Artwork Design - George Whiteman

Photography - Chuck Stewart

Liner Notes - Archie Shepp

Tracklist:

A1. Stick 'Em Up {Archie Shepp} (2:05)

A2. Abstract {Archie Shepp} (4:21)

A3. I Got It Bad [And That Ain't Good] {Duke Ellington, Paul Webster} (5:15)

A4. What Would It Be Without You {Cal Massey} (4:06)

B. Un Croque Monsieur [Poem: For Losers] {Archie Shepp} (21:47)

At the time this record was recorded, Shepp was bouncing back and forth between Paris and New York. He also bounced between the Impulse! and BYG labels. He also bounced between styles. For BYG, his music reached to grasp the bare beginnings of black music, back to Africa and the blues. His music for Impulse! tried to embrace the contemporary sounds of R&B, with very mixed results that to this day divide his fans. This record is a transitional one. For the traditionalists, there's his shattering and amusing cover of "I've Got It Bad" performed by the usual suspects one would think to find on an Archie Shepp record, including Cecil Payne and Joe Chambers. For those enraptured by albums like Attica Blues, songs like "Stick 'Em Up" will fascinate, as Shepp's raspy tenor is joined not only by a legion of avant-garde brethren (including names like Beaver Harris and Grachan Moncur), but also by the funky wood of electric bass, guitar, and organ. Some will find those later tracks a bit hard to take. Some will even find themselves snickering. But for anyone wishing to understand the music and career of this brilliant musician, this is an undervalued piece of the puzzle. ~ Rob Ferrier, AMG.

Art Blakey & The All Star Messengers (1982/83) [vinyl]

Re-up as requested, new links in comments.

Review by Scott Yanow:
Drummer Art Blakey could have formed quite a few all-star groups drawn exclusively from the alumni of his Jazz Messengers. One of his few one-shot bands of that nature sounds fine on this LP featuring trumpeter Freddie Hubbard, trombonist Curtis Fuller, Benny Golson's tenor, pianist Cedar Walton and bassist Buster Williams. In addition to newer Golson tunes, this unit clearly enjoys themselves playing such classics as "Moanin," "Blues March," "A Night in Tunisia" and "I Remember Clifford." Few surprises occur, but the music should satisfy Blakey's many fans.

Art Blakey And The All Star Jazz Messengers (RCA (F) PL 45365)
Freddie Hubbard (tp, flh) Curtis Fuller (tb) Benny Golson (ts) Cedar Walton (p) Buster Williams (b) Art Blakey (d)
NYC, April 11, 1982
Moanin'
City Bound
Blues March
A Night In Tunisia
I Remember Clifford
Briell Samba

Art Blakey The All Star Jazz Messengers - Caravan (Baystate (J) RJL 8071)
Freddie Hubbard (tp, flh) Curtis Fuller (tb) Benny Golson (ts) Walter Davis Jr. (p) Buster Williams (b) Art Blakey (d)
NYC, April 13 & 14, 1983
Dana's Dance
A La Mode
Stella By Starlight
Caravan
Just By Myself
Uranus

Houston Person - The Big Horn (1979) [re-rip]

Reliable soul jazz, nicely played ballads, and good standards are tenor saxophonist Houston Person's forte, and he demonstrates that repeatedly on this '76 quintet set. Pianist Cedar Walton is the type of no-nonsense, consistent player whose skills are often taken for granted, while bassist Buster Williams and drummer Grady Tate are equally unassuming veterans. ~ by Ron Wynn, AMG.

Muse Records, MR 5136, 1979

Recorded 20^th May, 1976 at Blue Rock Studio, New York City

Personnel:

Houston Person - Tenor Saxophone

Cedar Walton - Piano

Buster Williams - Bass

Grady Tate - Drums

Buddy Caldwell - Congas

Track Listing:

A1. Bluesology {Milt Jackson} (10:00)

A2. This Love Of Mine {Sol Parker, Henry W. Sanicola, Frank Sinatra} (5:33)

A3. Gee, Baby Ain't I Good To You {Andy Razaf, Don Redman} (5:29)

B1. The More I See You {Mack Gordon, Harry Warren} (6:52)

B2. Memories Of You {Eubie Blake, Andy Razaf} (4:18)

B3. I Concentrate On You {Cole Porter} (10:35)

Credits:

Producer - Michael Cuscuna

Recording Engineer - Ed Korvin

Design [Album] - Ron Warwell

Liner Notes - Tom Reed (Music Critic, Los Angeles Sentinel)

Photography [Cover] - Hugh Bell

The Cedar Walton Trio w/ Clifford Jordon - A Night at Boomer's, Vol 2 Muse 5022, Vinyl LP

Per a request from one of our old friends.

The Cedar Walton Trio w/ Clifford Jordon - A Night at Boomer's, Vol 2
Muse 5022, Vinyl LP
1) Naima
2) Stella by Starlight
3) All The Way
4) I'll Remember April
5) Blue Monk
6) Bleeker Street Theme

Cedar Walton - piano, Sam Jones - bass, Louis Hayes - drums, special guest Clifford Jordan - tenor sax

When I went to rip this, I found that this very long album had been mixed in a way that each side was a contiguous whole; it was possible to split the tracks using fade ins and outs but I just couldn't see the point, this is how the album was meant to be heard so I leave to each of you if you want to take on that task.

Where volume One featured originals that had the feel of standards, volume Two features standards given fresh life through interpretation by four masters of the art. This is wonderfully beautiful music and the warmth and charm of the night club manages to be communicated without interfering with the music.

David 'Fathead' Newman - Resurgence! (new 24-48 LP rip)

David Fathead Newman - Resurgence (1980)

Muse 5234, Vinyl LP

1. Everything Must Change 4:35
2. Mama Lou 5:54
3. Davey Blue 9:15
4. Carnegie Blues 8:28
5. Akua Ewie 6:24
6. To The Holy Land 7:04

Marcus Belgrave Trumpet, Flugelhorn
Ted Dunbar Guitar
Louis Hayes Drums
David "Fathead" Newman Flute, Sax (Alto), Sax (Soprano), Sax (Tenor)
Cedar Walton Piano, Piano (Electric)
Buster Williams Bass

This is one of the best David Newman albums you will ever hear and we are talking about a guy with some great albums! All the players compliment each other nicely and the session was recorded beautifully. Add to this that I have a Near Mint copy and I don't see how you can go wrong.

Mr. 'Fathead' leaves the R&B soaked sound of the Ray Charles band behind and really digs deep into some hard bop and soul jazz type material on this fine record.( I wonder what Dave and Jimmy Heath would have sounded like together?) The Walton, Williams Hayes rhythm section is as good as it gets and they shine like gold here. You also get rarer opportunities to hear guitarist Ted Dundar and trumpeter Marcus Belgrave. The version of Everything Must Change is just sublime and Cedar Walton's To The Holy Land is taken for a really satisfying spin. Davey Blue is the kind of late night, smokey, whiskey sippin' Blues that I just love and that David always excelled at. Akua Ewie could easily have come off of a classic mid 60's Blue Note LP. Anyone who can actually sit still during Carnegie Blues probably needs to go to the hospital right away. It has the kind of infectious, head bobbing swing that changes the mood of a room.

Gotta say I like 'em all, All Killa, No Filla

Cedar Walton - Firm Roots

Cedar Walton – Firm Roots
Muse Records – MR 5059, 1976

A1 Firm Roots     7:24    
A2 Shoulders     7:16    
A3 One For Amos     6:47    
B1 You Are The Sunshine Of My Life     6:58    
B2 I'm Not So Sure     7:53    
B3 Voices Deep Within Me     8:34    


    Bass – Sam Jones
    Design, Illustration – Mark Kaplan (3)
    Drums – Louis Hayes
    Liner Notes – Doug Ramsey
    Piano, Electric Piano, Producer – Cedar Walton
Recorded live at the Colony East Inn, Rochester, N.Y. April 1974

The performances on this album were culled from a three week stay at The Saratoga Room of the Colony East Inn in Rochester New York, how they managed to book this trio for such a long stay is anybody's guess. It seems like a bit of false advertizing to have that Grand Piano featured on the cover though. There was indeed one in the room but for some reason Cedar only plays it for two tunes and spends the rest of the time on a Fender Rhodes. Granted it was certainly in fashion in 1974 but why you would choose it over a perfectly good piano already in the same room is beyond me. Nonetheless this trio was rock solid and incapable of bad music so the music is quite good despite the plugged in keys.

Johnny Coles - Katumbo (Dance)

I must admit that I am not a big fan of the Mainstream "sound".  It more or less comes across like many CTI albums, and it's not for me.  But to paint the whole thing black would be foolish, as this album has proven.

I actually found this and two other Mainstream sides at a thrift, still sealed and only $1 each!!  My main idea was to simply trade them at the local record shop, but two ended up staying with me.

This album varies wildly in terms of style - and for the good I think.  Bop, fusion and avante garde can all be heard at one point or another.  The thing which really holds this session together, at least for my tastes, is Coles' clear and bold statement of a theme.  Tunes like 728 and Petit Machins really stand out as they open up with something groovy for the listener to take into the song.  This album won't be for everyone but I would suggest givin it a whirl if you enjoy Coles' playing at all.

Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Mainstream MRL 346
1971

Gregory Herbert (ts), Johnny Coles (t, fh), Astley Fennell (tb), Howard Johnson (tu), Cedar Walton (p, ep), Reggie Workman (b, eb), Bruce Ditmas (d)

1. Never Can Say Goodbye  (Clifton Davis) 
2.  September Of My Years  (Jimmy Van Heusen, Sammy Cahn) 
3.  728  (Johnny Coles) 
4.  Eleven [aka Petits Machins]  (Miles Davis, Gil Evans) 
5.  Betty's Bossa  (Cecil Bridgewater) 
6.  Funk Dumplin'  (Johnny Coles