Gerald Albright, Norman Brown - 24/7 (2012)

24/7 features the smooth jazz super-duo of guitarist Norman Brown and saxophonist Gerald Albright. Two of the biggest names in contemporary instrumental pop, Brown and Albright are a perfect pair to team up and 24/7 makes the most of their talents. Sounding slick but never too slick, the album features stylish production by both artists along with keyboardist Herman Jackson. Brown and Albright primarily stick to the more soulful contemporary R&B end of smooth jazz here, and cuts such as the bright and melodic leadoff cut "In the Moment," the cinematic "Perfect Love," and the sensuous title track -- featuring vocals by Gerald's daughter Selina Albright -- are finger-snapping, head-bobbing numbers that set a romantic, positive-minded mood. Elsewhere, we get the Brazilian funk of "Buenos Amigos," the club-ready "Yes I Can," and the old-school R&B of "Champagne Life," once again featuring the attractive, sweetly soulful vocals of the younger Albright. More than a few cuts on 24/7 have an old-school vibe that, while never getting too deep into any decade-specific production, do evince a clear passion for various R&B sounds from the '70s through the '90s. For longtime fans of either of these contemporary jazz titans, 24/7 will certainly be a round-the-clock pleasure. ~ by Matt Collar, AMG. 

Concord Music Group, CJA-33445-02, 2012 

Recording Locations: -
Bright Music Studios, Castle Rock, CO
In Your Ear Studios, Richmond, VA
Permanent Studios, Sherman Oaks, CA
Titan Studios, Sherman Oaks, CA
Ahhsum Studios, West Covina, CA
jLaj-Music Studios, Fredericksburg, VA
2nd Bedroom Studios, Atlanta, GA
Resource Studios, West Covina, CA
Gitt Traxx Studios, Atlanta, GA
Strings at CCI Media Torrance, CA 

Musicians:
Gerald Albright - Alto, Tenor & Baritone Saxes, Flutes, Bass Guitar, Percussion, Bkgd Vocals
Norman Brown - Lead Guitar, Rhythm Guitar (#3,5,6,9)
Tracy Carter - Keyboards (#1,7,8,10)
Herman Jackson - Keyboards (#2,3,5,6,9)
Phil Davis - Keyboards (#4)
Rick Watford - Rhythm Guitar (#1,4,7,8)
Byron Miller - Bass (#2,3,5,6,9)
Jay Williams - Drums (#1,4,8)
Charles Streeter - Drums (#2,3,5,6,9)
Ricky Lawson - Drums (#10)
Ramon Ysalas - Percussion (#2,3,5,6,9)
Rochella Brown - Vocals (#3)
Demille Cole-Heard - Vocals (#3)
Selina Albright - Vocals (#7), Background Vocals (#8)
Mark Cargill - Strings, Harp & Bell Programming (#10) 

Tracks:
01. In The Moment {Gerald Albright} (4:47)
02. Keep It Moving {Herman Jackson} (5:03)
03. Perfect Love {Norman Brown, Dr. Farid Zarif} (4:29)
04. Buenos Amigos {Gerald Albright} (5:20)
05. Tomorrow {George Johnson, Louis Johnson} (5:53)
06. Yes I Can {Norman Brown} (4:38)
07. 24-7 {Gerald Albright, Selina Albright} (5:59)
08. Champagne Life {David Dorohn, Gough-Shaffer Smith} (5:22)
09. The Best Is Yet To Come {Norman Brown, Jeanette Harris} (4:41)
10. Power Of Your Smile {Gerald Albright} (5:00) 

Total Time: 51:16 

Credits:
Producer - Gerald Albright (#1,4,7,8,10)
Producer - Norman Brown, Herman Jackson (#2,3,5,6,9)
Executive Producer - Mark Wexler
Mixing - Don Murray [Concord Studios, Studio City, CA]
Mixing - Michael Blum [Titan Studios, Sherman Oaks, CA]
Mastering - Paul Blakemore [CMG Mastering]
Photography - Lori Stoll
Art Direction - Larissa Collins
Package Design - Albert J. Roman 

Tomorrow

The JazzTimes Superband (2000)

When a tune has a catchy sound to it, the melody lingers on. Paul Bollenback, Randy Brecker, Joey DeFrancesco and Bob Berg each contribute memorable compositions to this album; compositions that catch your ear and leave you happy to hear them again. Berg placed his tune "Friday Night at the Cadillac Club" on two previous albums as well as on Dizzy Gillespie’s 1992 Rhythmstick album. The piece works. Like Brecker’s "The Ada Strut" and Eddie Harris’ "Freedom Jazz Dance," Berg’s song stays with you and brings a smile of recognition every time it’s played. The all-star band performs hard-hitting, straight-ahead material with nods to Art Blakey, Sonny Rollins, Jack McDuff and Larry Young. Brecker and Berg each wrote three of the session’s tunes, while both DeFrancesco and Bollenback contributed one. Since it’s an organ combo, the Superband needs no bass; DeFrancesco’s bass line is fast and without distinct edges. Brecker plays his part bright and fluid. He’s at the top of his form. Always taking care to produce a proper sound column, rich in overtones, the trumpeter also plays each number loose and expressive. DeFrancesco is upbeat, always propelling the unit. The organist builds each solo into a fiery peak; quite fast and furious when appropriate. Saxophonist Berg is mellower, respecting a good clear tone, while keeping it round for a loose blues honk. Berg uses the instrument’s full range. His feature role on "Oleo" runs fast and expressive, catching fire at the end of his solo. Bollenback’s work is articulate with attention to tone quality. His solo work remains fluid, while his solid accompaniment plays a key role in the ensemble’s highly successful program. Drummer Dennis Chambers provides clear and crisp coloring. He takes a few drum breaks, but for the most part prefers to steady the unit’s rhythm as a constant force. The JazzTimes® Superband employs a straight-ahead format with innovative solos all around and fours with the drummer. The formula works quite well. ~ by Jim Santella, AAJ. 

Concord Music Group, CCD-4889-2, 2000
Recorded 28th & 29th January, 2000 at Avatar Recording Studios, New York City 

Musicians:
Bob Berg - Tenor Saxophone
Randy Brecker - Trumpet, Flugelhorn (#4,7)
Joey Defrancesco - Organ [Hammond B-3]
Paul Bollenback - Guitar
Dennis Chambers - Drums 

Tracks:
01. Dirty Dogs {Randy Brecker} (6:17)
02. Silverado {Bob Berg} (8:25)
03. Jones Street {Randy Brecker} (6:08)
04. Oleo {Sonny Rollins} (5:36)
05. Friday Night At The Cadillac Club {Bob Berg} (4:47)
06. Soho Sole {Bob Berg} (7:14)
07. The Ada Strut {Randy Brecker} (6:16)
08. Blue Goo {Joey DeFrancesco} (6:24)
09. Seven A.M. Special {Paul Bollenback} (6:08)
10. Freedom Jazz Dance {Eddie Harris} (8:12) 

Total Time: 65:49 

Credits:
Producer - Nick Phillips
Executive-Producer - Glen Barros, John Burk
Engineer - Josiah Gluck
Engineer [Assistant] - Andrea Yankovsky
Mixing Engineer - Phil Edwards
Mastering Engineer - George Horn
Design - Albert Treskin
Photography - Jimmy Katz
Photography [Assistant] - Mandy Malarczyk
Liner Notes - Bill Milkowski 

Blue Goo

Gerald Albright - New Beginnings (2006)

Make no mistake; Gerald Albright has chops - serious chops - not to mention strong improvisational skills (on both tenor and alto sax) and a healthy amount of gritty, down-home soulfulness. But having a lot of positive attributes and actually making the most of them are two different things - and while the saxman has excelled at times, he has also delivered his share of forgettable, knee-jerk fluff. Drawing on both soul-jazz and smooth jazz, New Beginnings is a mixed bag, but is still one of his more worthwhile commercial outings. There are some weak tracks, to be sure, but when Albright lets loose, New Beginnings becomes a treat that brings to mind Grover Washington, Jr. and early Ronnie Laws. Albright really soars on a gospel-drenched performance of Hoagy Carmichael's "Georgia on My Mind," and he has some enjoyably funky moments on "Big Shoes" and "We Got the Groove" (both of which keyboardist Jeff Lorber co-wrote with the saxman) as well as the title track (which features Patrice Rushen on acoustic piano). This 2006 release has more pluses than minuses. ~ Extract by Alex Henderson, AMG. 

Concord Records, PKD-8540-2, 2006
Castle Oaks Studio, Calabasa, California
JHL Sound, Pacific Palisades, California
Riverphlo Studio, Anaheim, California
KAR Studio, Sherman Oaks, California
Dacrib Studio, Los Angeles, California 

Personnel: [See Text for Details]
Gerald Albright - Alto, Tenor & Baritone Saxophones, Flute, Bass Guitar, Drum Programming
Jeff Lorber - Keyboards, Drum Programming, Guitar
Chuckii Booker - Keyboards, Drum Programming, Backing Vocals
Rex Rideout - Keyboards, Drum Programming
Patrice Rushen - Acoustic Piano
Luther "Mano" Hanes - Keyboards, Backing Vocals
Tracy Carter - Keyboards
Chris Botti - Trumpet
John "Jubu" Smith - Guitar
Ricky Watford - Guitar
Paul Jackson Jr. - Guitar
Darrell Crooks - Guitar
Melvin Davis - Bass Guitar
Teddy Campbell - Drums
Tony Moore - Drums
Walter Scott & Wallace Scott - Vocals 

Tracks:
01. We Got The Groove {Gerald Albright, Jeff Lorber} (4:07)
02. New Beginnings {Gerald Albright} (5:10)
03. Deep Into My Soul {Gerald Albright, Jeff Lorber} (4:04)
04. And The Beat Goes On {Sylvers III, Preston Shockley, Shelby} (4:36)
05. Georgia On My Mind {Hoagy Carmichael, Stuart Gorrell} (5:23)
06. Take Your Time {Gerald Albright, Jeff Lorber} (4:35)
07. I Want Somebody {Chuckii Booker, Gerald Albright} (4:28)
08. You Are My Love {Gerald Albright, Luther "Mano" Hanes} (5:15)
09. Last But Not Least {Gerald Albright} (4:38)
10. I Need You {Chuckii Booker, Gerald Albright} (3:53)
11. Big Shoes {Gerald Albright, Jeff Lorber, Marlon McClain} (5:09)
12. Georgia On My Mind [Reprise] {Hoagy Carmichael, Stuart Gorrell} (3:52) 

Total Time: 55:19

Credits:
Producer (#2,5,9,12), Engineer (#1,3,4,6,7,9-11), Arranger (#2,5,9,12) - Gerald Albright
Producer, Arranger (#1,3,6,11), Engineer (#1,3,6,11) - Jeff Lorber
Producer, Engineer, Arranger - Chuckii Booker (#7,10)
Producer, Engineer, Arranger - Rex Rideout (#4)
Producer, Arranger - Luther "Mano" Hanes (#8)
Executive-Producer - Andi Howard, Mark Wexler
Engineer - Anthony Jeffries (#2,5,12), Dave Rideau (#1,3,6,11), Tracy Carter (#9)
Arranger - Tracy Carter (#2,5,9,12)
Art Direction - MAD Design/Photography, Sonny Mediana
Photography - Carl Studna
Liner Notes - Phil Collins

Joey DeFrancesco - Singin' And Swingin' (2001)

Joey DeFrancesco the jazz organist meets Joey DeFrancesco the Sinatra-style crooner on this, his first vocal outing. The album is rich in contrasts: eight of the 13 cuts feature a big band, with the likes of bassist Ray Brown, tenor saxophonist Pete Christlieb, and more; the rest are trio pieces featuring the leader, Paul Bollenback, on guitar and Byron Landham on drums. Vocally, DeFrancesco pours it on with beaucoup reverb (producer John Burk and engineer Bernie Kirsh could have backed off a bit), handling swingers like "Mack the Knife" and ballads like "They Say It's Wonderful" with equal poise and conviction. His organ is present on many of the vocal tracks, but it moves to the fore on the three instrumental originals: "Mr. Dennis Houlihan," a fast rhythm changes tune; "Did You Hear Him Holler," a tongue-in-cheek Cajun groove; and "The Sidewalk Is Wild," a sly big band shuffle that features the leader briefly on trumpet. DeFrancesco also gives his voice a rest on the swing classic "One Mint Julep," the penultimate "Danny Boy," done as a powerful trio ballad, and the closing standard, "I'm Getting Sentimental Over You." DeFrancesco's vocal affect is quite similar to Sinatra's, especially on songs closely associated with him, like "In the Wee Small Hours," one of the all-around best selections. Some won't be able to get past the hammy aspect of the album, but the fact is that DeFrancesco really can sing, and "if you've got it, flaunt it" is a worthy credo for any performer. You've got to applaud him for taking the plunge. ~ by David R. Adler, AMG. 

Concord Records, CCD-4861-2, 2001
Recorded 24th-25th January, 1999 at Capitol Records, Studio B, Hollywood, California 

Personnel:
Joey DeFrancesco - Organ [Hammond B-3], Trumpet, Vocals
Paul "Dukie" Bollenback - Guitar
Byron "Wookie" Landham - Drums 

Guests:
Mike Howard - Guitar (#7,13)
Paul Leibelshon - Drums (#7)
Dave Cook - Drums (#13) 

Frank Capp's Big Band (#1,2,5,6,8-11):
Ray Brown - Bass
Frank Szabo, Wayne J. Bergeron, Conte Candoli, Carl Saunders - Trumpet
Andy Martin, George Bohanon, Bob McChesney, Mike Millar - Trombone
Sal Lozano, Don Shelton - Alto Saxophone
Peter Christlieb, Rickey D. Woodard - Tenor Saxophone
Jack Nimitz - Baritone Saxophone
Horace Ott - Arrangements 

Strings (#1,3):
Bruce Dukov - Concertmaster
Russ Cantor, Gil Romero, Rachel Purkin, Horia Moroaica, Debbie Price,
Patricia Johnson, Darius Campo - Violin
Harry H. Shirinian, Jorge Moraga - Viola
Vage Ayrikyan, Armen Ksadjikian - Cello
Frank Capp - Conductor 

Tracks:
01. You'd Be So Nice To Come Home To {Cole Porter} (3:44)
02. Mr. Dennis Houlihan {Joey DeFrancesco} (3:53)
03. They Say It's Wonderful {Irving Berlin} (4:36)
04. Did You Hear Him Holler? {Joey DeFrancesco} (4:41)
05. Mack The Knife {Marc Blitzstein, Eugene Berthold, Brecht, Kurt Weill} (3:29)
06. One Mint Julep {Rudolph Toombs} (5:12)
07. In The Wee Small Hours {Bob Hilliard, David Mann} (5:29)
08. I Thought About You {Johnny Mercer} (3:38)
09. The Sidewalk Is Wild {Joey DeFrancesco} (6:03)
10. Let Me Love You Tonight {Mitchell Parish, Rene Touzet} (3:30)
11. Kansas City {Jerry Leiber, Mike Stoller} (3:44)
12. Danny Boy {Fred Weatherly} (6:17)
13. I'm Getting Sentimental Over You {George Bassman, Ned Washington} (6:28) 

Total Time: 60:44

Credits:
Producer - John Burk
Co-Producer - Heather & Joey DeFrancesco
Executive Producer - Glen Barros
Recording Engineer - Bernie Kirsh
Mixing, Assembly & Mastering - Tim Hunnicutt
Production Manager - Will Rose
Art Direction - Yalitza Ferreras
Photography - John Samora
Liner Notes - Joey DeFrancesco

Walter Norris and Geoge Mraz - Hues Of Blues 1995

A conversation renewed two decades later with all those subsequent experiences and insights stirred into the mix. There was so much great stuff coming out on Concord in the 80's and 90's that it is not surprising this one was kind of lost in the shuffle. The recording and mastering are fabulous and the music is outstanding....just lovely stuff!

Eiji Kitamura - Seven Stars

If you have been around the Crypt long enough, you will recall the great run of early Concord Jazz albums we did a couple years back.  The first 300 sides they issued are all great albums, if not classic.  Seven Stars falls into the great category.  Not a rare album, but generally overlooked when thinking about Concord's catalogue.

Eiji Kitamura is by no means a jazz master, but he has a wonderfully soulful style.  He plays with lots of feeling and always retains a superb swing.  If you enjoy this album I would suggest looking for some of his other titles.  He is still actively recording and performing.

I don't have too much to say about this album.  Overall it's an excellent mainstream affair, enjoyable from start to finish.  All the players dig in at some point, even if only for a couple tracks.  The vinyl itself is mint and as per usual Concord style, the recording is glorious.  Ripped at 24bit / 48kHz and transferred into FLAC, the quality is as good as it gets... enjoy!!!



Concord Jazz ‎– CJ-217

1983

Bass – Bob Maize
Vibes - Cal Tjader (tracks 1, 3, 6)

Clarinet – Eiji Kitamura
Drums – Jake Hanna
Guitar – Eddie Duran
Piano -  Teddy Wilson

Vocals - Ernestine Anderson (track 7)

1. Avalon

2. Misty
3. Old Lads
4. Stardust
5. The World Is Waiting for the Sunrise
6. Satin Doll
7. Someone to Watch Over Me
8. I Wanna Go Home

Neil Swainson - 49th Parallel (with Woody Shaw & Joe Henderson)

"Bassist Neil Swainson is known more as an accompanist (most notably with George Shearing) than as a bandleader, and this was his first opportunity to head his own recording date. Swainson was able to secure the services of both trumpeter Woody Shaw (on his final studio session just two years before his death) and tenor saxophonist Joe Henderson, in addition to a couple of Toronto-based musicians: pianist Gary Williamson and drummer Jerry Fuller. Swainson, who has long had impressive technique and a beautiful tone, performs five of his originals, plus Henderson's "Homestretch." Overall, this is an underrated, high-quality advanced hard bop date worth exploring."  Scott Yanow

A very good session made all the more important in historical context because it is our last studio session for Woody and now Joe is gone as well. I'm starting a little Joe Henderson fest, some lesser known examples of his art. I invite the guys to join in - I imagine we can all find some gems.

The Capp/Pierce Orchestra - Juggernaut Strikes Again!

Here's a re-up for our Crypt brother Jazzjet.  You're gonna enjoy this one buddy...

Sooooo...I think most everyone is familiar with Nat Pierce.  It's fair to say that at this point in his career, he has mastered the big band genre.  Pierce spent most of his career being (unfairly) criticized as a Basie clone.  This album shows that he is so much more.  Of course, any big band will give The Count a big healthy nod, but I think between his book and the stellar arrangements, Pierce IS his own man.

The material is what really stands out on this one.  Wonderfully varied and fresh, it's clear the band are stoked to be playing these numbers.  Standouts for me are Buck Clayton's Chops, Fingers and Sticks and the Billy Preston ballad, You Are So Beautiful.

The soloing really moves around from chair to chair.  Capp and Pierce clearly wanted everyone to have a voice.  Check the track listing on the back cover for solo details on each tune.  I give the nod to Pete Christlieb and Marshal Royal, they just sound fantastic and spirited.  Of course the ensemble work is wildly tight and inspiring, a real joy to listen to.  Overall a fun and enjoyable side by a seasoned group of players.  Not a typical big band album by any means.

CJ-183 is of course mint.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC...let your backbone slide Cryptheads!!  Enjoy!!

Concord Jazz (CJ-183)
1982
Recorded in Hollywood, CA - Oct/Nov 1981

Frank Capp (drums);  Nat Pierce (piano);  Ernie Andrews (vocals);
Bill Green (soprano & baritone saxophones);
Marshal Royal, Joe Roccisano, Jackie Kelso (alto saxophone);
Pete Christlieb, Bob Cooper, Bob Efford (tenor saxophone);
 Johnny Audino, Frank Szabo, Al Aarons, Warren Luening, Snooky Young, Bill Berry (trumpet);
Alan Kaplan, George Bohanon, Buster Cooper, Mel Wanzo (trombone);
Ray Pohlman (guitar);  Bob Maize (bass).

The 20th Concord Festival All Stars

Here's a little gem to get your weekend movin the right way.  Some of you will remember the wonderful posts we had at the original Crypt, all taken from the first 300 Concord Jazz sides.  Infact, I had made it a regular feature of the blog - a look at Concord Jazz.  Perhaps with enough positive response and some input from you all, I could be prompted to put that project back on its tracks.  There were scores of titles I never got to, including this one here today.

This album is damn near perfect.  A blowing session of epic proportions, from some real legends.  There's not a single wasted note.  For me, Sweets takes first prize but Gene Harris was in a really amazing stage of his career here.  The fact is that they are all undeniably excellent on this album.

Matching the music is the excellent fidelity - typical Concord.  My copy is in absolute mint condition creating a perfect listening experience.  This is where being a vinyl fan pays off in spades.  We are treated to superb dynamics and tonally splendid analog.  I have never heard the CD but I would be interested if the vinyl egdes it at all.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC, this is a post not to be missed!!!  Enjoy!!


___________________________________________________

To celebrate the 20th Concord Jazz Festival, an all-star quintet of veterans was gathered together to play swinging jazz. With trumpeter Harry "Sweets" Edison, Red Holloway on tenor, pianist Gene Harris, bassist Ray Brown and drummer Jeff Hamilton comprising the group, it is not a surprise that this session is quite successful. Standards and ballads (along with a Ray Brown blues) make up the program and the results are satisfying. - 4.5 / 5.0 - Scott Yanow / AMG

Concord Jazz CJ-366
1989

1 Blues For Sam Nassi
2 Sophisticated Lady
3 Time After Time
4 Bye Bye Blackbird
5 I Wish I Knew
6 I Got It Bad And That Ain't Good
7 Just a Closer Walk With Thee

Red Holloway (tenor saxophone), Harry "Sweets" Edison (trumpet), Gene Harris (piano), Ray Brown (bass), Jeff Hamilton (drums)

Ruby Braff & Scott Hamilton Concord Session

When Ruby Braff joined the Scott Hamilton quintet in 1985, magic ensued.  Recording for the Concord Jazz label, these two giants laid down enough material for two albums.  A First and A Sailboat In The Moonlight are both treasures in the mainstream/straight-ahead jazz category.

Anyone who was here at the Crypt when I was sharing my Hamilton sides, knows how great this group was.  With Flory on the guitar, the group was a working unit touring and recording together.  With Ruby Braff added to the fray, I dare say that this is a perfect combination of players.  I'll leave that decision up to you guys.

"Moonlight" was ripped from CD using EAC, dithered to 16/44.1 FLAC.  A First was ripped from my LP at 24/44.1 wav and dithered to 16/44.1 FLAC.  The latter has some noise issues which come and go throughout the album.  The vinyl appears perfect, like all of my Concord sides, but clearly has some groove damage.  It's listenable but certainly not up to my standard.  The good news is that it's available for purchase, and I have decided to publish it here at The Crypt to give everyone a taste.  I have not published many great titles in the past because the fidelity is simply not there.  I have quite high standards for the Crypt, as do all of the great authors here.  We only wish the best for our followers.  So now that my novella is complete... enjoy!!!

Concord Jazz CJ 274/296
1985

Bass – Phil Flanigan;  Cornet – Ruby Braff;  Drums – Chuck Riggs;  Guitar – Chris Flory;
Piano – John Bunch;  Tenor Saxophone – Scott Hamilton

____________________________________________________________

A First (CJ-274)

Although it is implied with its title that this was the first collaboration between cornetist Ruby Braff and tenor-saxophonist Scott Hamilton, they had recorded a date back in December 1983 for the Swedish Phontastic label. Accompanied by Hamilton's regular quartet of the period (pianist John Bunch, guitaristChris Flory, bassist Phil Flanigan and drummer Chuck Riggs), Braff and Hamilton inspire each other and play some explosive and consistently passionate solos. Highlights include a surprisingly hard-swinging "Rockin' Chair," "Dinah," "All My Life" and "Bugle Blues." Recommended. - Scott Yanow

        A Sailboat In The Moonlight (CJ-296)

Taken from the same sessions as A First, this collaboration between veteran cornetist Ruby Braff and the relatively young tenor great Scott Hamilton lives up to its potential. With strong assistance from pianist John Bunch, guitarist Chris Flory, bassist Phil Flanigan and drummer Chuck Riggs, Braff and Hamilton are a perfect team on such joyful swing tunes as "A Sailboat in the Moonlight," "'Deed I Do," "Jeepers Creepers" and "Sweethearts on Parade." All eight selections (even the obscure "Milkman's Matinee") are well worth hearing, making this a highly recommended set. - Scott Yanow

Cal Collins In San Francisco

Another little something for chubb's Concord series and our ongoing exploration of Cal Collins.

Cal Collins In San Francisco
Label:Concord Jazz – CJ-71, Format:Vinyl, LP, 1978

A1 Blue Haze        
A2 How Long Has This Been Going On        
A3 Laura        
A4 Sometimes I'm Happy        
B1 Miles' Theme        
B2 Blue Prelude        
B3 Exactly Like You        
B4 Deep In A Dream        
B5 So What 

    Bass – Monty Budwig
    Drums – Jeff Hamilton
    Guitar – Cal Collins

This record was a little bit rougher than advertised, cleaned it up as well as possible but there is still some groove noise. A very fine studio trio date with Monty Budwig and Jeff Hamilton. This was clearly Collins' time to shine. I particularly enjoy the version of So What, a Miles tune that lends itself unusually well to guitar interpretations.

Cal Collins - Ohio Style

Here is another little Concord tidbit for Chubby's series and also for our burgeoning Cal Collins fans. Ripped from my own $2 CD! (Sometimes it is best not to ask, just pay your $2 and go.)

"Guitarist Cal Collins' first album as a leader in four years was also his first for Concord in nine years. Collins' reputation as a swinging and appealing improviser was formed during his Concord years (1978-81) before he moved to Cincinnatti. This "comeback" CD was recorded in Cincinatti with some fine local musicians: flugelhornist Jerry Van Blair, bassist Lou Lausche and drummer Tony Sweet. With the exception of the off-the-wall choice of "Tumbling Tumbleweeds" (Collins was always open to the influence of country music), all of the selections are veteran jazz standards. The guitarist manages to give such tunes as "East of the Sun," "Skylark," "Ghost of a Chance" and "Sweet Sue" fresh interpretations that swing and are creative within the genre of mainstream jazz. Recommended." SY@AMG

Well....Damn Scott, for by far the largest part I completely agree. Only difference is that I like The Tumbling Tumble Weeds, but what the hell do I know?

I've been a bit wordy lately so I'll just shut up and say Enjoy!

Cal Collins - Blues on My Mind Concord Jazz 1979

Cal Collins - Blues on My Mind
Concord Jazz 1979

A1 Blues On My Mind 5:39    
A2 Imagination 4:30
A3 Softly, As In A Morning Sunrise 4:56    
A4 I Love You, Samantha 5:27    
B1 Marie 2:51    
B2 Dream A Little Dream Of Me 6:12 
B3 My Melancholy Baby 3:32    
B4 Ruby 6:02    

Bass – Bob Maize, Drums – Jeff Hamilton, Guitar – Cal Collins, Piano – Larry Vuckovich

Think about this for a moment....just how bad-ass a guitar player did you have to be to record at Concord? I mean Joe Pass, Tal Farlow, Herb Ellis, Charlie Byrd, Remo Palmieri, and....Cal Collins. Well actually Collins BELONGS in that kind of company. I'd compare my first experience of Cal to my more recent first experience with Louis Stewart, your heads snaps up and you say"Oh Good Lord Who is THAT?" Cal had chops to equal anyone and an infectious swing that reminded me of George Barnes and Tiny Grimes. I don't think Cal would have minded either comparison.

One of the things that will strike you when first hearing this music is that surely this was a 'working band', this sort of effortless swing is hard won. Well yes and no, this is The Larry Vuckovich Trio with Guest Cal Collins. Anyone who is a Jazz fan in the Bay Area can tell you these guys are (or maybe were, it has been awhile) consummate pro's and they clearly made Cal feel like he was right back home in Cincinnati. If you are a guitar guy or gal, then I'm betting this will stay in your play list for quite awhile.