Mickey Tucker - Mister Mysterious

Mickey Tucker - Mister Mysterious
Muse 5174, 1978

01 Plagio
02 A Prayer
03 Mr. Mysterious
04 Taurus Lullaby
05 Cecilitis
06 Basic Elements

Mickey Tucker piano, Frank Foster tenor & soprano saxes and flute, Cecil Bridgewater trumpet, Pepper Adams baritone sax, Cecil McBee bass, Eddie Gladden drums, Ray Mantilla percussion, Azeeden Weston congas

"Nothing mysterious here -- but a great little record that stands as one of Mickey Tucker's few bold statements of the 70s! The set's a soaring spiritual soul jazz affair -- featuring Mickey at the helm on acoustic piano, plus Frank Foster on reeds, Cecil Bridgewater on trumpet, Cecil McBee on bass, and Eddie Gladden on drums. (and Pepper Adams on baritone!) Tracks have a dancing joyful feel that's right up there with the best 70s soul jazz on Muse -- like work by The Visitors, or Woody Shaw -- and the numbers are all originals by Tucker, and show him to be as great a writer as he was a player, especially in these larger group settings!" amazon

I share that enthusiasm, a really terrific album! Frank Foster is just lovely in a role where you might expect to see a Carlos Garnett or Carter Jefferson. Cecil B and Pepper have strong contributions and with a foundation like Gladden and McBee the music really sails along. Another one for that 70's spiritual soul jazz category and a surprise heavyweight (maybe cruiserweight).

I got a sealed copy and as you can hear it is flawless --- at least until three minutes into the final track when I heard an horrible POP and the needle clearly skipped a chuck of Pepper's solo. HORRORS! I quickly stopped the rip and pulled the record off the turntable---it still looked pristine, not a mark on it -- I cleaned it with the D4 anyway - no change, put a dime on it - no change - I watched carefully and there was no actual skip -- the flaw was in the mastering of the record itself -- CRAP!! I then remembered that I had an mp3 320 copy that seemed to sourced from a cd so I loaded it next to my copy in Audacity and started trying to match them up to see what I could discover - turned out a BIG chuck of that solo was missing but the other version was fine - I converted the one song to wave, cut out the first part of the solo and pasted it into my rip---I got it right on the second try and it is imperceptible! -- now for some reason my final version is still a few seconds shorter but it sounds fine and complete and is sonically superior to the cd sourced one.

Hank Marr - Hank & Frank (1998)

In a tribute to Count Basie, ex-Basie tenor saxophonist Frank Foster and Columbus, OH-based organist Hank Marr wend their way through 11 titles that, peripherally, have something to do with Basie. It's the ease of their swing, the simple melodies, and the direct approach that have to do with the Count, and the way these veterans tackle a few standards and their own originals, never forcing the issue. The underrated guitarist Cal Collins and drummer Jim Rupp provide rhythmic support. Of the seven Marr originals, the best is saved for last, the upbeat "Rhythmesque," where the band is on fire and Foster's blues-tinged boppish tenor jumps and jives. The turnaround on "April in Paris" called "Paris in April" is in the same key, Marr assimilating Wild Bill Davis' searing style and Foster playing tart sweet, as he does on most of the date. "Your Basic Gospel Tune," inspired by Horace Silver, is like a mix of "Groove Merchant" and "Red Top," Foster sounding happy and in tune with Marr's soulful, easy swinging. "Basie-cally Speaking" is based on "Whirly Bird"; "I'm Saving All My Hugs for You" is inspired by "Lil' Darlin'." Foster contributed the lone "Kathern the Great" for a discriminating fan in N.Y.C., another easy swinger with the organ at the end quoting "Who's Got the Last Laugh Now." Also included is the evergreen "Just a Closer Walk with Thee," where Marr uses a more church-oriented sound on one of his organ keyboards, a more burning approach on the other, quite like Jimmy Smith. "If I Had You," without Foster, is the lone feature for Collins, a ballad treatment where the guitar states the theme and extrapolates upon it, the organist does the same, then they both pine together. This is one of those recordings that sounds just fine, but begs for a follow-up. Foster's never played with any organist before, and Marr seems to be the perfect foil. ~ by Michael G. Nastos, AMG. 

Double-Time Records, DTRCD-134, 1998
Recorded 7th November, 1997 at Kentucky Center For The Arts, Louisville, Kentucky 

Musicians:
Hank Marr - Organ [Hammond B-3]
Frank Foster - Tenor Saxophone
Cal Collins - Guitar
Jim Rupp - Drums 

Tracks:
01. B Jam Shuffle {Hank Marr} (5:25)
02. Katherine The Great {Frank Foster} (6:13)
03. Your Basic Gospel Tune {Hank Marr} (6:47)
04. Basie-Cally Speaking {Hank Marr} (4:43)
05. I'm Saving All My Sweet Hugs 4U {Hank Marr} (6:24)
06. Paris In April {Hank Marr} (5:24)
07. Just A Closer Walk With Thee {Traditional} (8:38)
08. If I Had You {Jimmy Campbell, Reginald Connelly, Ted Shapiro} (3:38)
09. The Very Thought Of You {Ray Noble} (6:36)
10. Stolen Sweets {Wild Bill Davis} (4:17)
11. Rhythmesque {Hank Marr} (4:53) 

Total Time: 63:04 

Credits:
Producer, Mixing, Mastering - Jamey Aebersold
Engineer - Steve Good 

Katherine The Great

Count Basie - Easin' It: Music From The Pen Of Frank Foster

I hope you guys are excited to see this one here today... God knows I am excited to be sharing it.  More from our look at Basie's Roulette years.  This album has NEVER been issued on CD, with the sole exception of the Mosaic box set.  As you can see from the title, these compositions come from Frank Foster.  There's no doubt that this album remains in relative obscurity in spite of the overall quality and the fact that the title track was a huge hit for Basie's live show during this time.  I would say that "Kansas City Suite", an album of Benny Carter tunes, trumps this album in popularity.  That said, I prefer this LP in both compositions and performance - its excellent!!!

The band heard here is at its height as a unit, "The Atomic Band" as some like to call it.  As much as I love the old two track mono LPs, this stereo version does alot to showcase the power and nuance of this band.  I've said it on previous reviews:  Basie was a master of subtlety and could make his orchestra sound both like a freight train passing, or like a pin dropping in a quiet room.  As time continues to pass, his music ages like a fine wine.  The appreciation for exactly what his orchestra was capable of grows and grows.  This well oiled machine is firing on all cylinders on Easin' It.  

Personally I think the tenors win the day here.  Its fitting of course as the music was penned by a tenor player!!  The countless solos are as riveting as they are appropriate - always tasteful and suited to the mood.  Another stand out characteristic is Freddie Green's guitar.  The mix really favours him here and he can be heard really well.  Overall I find this album ebbs and flows much like "Kansas City Suite", so much that its hard to believe that it's not a suite itself.  This stereo LP was ripped at 24/48 and transferred to FLAC for your convenience.  The near mint, flawless transfer will have your jaw on the floor - gorgeous hi-fi sound, exactly what a stereo album should be.  Full hi-res scans are included at 300dpi...  enjoy!!!!!

Roulette Records ‎– SR-52106
1963

A1 Easin' It - Basie

A2 Brotherly Shove
A3 Blues For Daddy-O
B1 Four, Five, Six
B2 Misunderstood Blues
B3 Mama Dev (Blues)
B4 It's About That Time

Tracks A1 to A3 recorded in New York City, December 14 & 15, 1960.
Track B1 recorded in New York City, July 1, 1962.
Tracks B2 to B4 recorded in New York City, July 25 & 26, 1962.

Alto Saxophone – Frank Wess, Marshall Royal

Baritone Saxophone – Charlie Fowlkes
Clarinet – Marshall Royal
Composed By – Frank Foster
Double Bass – Art Davis (tracks: B1), Eddie Jones (tracks: A1 to A3), Ike Isaacs (tracks: B2 to B4)
Drums – Louis Bellson (tracks: B2 to B4), Sonny Payne (tracks: A1 to B1)
Flute – Eric Dixon (tracks: B1 to B4), Frank Wess
Guitar – Freddie Green
Piano – Count Basie
Tenor Saxophone – Billy Mitchell (tracks: A1 to A3), Eric Dixon (tracks: B1 to B4), Frank Foster, Frank Wess
Trombone – Al Grey (tracks: A1 to A3), Benny Powell, Henry Coker, Quentin Jackson (tracks: B1 to B4)
Trumpet – Al Aarons (tracks: B1 to B4), Flip Ricard (tracks: B1 to B4), Joe Newman (tracks: A1 to A3), Snooky Young (tracks: A1 to A3), Sonny Cohn, Thad Jones

The John Coltrane Memorial Conert

You may know this music from the Elvin Jones LP "Live at the Town Hall", but this is the first CD issue that I've seen. The music is dense, intense modal jazz played at a high level throughout. Foster and Farrell were a dynamite front line pairing and then of course there is Elvin - Nuff Said!

George Benson - Body Talk (1973)

With an eye and ear on what was happening on the soul charts -- James Brown in particular -- Benson made a decided swerve toward R&B on this release. Indeed the JB's Pee Wee Ellis turns up as a big band arranger on three tracks, and he no doubt had a direct influence on the distinct JB groove of one of the non-big-band tunes, "Dance." It should come as no surprise by now that this formidable guitarist has no problem handling any kind of groove, although the mixed rhythm section of Jack DeJohnette, Ron Carter, electric pianist Harold Mabern, and percussionist Mobutu sometimes sends mixed messages. Earl Klugh has a few tasty moments on his own, and there are some reconnaissance flights back to the jazz side of George, which he handles with his usual confident aplomb. ~ by Richard S. Ginell, AMG.

CTI Records, CTI 6033, 1973

Recorded 17^th (Side B) & 18^th (Side A) July 1973 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

George Benson - Guitar

Frank Foster - Tenor Saxophone (#A3-B2)

Waymon Reed - Flugelhorn, Trumpet (#A3-B2)

John Gatchell - Flugelhorn, Trumpet (#A3-B2)

Jon Faddis - Flugelhorn, Trumpet (#A3-B2)

Dick Griffin - Trombone (#A3-B2)

Gerald Chamberlain - Trombone (#A3-B2)

Harold Mabern - Electric Piano

Earl Klugh - Guitar

Gary King - Electric Bass

Ron Carter - Bass

Jack DeJohnette - Drums

Mobutu - Percussion

Track Listing:

A1. Dance {Alfred Ellis, George Benson} (10:30)

A2. When Love Has Grown {Donny Hathaway, Gene McDaniel} (5:01)

A3. Plum {George Benson} (5:28)

B1. Body Talk {George Benson} (8:21)

B2. Top Of The World {George Benson} (9:56)

Credits:

Producer - Creed Taylor

Arranger, Conductor - Pee Wee Ellis

Recording Engineer - Rudy van Gelder

Design - Bob Ciano

Cover Photograph - Pete Turner

Count Basie and Joe Williams - Just The Blues

Re-upped by request... even if only one person benefits from this re-up, it was worth it to me.  A must own album for any jazz fan.  I also want to let you guys know that "Basie Rides Again" is still active.

This is without a doubt my favorite Basie/Williams side, and overall, one of my favorite Basie albums.  Some of you have undoubtedly picked it up from me at a couple of other blogs, but it's never seen light at the Crypt.

Basie and Williams masterfully interpret the blues using all of their skill.  At moments, Basie has the band roarin while at others, you would think it's little more than a trio backing Williams.

This has never seen a CD reissue but was infact included on the Basie Mosaic set.  My copy is actually an EMUS reissue, which I bought still sealed.  I can tell you that this is one of my greatest rips - ever.  For those of you who have followed my posts, I think you know that I don't make statements like that too often.  The dynamics are perfect and this album will really hit you in the gut at different points.

Just The Blues was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  My hope is to share my Basie Roullette vinyl, most of which is unavailable and OOP.  The last iteration of The Crypt was seriously lacking Basie, lets change that.  Enjoy!!!

Roullette Records
R-52054
1960

A1 Confessin’ The Blues
A2 Mean Old World
A3 Trav’lin’ Light
A4 Key To The Highway
A5 Lyin’ Woman
B1 Chains Of Love
B2 Mean Mistreater
B3 Keep Your Hand On Your Heart
B4 Night Time Is The Right Time (When The Sun Goes Down)
B5 Tomorrow Night

Sonny Cohn, Thad Jones, Joe Newman, Snooky Young (tp)
Henry Coker, Al Grey, Benny Powell (tb)
Marshall Royal (cl,as)
Frank Wess (as,ts,fl)
Frank Foster, Billy Mitchell (cl,ts)
Charlie Fowlkes (bar)
Count Basie(p)
Freddie Green (g)
Eddie Jones (b)
Sonny Payne (d)
Joe Williams (vcl)

Elvin Jones - Coalition (1970)

I posted this at the old Crypt a couple of years ago. It still doesn't seem to have made it to CD.

AMG review:
Drummer Elvin Jones' Blue Note sessions have long been underrated, partly because the label itself was declining during the era and also partly due to the rise of the avant-garde and fusion, which overshadowed Jones' passionate and advanced hard bop. In 1970, Elvin's band consisted of George Coleman and Frank Foster on tenors (Foster also plays bass clarinet on one number), bassist Wilbur Little, Candido on conga, and the drummer/leader. This was a particularly creative and often intense ensemble, attached to the hard bop tradition but always looking forward. On four group originals (including Coleman's "5/4 Thing") and "Yesterdays," the quintet generates a lot of heat, with the contrast between the tones of Coleman and Foster making this album (not yet reissued on CD) of particular interest.

01 - Shinjitu
02 - Yesterdays
03 - 54 Thing
04 - Ural Stradania
05 - Simone

George Coleman (ts) Frank Foster (ts, acl) Wilbur Little (b) Elvin Jones (d) Candido Camero (cga, tamb)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, July 17, 1970

Count Basie And The Kansas City 7

I hope you all had a great Christmas!!  My family sure did...

As we continue down Basie lane, this album seemed a logical choice after the last Basie small group.  This group is infact a septet with Wess and Foster switching out for roughly half the album each.

Unlike the last album, the rhythm keeps the swing movin' while the focus is kept upfront.  Basie pulls out some incredible solo work himself in his inimitable style - sparse and soulful.

I think the main thing that keeps this album in a class of it's own, is the playlist.  The majority of small group swing albums lean on the jam side of things, while this side has a much more focused approach to the material.  Of course, the soloing is top notch and inspired, but the song arrangements are much more than a simple jam style.  With composers like Wess, Foster and Thad Jones on board it can only be expected.

This album is certainly a small group swing classic, and if you haven't heard it yet you're in for a treat.  My album is near mint, and the fidelity is nothing short of perfect.  Wonderfully dynamic with a great focus on bass - Ed Jones really pops in different parts.  Bluesy swingin, in all of it's glory.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!