Milt Jackson - Sunflower (1972) [vinyl]

Recorded over two days in December of 1972 at Rudy Van Gelder's Englewood, New Jersey home studio, vibraphonist Milt Jackson's Sunflower is the first -- and best -- of his three albums for Creed Taylor's CTI imprint. (And one of the finest offerings on the label.) With a core band consisting of Herbie Hancock (playing electric and acoustic piano), bassist Ron Carter, drummer Billy Cobham, trumpeter Freddie Hubbard, drummer/percussionist Ralph McDonald, and guitarist Jay Berliner. A chamber orchestra exquisitely arranged and conducted by Don Sebesky adorns the session as well. Jackson's "For Someone I Love," opens the five-tune set, with Berliner playing solo flamenco guitar before the vibes, trumpet, and elements from the chamber orchestra delicately, impressionistically color the background. It gradually moves into a languid, bluesy ballad that slowly gains in both texture and dynamic until the strings trill tensely. Hubbard and Hancock engage them in solos that gently swing out the tune. The reading of Michel Legrand's "What Are You Doing for the Rest of Your Life" is a gorgeous showcase for Jackson; his solo dominates the arrangement. Carter gets downright funky on his upright to introduce Thom Bell's "People Make the World Go Round," and Hancock follows him on Rhodes. Jackson takes the melody, striking a layered contrast as Hubbard slips around all three playing an extension of the melody with requisite taste, fluidity, and taut phrasing. Hancock gets funky to the bone in his brief solo, as the vibes soar around and through his phrases. The title track is a Hubbard composition that floats and hovers with a Latin backbeat before shifting tempos as the solos begin. The expanded harmonic palette of trumpet with the reeds, woodwinds, and strings on the melody add an exotic textural palette for his solo. While Sunflower sometimes feels more like a group session rather than a Jackson-led one, that's part of its exquisite beauty. ~ Thom Jurek, AMG.

CTI Records, CTI 6024, 1973

Recorded 12^th & 13^th December, 1972 at Van Gelder Studios, Englewood Cliffs, New Jersey

Musicians:

Milt Jackson - Vibraphone

Freddie Hubbard - Trumpet, Flugelhorn

Herbie Hancock - Piano

Jay Berliner - Guitar

Ron Carter - Bass

Bill Cobham - Drums

Ralph MacDonald - Percussion

Plus Reeds & Strings:

George Marge - Clarinet, Bass Clarinet, Alto Flute, English Horn

Romeo Penque - Alto Flute, Oboe, English Horn

Phil Bodner - Flute, Alto Flute, Piccolo Flute, English Horn

Alan Shulman, Charles McCracken, George Ricci - Cello

Margaret Ross - Harp

Charles Libove, David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff,

Irving Spice, Joe Malin, Max Ellen, Paul Gershman - Violin

Tracks:

A1. For Someone I Love {Milt Jackson} (10:21)

A2. What Are You Doing The Rest Of Your Life? {Michel Legrand, Alan & Marilyn Bergman} (6:57)

B1. People Make The World Go Round {Thomas Bell, Linda Creed} (8:29)

B2. Sunflower {Freddie Hubbard} (11:01)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger & Conductor - Don Sebesky

Album Photograph - Pete Turner

Liner Photograph - K. Abe

Album Design - Bob Ciano

Nat Adderley - Calling Out Loud (1969) [re-rip]

A pretty great little album from Nat - recorded with arrangements by Bill Fischer, who gives the record a tightly compressed big band sound that's perfect for Nat's sharp funky horn! The album's not exactly "funk", but there's plenty of it in the mix - as lead horn grooves around nicely, while Joe Zawinul plays electric piano, and Leo Morris (aka Idris Muhammad) plays drums. Titles include "Biafra", "Haifa", "St M", "Grey Moss", and "Calling Out Loud". © Dusty Groove, Inc.

For this album Adderley composes the majority of the tunes and sets about laying down some impeccably beautiful solos on his chosen instrument the cornet. In addition, he surrounds himself with some of the usual session men of the time such as Ron Carter, Leo Morris, Joe Zawinul, Jerome Richardson and Hubert Laws. The interplay of the Idris & Ron and Nat & Joe pairings takes this album to some special places as it hits some real highs, with Nat's cornet leading the way. Zawinul sets up some nice solos on both Biafra and the following tune Haifa. Carter gets into stride with a loud bass line in parts of Grey Moss. The highlight is the swinging Soul-Jazz of Comin' Out The Shadows with some good soloing. The title track is a touch slower but showcases Zawinul’s biting tones on his electric piano. Of merit are the compositions written and arranged by Bill Fischer; St. M, Nobody Knows and shared with Nat Calling Out Loud. Nat’s playing on Nobody Knows is just perfect. Of equal value are Joe Zawinul’s two tunes; Grey Moss & Ivan's Holiday.

The real issue in preparing this rip is that it is assembled as a suite with a series of transitional mini-movements joining the tunes together. With my first post I carefully spliced the two sides into individual tracks that I believe worked. However, when revisiting this gem I decided to leave well alone and upload just as Side A and Side B, Enjoy!

A&M/CTI Records (Japan), C25Y3819, 1986

Recorded 19th, 21st November & 4th December, 1968

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Nat Adderley - Cornet

Joe Zawinul - Electric Piano

Hubert Laws - Flute, Piccolo Flute

Jerome Richardson - Saxophone

Seldon Powell - Saxophone

George Marge - Clarinet, English Horn, Saxophone (#A1)

Paul Ingraham - French Horn

Donald MacCourt - Bassoon

Romeo Penque - Bass Clarinet

Danny Bank - Saxophone (#A1)

Jerry Dodgion - Saxophone (#A1)

Richard Henderson - Saxophone (#A1)

Ron Carter - Bass

Leo Morris - Drums

Tracklist:

Side A: [18:46]

1. Biafra {Nat Adderley} (6:34)

2. Haifa {Nat Adderley} (4:59)

3. St. M {W. S. Fischer} (3:54)

4. Grey Moss {Joe Zawinul} (3:27)

Side B: [17:32]

1. Nobody Knows {W. S. Fischer} (6:11)

2. Comin' Out The Shadows {Nat Adderley} (4:58)

3. Ivan's Holiday {Joe Zawinul} (3:11)

4. Calling Out Loud {Nat Adderley, W. S. Fischer} (3:17)

Credits:

Producer - Creed Taylor

Engineer - Rudy van Gelder

Arranger & Conductor - Bill Fischer

Cover Photo - Pete Turner

Cover Design - Sam Antupit

Note:

Original rip is still active, check link in comments.

Grover Washington, Jr. - All The King's Horses (1972) [vinyl]

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kudu imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well - especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous - and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington - who could inject pure soul into even the dullest music of Lawrence Welk - is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions. ~ by Thom Jurek, AMG.

Kudu Records, KU-07, 1972

Recorded 19^th May-June, 1972 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Grover Washington, Jr. - Alto Saxophone, Tenor Saxophone

Alan Rubin, Ernie Royal, Snooky Young, John Frosk, Marky Markowitz, Marvin Stamm - Trumpet, Flugelhorn

Paul Faulise, Tony Studd, Wayne Andre - Trombone

Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge - French Horn

George Marge - Alto Saxophone, Flute, English Horn, Oboe, Recorder

Pepper Adams - Baritone Saxophone

Arthur Clarke - Baritone Saxophone, Flute

Bob James - Electric Piano, Harpsichord

Richard Tee - Organ

Cornell Dupree, David Spinozza, Eric Gale - Guitar (#A1-B1,B3)

Gene Bertoncini - Guitar

Ron Carter - Bass

Gordon Edwards - Bass (#A1)

Bernard Purdie - Drums

Billy Cobham - Drums (#A4,B2,B3)

Ralph MacDonald - Congas

Airto Moreira - Percussion

Strings:

Margaret Ross - Harp

Charles McCracken, George Ricci - Cello

Emanuel Vardi, Richard Dickler - Viola

Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff,
Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle,
Max Ellen, Paul Gershman - Violin

Tracks:

A1. No Tears, In The End {Ralph MacDonald, William Salter} (3:49)

A2. All The King's Horses {Aretha Franklin} (3:48)

A3. Where Is The Love {Ralph MacDonald, William Salter} (5:07)

A4. Body And Soul [Montage] {Heyman, Sour, Eyton, Green} (3:02)

B1. Lean On Me {Bill Withers} (4:25)

B2. Lover Man {Jimmy Davis, Jimmy Sherman, Roger Ramirez}

      Interlude #2 {Bob James} (7:01)

B3. Love Song 1700 {Adapted ex Henry Purcell, Arr. Bob James} (4:51)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bob James

Design [Album] - Bob Ciano

Photography [Album] - Pete Turner

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

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

Cadet Records, CA 50052, 1974

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

Mastered At Sterling Sound, New York City

Musicians:

Ray Bryant - Piano, Electric Piano

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

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

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

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

Jimmy Ponder - Guitar [Soloist] (#A2)

John Tropea - Guitar, Acoustic Guitar (#A2)

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

Richard Davis - Bass (#A1)

Ron Carter - Bass (#A2,A4))

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

Jimmy Johnson - Drums

Montego Joe - Congas

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

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

Tracks:

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

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

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

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

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

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

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

Credits:

Producer - Esmond Edwards

Production Supervision - Bob Scerbo

Album Co-ordination - Gwen Williams

Engineer - Skip Juried (Sound Exchange Studios, NYC)

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

Art Direction - Neil Terk

Photography - P.B. Kaplan

Nat Adderley - You, Baby (1968) [re-rip>true flac]

As Cannonball Adderley moved with the times in the late '60s, so did brother Nat on his own. While Adderley generally buys into Creed Taylor's A&M mixture of top-flight jazz talent, pop tunes and originals, and orchestrations packaged in bite-sized tracks, this album has its own pleasingly veiled yet soulful sound quite apart from its neighbors in the A&M/CTI series. Give credit to Adderley's successful use of a Varitone electronic attachment on his cornet, giving the horn an "electric blue" sound which he handles with marvelous rhythmic dexterity. Add Joe Zawinul's lively, funky electric piano from Cannonball's quintet, as well as the brooding, genuinely classically-inspired orchestrations of Bill Fischer that only use violas, cellos and flutes. While not always technically perfect, Adderley's solos have soul and substance; his brief, catchy bop licks on "Halftime" are some of the best he ever played and on Zawinul's "Early Minor," he evokes a sense of loneliness that Miles would have admired. A lovely intensely musical album, well worth seeking out. ~ Richard S. Ginell, All Music Guide.

A&M/CTI Records, LP 2005; SP 3005, 1968

Recorded on 26^th-28^th March & 4^th April, 1968 at Van Gelder Studio, New Jersey

Personnel:

Nat Adderley - Cornet

Joe Zawinul - Piano

Jerome Richardson - Flute, Soprano Saxophone

George Marge - Flute, Oboe

Romeo Penque - Flute

Harvey Estrin - Flute

Joe Soldo - Flute

Stewart Clarke - Viola

Bernard Zaslav - Viola

Al Brown - Viola

Charles McCracken - Cello

George Ricci - Cello

Alan Shulman - Cello

Ron Carter - Bass

Grady Tate - Drums

Track Listing:

A1. You, Baby {Ivy Hunter, Jack Goga, Jeffrey Bowen} (2:44)

A2. By The Time I Get To Phoenix {Jimmy Webb} (3:19)

A3. Electric Eel {Nat Adderley} (4:55)

A4. Early Chanson {Joe Zawinul} (2:23)

A5. Denise {Earl Turbinton} (3:56)

B1. Early Minor {Joe Zawinul} (3:43)

B2. My Son {Caiphus Semenya} (4:27)

B3. New Orleans {Nat Adderley} (4:18)

B3. Hang On In {Eric Knight} (3:30)

B4. Halftime {Julian Adderley, Nat Adderley} (2:36)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy Van Gelder

Arranger, Conductor - Bill Fischer

Photography - Pete Turner

Album Design - Sam Antupit

Liner Notes - Ira Gitler