Shirley Scott - Roll 'Em: Shirley Scott Plays The Big Bands (1966) [CD]

Shirley Scott’s Roll ‘Em is interesting on several levels, the first being that you are no doubt already keenly aware of the songs Shirley is laying down here with her seventeen-piece big band, so it’s a hoot to simply sit back and listen to the tunes without the due consideration jazz-listening often requires. Secondly, there’s nothing unexpected delivered on this record, everything … the enunciation, the chords, the notes, the take, it’s all been done before, leaving Roll ’Em to simply be a breezy foray into the musical insights and sounds that are created here. Though when "Stompin' At The Savoy" washed across my listen space, I was raptured with the flanking path Scott’s organ took this song. Oddly enough, when one considers women in jazz, the first names that come to mind are usually the singers, Ella Fitzgerald or Billie Holiday, perhaps because singers are easier to spot and identify. Shirley was a lush beautiful petite and very powerful for her size and time, so it sparked my imagination that she might be taking on these songs purposely, numbers that seemed rather too large or expansive for a woman to embrace, where Scott shows the world that she’s more than capable of helming a big band, charting its course, and coming out the other side proving that she can stand toe to toe with anyone when it comes to music that is easily compared. So, while I don’t want to dismiss this outing as uninventive or not being challenging enough, it is impressive to hear Shirley create perfect flawless circles, that while not bold or majestic, hit at the heart of all that’s pure, and dare I suggest innocent, when it comes to the purest elements of sophistication. After all, a simple black dress with an understated string of pearls speaks volumes, without the need for showiness or exuberance. ~ by Jenell Kesler, discogs.com. 

Impulse! Records, AS-9119, 1972
GRP Records, GRD-147, 1994
Recorded 15th (#7-10) & 19th (#1-6) April, 1966 at Van Gelder Studio, Englewood Cliffs, NJ 

Personnel:
========
#1-4:
Shirley Scott - Organ
Thad Jones, Joe Newman, Jimmy Nottingham, Ernie Royal, Clark Terry - Trumpet
Paul Faulise, Quentin Jackson, Melba Liston - Trombone
Tom McIntosh - Trombones
Phil Woods, Jerry Dodgion - Alto Saxophone
Bob Ashton, Jerome Richardson - Tenor Saxophone
Danny Bank - Baritone Saxophones
Attila Zoller - Guitar
George Duvivier - Bass
Grady Tate - Drums
Oliver Nelson - Conductor, Arranger 

#5-6:
Shirley Scott - Organ, Arranger (#5)
George Duvivier - Bass
Grady Tate - Drums 

#7-10:
Shirley Scott - Organ
Richard Davis - Bass
Ed Shaughnessy - Drums 

Tracks:
01. Roll 'Em {Mary Lou Williams} (4:08)
02. For Dancers Only {Don Raye, Sy Oliver, Vic Schoen} (3:43)
03. Sophisticated Swing {Mitchell Parish, Will Hudson} (2:50)
04. Sometimes I'm Happy {Grey, Caesar, Youmans} (3:53)
05. Little Brown Jug {Joseph Eastburn Winner; Arr. Shirley Scott} (3:57)
06. Stompin' At The Savoy {Razaf, Goodman, Webb, Sampson} (3:58)
07. Ain't Misbehavin' {Andy Razaf, Harry Brooks, Fats Waller} (3:31)
08. A Tisket A Tasket {Ella Fitzgerald, Van Alexander} (3:55)
09. Things Ain't What They Used To Be {Duke Ellington, Ted Persons} (5:19)
10. Tippin' In {Bobby Smith, Marty Symes} (4:33) 

Total Time: 39:54 

Credits:
Producer - Bob Thiele
Recording Engineer - Rudy van Gelder
Reissue Producer - Michael Cuscuna
Executive Producer - Dave Grusin, Larry Rosen 

Organist Shirley Scott focuses on swing-era tunes throughout this enjoyable album. Four songs showcase her organ accompanied by a 17-piece big band arranged by Oliver Nelson while the remaining six numbers find her jamming with a trio that also includes either George Duvivier or Richard Davis on bass and Grady Tate or Ed Shaughnessy on drums. Although nothing all that unexpected occurs, it is fun to hear an organ performing such numbers as "For Dancers Only," "Little Brown Jug" and "Stompin' At The Savoy." ~ Scott Yanow, AMG

Sometimes I'm Happy

Bill Easley - First Call (1990)

The versatile alto and tenor saxophonist Bill Easley (who on other projects also plays other reeds) is showcased in top form on this CD, performing on two dates with a pair of overlapping groups. Assisted along the way by trumpeter Bill Mobley on five of the numbers, either Sir Roland Hanna or James Williams on piano, and George Caldwell's synthesizer for four of the eight songs, Easley is the main star throughout. He puts plenty of feeling into "It's All in the Game," takes "How Long Has This Been Going On" at a surprisingly fast pace, cooks on "Little Benny," and emulates Sonny Stitt on "Blues for Stitt." Although he has spent much of his career in the background, uplifting other singers and musicians' sessions in addition to working in the studios, Bill Easley shows on this set that he is fully capable of being the leader. This is one of his strongest efforts. ~ by Scott Yanow, AMG. 

Milestone Records, MCD-9186-2, 1991
Recorded 22nd, 29th October, 1990 

Musicians:
Bill Easley - Alto Saxophone, Tenor Saxophone
Bill Mobley - Trumpet (#3-6,8)
Roland Hanna- Piano (#1,2,7,8)
James Williams - Piano (#3-6)
George Caldwell - Synthesizer (#2,4,5,7)
J. J. Wiggins - Bass (#1,2,7,8)
Dave Jackson - Bass (#3-6)
Grady Tate - Drums 

Tracks:
1. It's All In The Game {Charles G. Dawes, Carl Sigman} (6:22)
2. Somewhere Along The Way {Kurt Adams, Sammy Gallop} (5:57)
3. How Long Has This Been Going On {George Gershwin} (7:36)
4. Oh, What A Dream {Chuck Willis} (8:16)
5. Soulful Bill {James Williams} (5:51)
6. Blues For Stitt {Bill Easley} (6:02)
7. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (6:25)
8. Little Benny [aka Crazeology] {Bud Freeman, Benny Harris, Charlie Parker} (4:12)

Total Time: 50:41 

Credits:
Producer - Bob Porter
Engineer - Malcolm Addey
Assistant Engineer - Ron Allaire
Digital Mastering - George Horn
Art Direction - Phil Carroll
Photography - Frank Lindner
Design - Gilles Margerin
Liner Notes - Stuart Troup

Houston Person - Sweet Buns & Barbeque (1972) [re-rip]

One of those Prestige records sessions from the early 70's that has more of an electric keyboard groove than a hard organ one, but still a nice set of sweetly funky tracks from Houston Person and his funky tenor. There's a nice cover of "Down Here On The Ground", plus the cuts "Put It Where You Want It", "Groove Thang", and "Sweet Buns & Barbeque", which has some nice hard drums on the intro. Plus, the whole thing's got a cover that features Sweet Buns dripping with barbeque sauce – proof again that shooting soul food in a record album photo just never works! © Dusty Groove, Inc.

Prestige Records, PRT-10055, 1973

Recorded 11^th September and 7^th November, 1972
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Ernie Royal - Trumpet (#B2-B4)

Victor Paz - Trumpet (#B2-B4)

Frank Wess - Flute, Baritone Saxophone (#B2-B4)

Richard Tee - Organ, Electric Piano, Piano (#A1-A3)

Jimmy Watson - Organ (#B1)

Joe Beck - Electric Guitar, Acoustic Guitar (#A1,A2,A4-B3)

Hugh McCracklin - Acoustic Guitar (#A3)

Ron Carter - Bass (#A1-A3), Guitar (#A3)

George Duvivier - Bass, Electric Bass (#A4-B4)

Grady Tate - Drums

Buddy Caldwell - Congas, Percussion (#A4,B1,B3,B4)

Tracks:

A1. A Song For You {Leon Russell} (4:26)

A2. The Trouble With Hello Is Goodbye {Bergmanns, The, Dave Grusin} (4:00)

A3. Scared To Be Alone {Dory Previn} (4:08)

A4. Sweet Buns And Barbeque {Houston Person, Billy Ver Planck} (3:03)

B1. This Masquerade {Leon Russell} (6:07)

B2. Down Here On The Ground {Gale Garnett, Lalo Schifrin} (3:38)

B3. Put It Where You Want It {Joe Sample} (3:05)

B4. Groove Thang {Johnny Bristol} (3:01)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Arranger - Joe Beck (#A1-A3), Billy Ver Planck (#A4-B4)

Art Direction, Photography [Cover] - Tony Lane

Photography [Back Cover] - Lee Friedlander

Johnny “Hammond” Smith - Nasty! (1968) [vinyl]

On “Nasty”, Smith presents a quartet comprising of the mighty Houston Person on tenor, a young John Abercrombie on guitar and Grady Tate on drums. With six tunes in all the musicians have plenty of room to showcase their versatility and stretch out with some fine soloing. It’s very much a typical late 60’s soul jazz groove with many popular covers from that era. Nonetheless, it’s delivered with solid precision; the only complaint being’ it’s a bit on the short side, but avoids the excesses that many soul jazz artists started to indulge in. Some of the highlights include the title cut, a funk blues take on “Unchained Melody” and Smith’s slow burning groove on “Song For My Father”, Enjoy!

Prestige Records, PRST 7588, 1968

Recorded 18^th June, 1968 At Town Sound Studios, New York City

Musicians:

Johnny "Hammond" Smith - Organ

Houston Person - Tenor Saxophone

John Abercrombie - Guitar

Grady Tate - Drums

Tracks:

A1. If I Were A Bell {Frank Loesser} (8:33)

A2. Song For My Father {Horace Silver} (7:10)

A3. Speak Low {Ogden Nash, Kurt Weill} (9:30)

B1. Unchained Melody {Alex North, Hy Zaret} (3:44)

B2. Nasty {Johnny "Hammond" Smith} (9:00)

B3. Four Bowls Of Soul {Johnny "Hammond" Smith} (7:08)

Credits:

Producer - Cal Lampley

Recording Engineer - Orville O'Brien

Liner Notes - Christopher Peters (August, 1968)

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

Hank Crawford - South - Central (1993)

All of the songs on this set except for the closing "Holy Night" (which was left over from a 1990 session) are from 1992. Altoist Hank Crawford is heard at his best on the ballads where he really caresses the melodies, giving them a great deal of soul and heartfelt feeling. Joined by guitarist Melvin Sparks, pianist Stan Hope, bassist Peter Martin Weiss and drummer Grady Tate (with an occasional hint of strings), Crawford digs into such songs as "I Should Care," "I Want To Talk About You," and "Fool That I Am," finding time to swing "In A Mellotone" and "Splanky." His alto playing is at its most vocal throughout this passionate yet tasteful set, which will be easily enjoyed by his many fans. ~  by Scott Yanow, AMG.

Milestone Records, MCD-9201-2, 1993

Recorded 11^th & 27^th August, 1992 (#1-8) At Nola Sound Studios, NYC;

February, 1990 (#9) At Giant Studios, New York City;

8^th September, 1992 Synthesizers At Malcolm Addey's Studio, New York City

Musicians:

Hank Crawford - Alto Saxophone, String Arrangements (#1-9)

Stan Hope - Piano (#1-8)

Melvin Sparks - Guitar (#1-9)

Peter Martin Weiss - Bass (#1-8)

Grady Tate - Drums (#1-8)

George Caldwell - Strings (#1-8)

#9. O Holy Night

Hank Crawford - Arranger [Horns]

Lew Soloff - Trumpet

Alan Rubin - Horns

Lou Marini - Tenor Saxophone

Howard Johnson - Baritone Saxophone

Gloria Coleman - Organ

Doctor John - Piano

Wilbur Bascomb - Bass

Bernard "Pretty" Purdie

Tracks:

1. Falling In Love With Love {Lorenz Hart, Richard Rodgers} (4:43)

2. I Should Care {Sammy Cahn, Axel Stordahl, Paul Weston} (6:16)

3. South Central {Hank Crawford} (8:31)

4. I Want To Talk About You {Billy Eckstine} (5:20)

5. In A Mellow Tone {Duke Ellington, Milt Gabler} (5:26)

6. Conjunction Mars {Hank Crawford} (8:07)

7. Fool That I Am {Hank Crawford} (5:57)

8. Splanky {Neal Hefti} (4:24)

9. O Holy Night {Adolphe Adam, John Sullivan Dwight} (3:28)

Credits:

Producer - Bob Porter

Recording Engineer - Malcolm Addey

Mastering Engineer - George Horn (Fantasy Studios, Berkeley)

Artwork - Phil Carroll

Photography - Frank Lindner

Design - Jamie Putnam

Liner Notes - David Ritz

Charles Earland - Infant Eyes (1979) [re-rip]

Who says you can't go back and do traditional jazz in '79? For those who digressed from the 70's fused and funky side of jazz should heed to this release. And for all you jazz guitar purists should surely enjoy the first couple of tracks. Brilliant just brilliant manic guitar playing by Jimmy Ponder. I also really love the laid-back title track. The flute by Frank Wess makes it all worthwhile. ~ SomaWaxDollarBin

As of this writing, I've been straying away from the majority of classic/traditional jazz (but not all) and find my liking geared towards the 60's & 70's input, especially with jazz-funk, soul-jazz and jazz-fusion. However, there are some really good grooves (not funk) on this LP and it's just jazz, really good jazz and not jazz-funk, jazz-fusion, etc. Man, I just listened to the last track ("Is It Necessary") and love that drumming and Earland's Hammond. Do I recommend this album? Oh yeah, no doubts. ~ RateYourMusic.com

A solid set from some cats I would list as soft-spot personal favorites...Charlie Earland, Melvin Sparks and Jimmy Ponder trading tracks on guitar... The great Frank Wess and Mack Goldsbury on tenor saxes, Bill Hardman on trumpet, and Lawrence Killian on "percussion." Can't go wrong with some Charles Earland. ~ DestinationFunk

Muse Records, MR 5181, 1979

Recorded At Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Musicians:

Charles Earland - Hammond Organ

Bill Hardman - Trumpet

Frank Wess - Tenor Saxophone, Flute

Mack Goldsbury  - Tenor Saxophone (#A2)

Jimmy Ponder - Guitar (#A1,A2)

Melvin Sparks - Guitar (#B1-B3)

Grady Tate - Drums

Lawrence Killian - Percussion

Tracks:

A1. We Are Not Alone {Charles Earland} (5:04)

A2. Blues For Rudy {Charles Earland} (11:43)

B1. The Thang {Charles Earland} (7:11)

B2. Infant Eyes {Wayne Shorter} (6:17)

B3. Is It Necessary? {Charles Earland} (4:56)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Cover Design - Ron Warwell

Cover Photograph - Clarence Eastmond

Liner Notes - Michael Rozek

Charles Earland - Pleasant Afternoon (1978) [re-rip]

With Houston Person on tenor sax, Bill Hardman on trumpet, and Melvin Sparks on guitar, not to overlook the master of the Hammond B3 himself, Charles Earland nothing can go wrong. All tunes, penned by Earland, are masterfully crafted into a wonderfully sonorous soul jazz excursion. Earland's Hammond licks add a dynamic unique to this genre, something that modern day players have not been able equal. The music is as vitalising as it was back in the late seventies.  Of course it goes without saying that all players set this album on fire.

Yes this is the one with the monster jazz dance banger "Murilley" on it-enough said!!! ~ Orgy In Rhythm

Thanks for another Mighty Burner album, his Muse sessions was a kind of "back to the roots" after all those Mercury disco/fusion oriented LPs. ~ Sergio

"Murilley" is great and fun, but I like the other tracks even more, especially "Organic Blues". The playing throughout this album is so raw and direct, not perfect, but soulful. ~ instagib

His sound & groove is so POWERFUL. ~ Pekis

Muse Records, MR 5201, 1981

Recorded 19th April, 1978 at Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ [Hammond B3], Vocals (#A1)

Houston Person - Tenor Saxophone

Bill Hardman - Trumpet

Melvin Sparks - Guitar

Grady Tate - Drums

Ralph Dorsey - Percussion, Conga

Tracks:

A1. Murilley {Charles Earland} (6:35)

A2. A Prayer {Charles Earland} (3:47)

A3. Organic Blues {Charles Earland} (7:25)

B1. Pleasant Afternoon {Charles Earland} (11:00)

B2. Three Blind Mice {Charles Earland} (6:16)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Liner Notes - Michael Rozek

Christmas with Houston Person & Etta Jones (1997) [re-rip]

Tired of those bland Christmas jazz records that fail to capture the emotion and fervor of the season? Looking for an album that puts heart and soul into this momentous holiday? Then look no further than this album by Etta Jones and Houston Person (neither of whom are on all cuts) and other musicians who also not only want to play these songs for their holiday value, but for their musical value as well. With Jones' blues- and R&B-inflected vocal delivery, coupled with the sensuous and passionate sax of Person, this CD turns out to be one of the more attractive jazz Christmas albums extant. Instead of a sugar-coated version of the king of all Christmas pop tunes, "White Christmas," Jones and the trio of Horace Ott, Wilbur Bascomb, and Cecil Brooks III take this tune down a gently swinging lane. Peter Martin Weiss' bass and Stan Hope's piano are featured on "God Rest Ye Merry Gentlemen" and demonstrate that even a religious Christmas carol offers improvisational opportunities without detracting from the carol's solemn message. With Randy Johnson's rangy guitar kicking it off, Jones knocks the stuffings out of "Merry Christmas Baby" with her blues-soaked delivery, as the front line of Bill Easley and Johnny Coles make this a true jazz offering whose theme just happens to be a Yuletide one. But the album's pièce de résistance is Jones' rendition, complete with catch in the voice, of one of the saddest, most forlorn of all Christmas tunes, "I'll Be Home for Christmas" from World War II. This is one of those albums where it's best to listen with heavily spiked egg nog or another favorite alcoholic bracer. ~ Dave Nathan, AMG.

32 Jazz, 32034, 1997
Jazz Heritage, 515591L, 1999

Recorded June, 1990 - August, 1994 at Englewood Cliffs, NJ and New York, NY

Personnel:

Houston Person - Tenor Saxophone

Etta Jones - Vocals

Bill Easley - Flute, Tenor Saxophone

Johnny Coles - Flugelhorn

George Devens - Vibraphone

Horace Ott - Keyboards

Stan Hope - Piano

Benny Green - Piano

Mike Renzi - Piano

Randy Johnston - Guitar

Jay Leonhart - Bass

Cecil Brooks, III - Drums

Grady Tate - Drums

Chip White - Drums

Sammy Figueroa - Percussion

Della Griffin - Vocals

Tracks:

1. Medley: I'll Be Home For Christmas/You're All I Want for Christmas (2:42)

2. Blue Christmas (6:48)

3. I'll Be Home For Christmas (3:09)

4. Merry Christmas, Baby (9:15)

5. God Rest Ye Merry Gentlemen (4:23)

6. Merry Christmas, Baby (5:29)

7. What Are You Doing New Year's Eve? (8:06)

8. Christmas Song (5:14)

9. [I'm Dreaming Of A] White Christmas (3:36)

Credits:

Producer - Houston Person, Joel Dorn

Arranger - Houston Person

Engineer - Rudy van Gelder, Tony Viamontes

Assistant Engineer - Roger Scheepers

Mastering - Gene Paul

Art Direction - Nancy Dwyer, Page Simon

Liner Notes - Joel Dorn

Willis Jackson - Nothing Butt... (1980) [vinyl>flac]

Tenor saxophonist Willis Jackson got into a routine on his Muse albums, but never lost his enthusiasm and creativity within the genre. This album features Jackson on a current hit ("Just the Way You Are"), a couple of ballads, and three romps ("Nothing Butt," "Hittin' and Missin'," and "Move"). Guitarist Pat Martino is heard in excellent form just before a serious illness; organist Charles Earland is up to his usual groovin' form, and drummer Grady Tate and percussionist Buddy Caldwell keep the music moving. An excellent effort full of enjoyable and fairly accessible music. ~ by Scott Yanow, AMG.

Here we have another exciting album by Willis Jackson. He is joined by a veteran team of musicians well versed in the “Soul Jazz” groove. Both Charles Earland and Pat Martino have worked alongside Jackson on previous outings and this adds to the dynamics. As usual Jackson chooses a diversity of tunes, mostly of his own doing that showcases effectively his skills and that of the other soloists. Pat Martino in particular takes the groove to greater heights. Similarly, Charles Earland’s organ licks undeniably meshes the tunes together. Willis’ strong tenor sound is at heart of all the compositions, especially on those penned by him. However, the listener is also presented with some wonderful interpretations of both newer and older ballad style compositions. In the end the album is definitely a keeper in that with continual playing it always delivers an enjoyable an uplifting mood. In some regards the title indicates “Nothing Butt…” the best from Jackson and his team.

Muse Records, MR 5294, 1983

Recorded 20^th June, 1980 at Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Pat Martino - Guitar

Charlie Earland - Organ

Grady Tate - Drums

Buddy Caldwell - Percussion

Tracks:

A1. Just The Way You Are {Billy Joel} (7:03)

A2. Nuages {Willis Jackson} (4:50)

A3. Nothing Butt {Willis Jackson} (4:43)

B1. Hittin' And Missin' {Willis Jackson} (7:55)

B2. Autumn Leaves {Joseph Kosma, Johnny Mercer, Jacques Prevert} (4:28)

B3. Move {Willis Jackson} (4:04)

Credits:

Producer - Bob Porter

Recording & Mastering Engineer - Rudy van Gelder

Art Direction - W. Dale Cramer

Cover Photo - Hugh Bell

Liner Notes - Cliff Tinder

Budd Johnson with Joe Newman - Off The Wall (1964) [vinyl>flac]

A great little album from tenor legend Budd Johnson - and a record that nicely updates his sound by pairing him with a hip 60s-styled group! The album's got a jaunty feel that's like the best soul jazz sessions on Impulse at the time - taking Budd's tenor and placing it next to trumpet by Joe Newman, piano by Albert Dailey, bass from Richard Davis, and drums by Grady Tate. Upbeat tracks bounce along in a swinging take on mainstream soul jazz - and the mellower cuts feature some really wonderful blowing from Budd - done with a raspy tone that's got a nice earthy quality! Includes the jazz dancer "Off The Wall", the samba-styled "Strange Music", a snapping take on "Baubles Bangles & Beads", and the syncopated groover "Playin' My Hunch". ~ The Jazz Cooperative

Personally, alongside Ya! Ya! this one of my favourite Budd LPs. Having Joe Newman on board really opens up the music. Budd alone plays beautifully right-throughout; Newman’s solos are sharp and exhilarating. As for Albert Dailey his piano work it is par excellence. Not to overlook the rhythm men, some haunting bass lines and unswerving drumming, all add to this album’s appeal. One complaint is that it’s not long enough, but always pure pleasure with additional spins, enjoy you’ll be jumping 'Off The Wall".

Argo Records, LPS-748, 1965

Recorded 3^rd December, 1964 At RCA Recording Studios, New York City

Musicians:

Budd Johnson - Tenor Saxophone

Joe Newman - Trumpet

Al Dailey, Jr. - Piano

Richard Davis - Bass (#A1,A2,B3,B4)

George Duvivier - Bass (#A3,B1,B2)

Grady Tate - Drums

Tracks:

1. Off The Wall {Budd Johnson} (4:55)

2. The Folks Who Live On The Hill {Jerome Kern, Oscar Hammerstein II} (5:09)

3. Love Is The Sweetest Thing {Ray Noble} (7:14)

4. Strange Music {Robert Wright, George Forrest} (3:47)

5. Baubles, Bangles, And Beads {George Forrest, Robert Wright} (5:50)

6. Ill Wind {Harold Arlen, Ted Koehler} (4:51)

7. Playin' My Hunch {Budd Johnson} (4:58)

Credits:

Producer, Cover Photo - Esmond Edwards

Engineer - Ray Hall

Cover Design - Don Bronstein

Liner Notes - Joe Segal

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

Red Rodney - The 3 R's (1979) [vinyl>true flac]

Personally, I never tire of listening to Red Rodney and this particular album is a favourite. With Red joined by such excellent musicians this LP is destined to entertain. It’s sound today is just as potent when it was launched in 1982. The 3 R’s refer to Red, Richie & Ricky, in fact there is a 4^th in Roland. Add to the mix a fine rhythm section, the only regret is that this ensemble did not go on to produce more great music together, even Scottie is impressed, Enjoy!

Three of the Muse label's top artists of the time teamed up for this album: trumpeter Red Rodney, altoist Richie Cole and tenor saxophonist Ricky Ford. Actually, Ford is only on three of the six selections, but the talented Turk Mauro (doubling on tenor and baritone) fills in well, and the rhythm section (keyboardist Roland Hanna, bassist George Duvivier and drummer Grady Tate) was fully capable of playing anything. The music is mostly post-bop, with recent originals by Cole, Jack Walrath and Rodney alternating with Kenny Dorham's "Dead End," Art Farmer's "Blueport" and the standard "For Heaven's Sake." Excellent straight-ahead performances, with all of the musicians in fine form. ~ Scott Yanow, AMG.

Muse Records, MR 5290, 1982

Recorded 13^th & 14^th March, 1979 At Nola Studio, New York City

Musicians:

Red Rodney - Trumpet, Flugelhorn

Richie Cole - Alto Saxophone

Ricky Ford - Tenor Saxophone (#A1,A2,B2)

Turk Mauro - Tenor & Baritone Saxophones

Roland Hanna - Keyboards

George Duvivier - Bass

Grady Tate - Drums

Tracks:

A1. The Mack Man {Red Rodney, Gerry LaFurn} (7:38)

A2. For Heavens Sake {Donald Meyer, Elise Bretton, Sherman Edwards} (4:32)

A3. Dead End {Kenny Dorham} (6:56)

B1. Waiting For Waits {Richie Cole} (5:56)

B2. Samba De Vida {Jack Walrath} (7:06)

B3. Blueport {Art Farmer} (4:50)

Credits:

Producer - Bob Porter

Recording Engineer - Malcolm Addey

Mastering Engineer - Joe Brescio, The Master Cutting Room, NYC

Cover Photo - Joe Rosen

Liner Photos - Charles Reilly

Art Direction - W. Dale Cramer

Liner Notes - Howard Mandel

Note:

deGallo posted this LP in late 2001 at the muse blog, but unfortunately it fails audiochecker on many tracks. This newer rip addresses those issues.

Ray Bryant - Up Above The Rock (1968) [re-rip]

The drum break that opens the title track is absolutely killer. With all due respect to Mr. Bryant, drummer Grady Tate is truly the star of this show. Brilliant arranger Richard Evans recorded the drums so loudly; they almost occupy a whole speaker in stereo. Listen to the oddly hyperactive drumming on the nearly five-minute cover of "I Say a Little Prayer". Drums haven't been that aggressive on a Bacharach tune since Love's "My Little Red Book". The majority of the album is solid soul-jazz with the minor-keyed titled track being the clear standout, although similarly minor-keyed sleeper "Five, Six and Seven" is quite excellent as well. I never understand period liner notes on the backs of my records. Invariably, the author is completely oblivious to what the standout tracks are on the album. The author on the back of "Up Above the Rock" informs you that the cover of "Mrs. Robinson" will really blow your mind or some sort of nonsense. Really? Have you even listened to the title track? How do those drums not smack you in the face as soon as you start the record? ~ mag1c_hands

It seems like there’s been a lot of funky and soulful jazz stuff on Cadet around lately. This has been a longtime want as well. Of course, Up Above The Rock starts with some funky drumming by Grady Tate, but the whole song is just a jam even without that opening. Tate gets busy on here a couple of other times and I like the tone of his drums in the mix. Ron Carter can also be found on bass here. The record tends to be blues influenced up beat jazz like Quizas, Quizas, Quizas. Overall, this is a pretty nice jazz album. ~ Soulstrut

Cadet Records, LPS 818, 1968

Recorded September, 1968 at RCA Studios, New York City

Personnel:

Ray Bryant - Piano

Ron Carter - Bass

Grady Tate - Drums

Dobbie Hiques - Flugelhorn, Trumpet

Snookie Young - Flugelhorn, Trumpet (#A1,A3,A4,B3-B5)

Danny Moore - Flugelhorn, Trumpet (#A2,A5,B1,B2)

Track Listing:

A1. Up Above The Rock {Ray Bryant} (3:03)

A2. Dag Nab It {Buddy Johnson} (3:36)

A3. Quizas, Quizas, Quizas {Joe Davis, Osvaldo Farres} (3:21)

A4. If I Were A Carpenter {Tim Hardin} (2:51)

A5. Little Green Apples {Bobby Russell} (3:23)

B1. I Say A Little Prayer {Burt Bacharach, Hal David} (4:52)

B2. After Hours {Avery Parrish, Erskine Hawkins} (3:50)

B3. Where The Wind Blows {Bob James} (4:36)

B4. Five, Six And Seven {Ray Bryant} (3:23)

B5. Mrs. Robinson {Paul Simon} (2:56)

Credits:

Producer - Richard Evans

Supervision - Dick LaPalm

Arranger - Ray Bryant

Engineer - Ray Hall

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

Ivan “Boogaloo Joe” Jones - Snake Rhythm Rock (1973) [vinyl>flac]

'Snake Rhythm Rock' is the seventh album by jazz-groove guitarist Ivan “Boogaloo Joe” Jones. It was recorded in 1972 and released in 1973 on the Prestige label; produced by Ozzie Cadena and engineered by the great Rudy van Gelder. “Boogaloo Joe” joins forces with Rusty Bryant on killer tenor and alto, Butch Cornell on pulsating organ, Jimmy Lewis on driving electric bass and Grady Tate banging away on drums. The album’s five funky jazz cuts are absolutely dominated by the tight guitar stylings of Jones, Cornell’s lively organ licks and Bryant’s gravelly voiced sax. Enjoy this short but wonderful LP.

Ivan Boogaloo Joe Jones recorded a number of sides for Prestige Records during the early 70s. This is another great Boogaloo Joe Jones album. A monster set of work by one of the funkiest guitar players. ~ by dj fanis

Prestige Records, PR 10056, 1973

Recorded 24th November, 1972 at Rudy van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Ivan “Boogaloo Joe” Jones - Guitar

Butch Cornell - Organ

Rusty Bryant - Alto & Tenor Saxophones

Jimmy Lewis - Electric Bass

Grady Tate - Drums

Track Listing:

A1. Hoochie Coo Chickie {Boogaloo Jones} (5:23)

A2. Snake Rhythm Rock {Boogaloo Jones} (5:27)

A3. The First Time Ever I Saw Your Face {Ewan Maccoll} (5:46)

B1. He's So Fine {Ronald Mack} (6:28)

B2. Big Bad Midnight Roller {Boogaloo Jones} (9:49)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Eric Kloss - Love And All That Jazz (1966) [vinyl>flac]

Here’s Eric’s 2^nd LP I had tucked away, just as groundbreaking as the 1^st. The session on the 14^th with the “Groove” adds further scope to showcase Eric’s wonderful young talent.

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Great early Eric Kloss record, with a tight organ jazz feel, courtesy of Groove Holmes and Don Patterson. Kloss was totally tight at this point, and less given to the sort of sloppy experimentation that weakened him later. He's backed by two great tight organ jazz groups, and the feel is nice and loungey, but with a good modern edge. Tracks include "Gemini", "Just for Fun-k", and a great version of "Love for Sale". Nice cover too. © 1996-2011, Dusty Groove America, Inc.

This was Eric's second album so we are still talking about a 16 year old, just turning 17 by the second part (Don Patterson) of the sessions. Kloss plays with two different organ trios; on 'The Shadow of Your Smile' and Gemini he is with Richard 'Groove' Holmes, Gene Edwards on guitar and Grady Tate on drums, on the rest of the album the band is Don Patterson, Billy James and Vinny Corrao on guitar. Kloss is impressive on both alto and tenor saxes. Pretty classy soul jazz from a kid!

Prestige Records, PR 7469, 1966

Recorded 14th March (#A3,B3) &  11th April (#A1,A2,A4,B1,B2), 1966
at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Eric Kloss - Alto & Tenor Saxophones

Richard "Groove" Holmes - Organ (#A3,B3)

Gene Edwards - Guitar (#A3,B3)

Grady Tate - Drums (#A3,B3)

Don Patterson - Organ (#A1,A2,A4,B1,B2)

Vinny Corrao - Guitar (#A1,A2,A4,B1,B2)

Billy James - Drums (#A1,A2,A4,B1,B2)

Track Listing:

A1. You'd Be So Nice To Come Home To {Cole Porter} (4:56)

A2. Just For Fun-k {Eric Kloss} (5:53)

A3. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (3:04)

A4. No Blues {Miles Davis} (5:18)

B1. Love For Sale {Cole Porter} (7:38)

B2. I'm Glad There Is You {Jimmy Dorsey, Paul Mertz} (5:06)

B3. Gemini {Jimmy Heath} (6:07)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy Van Gelder

Herbie Mann - Glory Of Love (1967) [vinyl>flac]

Flutist Herbie Mann is backed by a large rhythm section and a small horn section on this Creed Taylor-produced A&M set (which has been reissued on CD). Actually the most interesting aspect of the R&B-oriented date (which includes such songs as "Hold on, I'm Comin'," "House of the Risin' Sun" and "Unchain My Heart") is that the up-and-coming flutist Hubert Laws is matched with Mann on several tracks.  ~ by Scott Yanow, AMG.

This album is from Taylor's A&M period, and fronted by flautist Herbie Mann, it features a stellar line-up of soul-jazz studio musicians. There's a lot of pop soul here, and a sampling of the latin styles that both Mann and Taylor were known for. You'll find young Roy Ayers and Sonny Sharrock here (dig Ayers' awesome vibes solo on the cover of soul hit "The Letter" for a virtual blueprint of his Ubiquity sound). Listen to Ayers and Sharrock duet on the cover of "Hold On I'm Coming" over the unrelenting funk of Grady Tate on drums. Edu Lobo's "Upa Neguinho" gets a terrific treatment. The title track is pure CTI schmalz. And capitalizing off Taylor's eye for turning adult pop hits into jazz is "Love Is Far Stronger than We" covered from the A Man And A Woman soundtrack. "Oh How I Want To Love You" is a slinky sexy grind of a song, and, gasp, actually a Herbie Mann original.

CTI/A&M, SP-3003, 1968

Recorded 26^th (#A1,A3,A4,A5,B3), 27^th (#B4) July; 19^th (#B1) September;
6^th (#A2,A6,B2) October, 1967 at Van Gelder Studios, New Jersey

Track Listing:

A1. No Use Crying {Roy Gaines, Freddie Kober, Johnnie Daniels} (3:03)

A2. Hold On, I'm Coming {Isaac Hayes, David Porter} (3:11)

A3. Glory Of Love {Billy Hill} (2:41)

A4. Unchain My Heart {Freddy James, Agnus Jones} (3:09)

A5. House Of The Rising Sun {Traditional} (3:08)

A6. The Letter {Wayne Carson} (3:22)

B1. Upa, Neguinho {Edu Lobo, Gianfrancesco Guarnieri} (2:40)

B2. Love Is Stronger Far Than We {Pierre Barouh, Francis Lai, Jerry Keller} (3:10)

B3. Oh, How I Want To Love You {Herbie Mann} (5:31)

B4. In And Out {Herbie Mann} (4:33)

Personnel:

Herbie Mann - Flute

Hubert Laws - Flute, Piccolo Flute (#A1,A3,A4,A5,B1,B3,B4)

Joe Grimaldi - Saxophone (#B1)

Benny Powell - Trombone (#B1)

Burt Collins - Trumpet, Flugelhorn (#B1)

Ernie Royal - Trumpet, Flugelhorn (#B1)

Roy Ayers - Vibraphone (#A2,A6,B2)

Ted Sommer - Vibraphone (#B1)

Paul Griffin - Piano (#B1)

Roy Glover - Piano (#A1,A3,A4,A5,B3,B4), Organ (#A1,A3,A5,A5,B3,B4)

Roland Hanna - Piano (#B4), Organ (#B4)

Eric Gale - Guitar (#A1,A3,A4,A5,B1,B3)

Jay Berliner - Guitar (#B1)

Sunny Sharrock - Guitar (#A2,A6,B2)

Ron Carter - Bass (#A1,A3,A4,A5,B1,B3,B4)

Earl May - Bass (#A2,A6,B2)

Grady Tate - Drums (#A1-A6,B2-B4)

Herb Lovelle - Drums (#B1)

Johnny Pacheco - Percussion (#B1)

Ray Barretto - Percussion (#B1)

Ted Sommer - Percussion (#B1)

Plus Horns and Unidentified Chorus

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy Van Gelder