Ted Curson - Tears For Dolphy (1964)

Although the term "avant-garde" is used several times in the liner notes, this quartet outing by trumpeter Ted Curson, tenor saxophonist Bill Barron, bassist Herb Bushler and drummer Dick Berk actually falls between hard bop and free bop. Curson and Barron in particular made for a potent team and their interplay on nine originals (five by Curson, four by Barron) is quite impressive, swinging and occasionally witty. This CD reissue brings back the entire Tears for Dolphy album plus three of the six songs from the Flip Top LP, all recorded the same day. Although the title cut does not live up to its potential, such tunes as "Kassim," "7/4 Funny Time," "Quicksand" and "Searchin' for the Blues" manage to be both explorative and surprisingly accessible. ~ by Scott Yanow, AMG.

Fontana, 688 310, 1965
Arista/Freedom, AL 1021, 1975
Black Lion Records, BLCD 760190, 1993
Recorded 1^st August 1964 At Acousti Studio, Paris, France 

Musicians:
Ted Curson - Trumpet (#1-4,6-9), Pocket Trumpet (#5)
Bill Barron - Tenor Saxophone, Clarinet (#5)
Herb Bushler - Bass
Dick Berk - Drums 

Tracks:
1. Kassim {Ted Curson} (7:41)
2. East 6th Street {Bill Barron} (5:39)
3. 7/4 Funny Time {Bill Barron} (5:28)
4. Tears For Dolphy {Ted Curson} (8:32)
5. Quicksand {Ted Curson} (6:40)
6. Reava's Waltz {Ted Curson} (7:11)
7. Searchin' For The Blues {Ted Curson} (7:48)
8. Desolation {Bill Barron} (8:46)
9. Light Blue {Bill Barron} (3:44) 

Total Time: 61:29

Credits:
Producer, Liner Notes - Alan Bates 

Notes:
Originally released on Freedom Records.
#7-9 not on original LP but previously released on Flip Top. 

Enrico Rava - Pupa o Crisalide (1975) [re-rip>flac]

"Pupa o Crisalide" isn't his most acclaimed record, but it's my favourite one. It's a good summary of the first phase of his solo career, and it contains tracks recorded with three different ensembles: an all-Italian line-up for the opener and closer - recorded in Rome, an Argentinean octet for the B-side of the LP - recorded in Buenos Aires, and finally an impressive American septet (just two names: Jack DeJohnette, John Abercrombie) for the A-side, recorded in New York. The musical style clearly reflects the composite nature of the album. The first half is funkier, edgier and fierier, evidently influenced by the jazz-rock/fusion tendencies that were spreading during those years. The second one is more placid and skippy, and elegantly incorporates some Latin/Samba elements in the alchemy.

The two halves are held together by the timbric similarity of the line-ups (which feature almost the same elements), and by Enrico Rava's renown trumpet style. Often compared to Miles Davis and Kenny Wheeler, his technique envisages rarefied notes, full of ambience, and erratic melodic lines which surprisingly do not undermine the "presence" of his trumpet sound. On the contrary, Rava's trumpet charisma seems to emerge right from this amazing equilibrium of detachedness and red-bloodedness. Source: Ilgolpeeluva.blogspot.com

RCA-VISTA, THP1 1116, 1975

Recorded on 15th-16th July, 1974 (#A1, B4) in Rome, Italy;

December, 1973 (#A2, A3) in New York:

April, 1974 (#B1, B2, B3) in Buenos Aires, Argentina

Personnel:

Enrico Rava - Trumpet

Tommaso Vittorini - Tenor Saxophone, Arranger (#A1,B4)

Finito Ginbert - Tenor Saxophone, Flute (#B1-B3)

David Horowitz - Piano, Electric Piano, Synthesizer (#A2,A3)

Franco D'Andrea - Piano (#A1,B4)

Matias Pizzarro - Piano (#B1-B3)

John Abercrombie - Electric Guitar (#A2,A3)

Ricardo Lew - Electric Guitar (#B1-B3)

Michele Ascolese - Guitar (#A1,B4)

Rodolfo Mederos - Bandoneon (#B1-B3)

Giovanni Tommaso - Bass (#A1,B4)

Herb Bushler - Bass, Bass Guitar (#A2,A3)

El Negro Gonzales - Double Bass (#B1- B3)

Bruno Biriaco - Drums (#A1,B4)

Jack DeJohnette - Drums (#A2,A3)

Nestor Astarita - Drums (#B1-B3)

Mandrake - Percussion (#A1,B4)

El Chino Rossi - Percussion (#B1-B3)

Ray Armando - Percussion (#A2,A3)

Warren Smith - Percussion (#A2,A3)

Tracks:

A1. Pupa O Crisalide (4:03)

A2. C.T.'s Dance (6:43)

A3. Tsakwe (8:11)

B1. El Samba Graciela (4:09)

B2. Revisione Del Processo N. 6 (10:25)

B3. Lingua Franca (4:35)

B4. Giromondo (3:35)

All Compositions by Enrico Rava

Rava's early works are strongly influenced by Miles Davis music and (fortunately!) almost don't include that honey-sweet South European melodies and over-emotional sentimentality that can destroy even good compositions. “Pupa O Crisalide” was recorded with three different ensembles in three different continents and naturally it contains a variety of music.

The album's opener and closer both were recorded in Rome with Italian musicians and are closest to Rava's later "Italian recordings". Still Miles Davis influences are obvious. The rest of the vinyl on side A was recorded in New York with an American septet (including such musicians as John Abercrombie (on electric guitar) and drummer Jack DeJohnette); these tracks are strongest part of the album. Similar to Miles Davis electric fusion period, the music here is a bit warmer, more airborne and a bit softer, but in itself sounds excellent (if not extremely original).

The first three compositions on side B were recorded in Buenos Aires with Argentinean musicians and hence contain music influenced by Latin Fusion. Overall album is can be considered variable and has some really strong moments. Very soon Enrico will start working for ECM and his music will become much more predictable. One strong Italian jazz album and excellent entry to Enrico Rava music. ~ Jazzmusicarchives.com

Enrico Rava - Quotation Marks (1973,74)

“Quotation Marks” was a milestone for Italian trumpeter, now ECM mainstay, Enrico Rava. In addition to being his first of many projects on Manfred Eicher’s watch, it was his debut as leader. The record blends two sessions into a seamless program. The first (December 1973) went down in New York City, where he was backed by guitarist John Abercrombie, drummer Jack DeJohnette, keyboardist David Horowitz, bassist Herb Bushler, and percussionists Ray Armando and Warren Smith. The second (April 1974) placed Rava in Buenos Aires alongside Radolfo Mederos on bandoneón, Finito Bingert on tenor sax and flute, Matias Pizarro on piano, Ricardo Lew on guitar, and percussionists Nestor Astarita and El Chino Rossi.

Of this fine assembly, Mederos’s sound rings foremost. His lovely bellows open “Espejismo Ratonera” with a lilting air before Pizarro’s smooth pianism flushes its alleys clear for less straightforward melodic explorations. Touches of tango warm the cockles, making for an easy, patient entrance to Rava’s dancing grammar. Youth and joy are obvious in his playing, which by a clever turning of the knob bleeds back into the bandoneón with which the track began. American jazz vocalist Jeanne Lee sings lyrics by Argentine poet Mario Trejo in the “Short Visit To Malena” that follows. It too benefits from studio subtleties, fading in as if we were being escorted from one nightclub to another. We seem to wander in at mid-song and notice the crowd sipping their cocktails, arriving just in time for Rava’s trade-off to Abercrombie. (I cannot help but be reminded at this point, if you’ll forgive the comparison, of “Club Tropicana” by Wham!, which begins outside and plunges the listener into a club atmosphere once the door is opened.) “Sola” throws us headlong into the bounce of the South American band. A flute solo here from Bingert stands as the album’s highlight. Like a light streaking before an open lens, it lingers against the skip of bandoneón and snare. The track fades all too soon, just as Lew catches a tailwind. “San Justo” is another horizontal with dissonant verticals from Mederos and a gritty prison break from Lew. Lee rejoins the cast for the heavenly watercolors of the title track before her cathartic leaps float amid a heady beat of brassy beauty, while in the steady groove of “Melancolia De Las Maletas” she adds flips and dips. All of this gives plenty of ground for Rava to unleash his confidence, handing it over to Abercrombie for a crunchy and edible passage.

We know these musicians are capable of incendiary moves, which renders their restraint (and the occasional burst) all the more intense. Rava especially takes time to introduce himself into nearly every tune. Even those like “Water Kite” cloak him in a deceptively thematic role before asserting his personality at stage center. It is a testament to his maturity as a young player and deference to the talents with which he finds himself. The result is an unspoiled gem in the Rava discography that is more than worth the import price if you can afford it. ~ Tyran Grillo, ECM Reviews.

Japo Records, JAPO 60010 ST, 1976

ECM/Universal Music, UCCE-9071, 2006

Recorded December '73 (#A2,B2,B3) At Blue Rock Studios, New York

Recorded April '74  (#A1,A3-B1) At Audion Studio, Buenos Aires, Argentina

Musicians:

Enrico Rava - Trumpet

Finito Bingert - Tenor Saxophone, Flute, Percussion (#A1,A3-B1)

David Horowitz - Piano, Synthesizer (#A2,B2,B3)

Matias Pizarro - Piano (#A1,A3-B1)

John Abercrombie - Guitar (#A2,B2,B3)

Ricardo Lew - Guitar (#A1,A3-B1)

Herb Bushler - Bass (#A2,B2,B3)

El Negro Gonzales - Bass (#A1,A3-B1)

Jack DeJohnette - Drums (#A2,B2,B3)

Nestor Astarita - Drums (#A1,A3-B1)

Rodolfo Mederos - Bandoneon (#A1,A3-B1)

Warren Smith - Marimba, Percussion (#A2, B2, B3)

El Chino Rossi - Percussion (#A1,A3-B1)

Ray Armando - Percussion (#A2,B2,B3)

Jeanne Lee - Vocals (#A2,B2,B3)

Tracks:

A1. Espejismo Ratonera {Enrico Rava, Fernando de Santa Fe} (6:15)

A2. Short Visit To Malena {Mario Trejo, Enrico Rava} (3:58)

A3. Sola {Enrico Rava, Fernando de Santa Fe} (5:28)

A4. San Justo {Enrico Rava} (8:53)

B1. Water Kite {Enrico Rava} (6:25)

Quotation Marks / Naranjales (7:39)

B2.1. Quotation Marks {Mario Trejo, Enrico Rava}

B2.2. Naranjales {Arr. Enrico Rava, Traditional}

B3. Melancolia De Las Maletas {Enrico Rava} (9:55)

Credits:

Producer - David Horowitz, Jack Tafoya (#A2,B2,B3), Nano Herrera (#A1,A3-B1)

Recording Engineer - Jane... (#A2,B2,B3), Nello (#A1,A3-B1)

Rickie Boger - Slow Down, Baby (1976) [vinyl>flac]

Here we have a rare piece of Muse history, a lost soul/jazz gem from a beautiful vocalist backed by an outstanding gathering of great players from that time. After multiple plays this LP becomes quite infectious. I just wish she could have gone on to produce further soul classics, Enjoy!

A righteous bit of soul - one of the only non-jazz albums we've seen on the Muse label, and a really great session that reminds us of work by Alice Clark and Esther Marrow - two other overlooked 70s soul singers who also recorded for jazz labels! Rickie's got a deep soul approach to the vocals that's nicely inflected with jazzy work by players that include Tom Malone, Kalaparusha, Buddy Terry, Warren Smith, and Howard Johnson - the last of whom arranged and conducted the backings, and gives the album a full-on and progressive feel. Rickie's vocals have lots of nice gentle tones, making for some sweet little numbers that sparkle nicely - titles that include "Baby Won't You Stay", "To Be Needed", "In A Little While", "At The Clinic", "What Could It Be", and "I Won't See Yesterday".  © Dusty Groove, Inc.

Muse Records, MR 5084, 1976

Recorded October, November, 1975 At Blue Rock Studio, New York

Personnel:

Rickie Boger - Vocals, Piano (#A3,B1)

Howard Johnson - Flugelhorn (#A2,A3,A5,B3), Tuba (#B1,B4), Baritone Saxophone (#A1-A5), Clarinet (#B2), Bass Clarinet (#B2,B4), Penny Whistle (#A1), Tambourine (#A3,B1)

Tom Malone - Trumpet (#A2,A3,A5), Flugelhorn (#A1,A5), Trombone (#A1-A3,B3), Alto Flute (#B3,B4), Soprano Flute (#B3)

Eric Hanigsberg - Flugelhorn (#A4,B4)

Ray Anderson - Trombone (#A1,A4,A5,B4)

Bob Stewart, Samuel Pilafian - Tuba (#B1)

John Clark - French Horn (#A4,B4)

Buddy Terry - Alto Saxophone (#A1), Tenor Saxophone (#A2-A4), Alto Flute (#B4), Piccolo Flute (#A4)

Kalaparusha [Maurice McIntyre] - Clarinet (#B2)

Frank Vicari - Tenor Saxophone (#A1,A5)

Rosalinda Deleon - Piano

Onaje Allan Gumbs - Electric Piano [Fender Rhodes]

Jerry Matthews - Guitar

Herb Bushler - Bass

Pat Dixon - Cello (#A2,A3,B4)

Victor Lewis, Warren Smith - Drums (#A3,B3)

Ellen Deleston - Backing Vocals (#A1,A5,B2)

Sister Strings:

Linda Lawrence, Lois Slessinger - Viola (#A2,A3,B4)

Francine Walsh, Ida Bieler, Nina Simon - Violin (#A2,A3,B4)

Gayle Dixon - Concertmaster (#A2,A3,B4)

Tracks:

A1. What Could It Be? {Rickie Boger} (2:55)

A2. Do You Like My Song? {Elsie Turner} (2:30)

A3. In A Little While {Rickie Boger} (3:21)

A4. At The Clinic {Rickie Boger} (5:23)

A5. I Won't See Yesterday {Rickie Boger} (2:44)

B1. Slow Down Baby {Rickie Boger} (4:15)

B2. To Be Needed {Rickie Boger} (3:08)

B3. We Only Have Love {Rickie Boger} (4:03)

B4. Baby Won't You Stay {Elsie Turner} (2:38)

Credits:

Producer - Ed Korvin

Producer, Arranger, Conductor - Howard Johnson

Recording Engineer - Ed Korvin

Mastering Engineer - Joe Brescio

Design, Photography - Hal Wilson

Liner Notes - Joe Fields

Ted Curson - Flip Top (1964,66) [vinyl>flac,24b/48k]

The first half of this release is from the same session that resulted in Ted Curson's Tears for Dolphy. The three selections (performed by the trumpeter in a pianoless quartet with tenor saxophonist Bill Barron, bassist Herb Bushler and drummer Dick Berk) are of the same high quality as the other cuts, highlighted by Curson's "Searchin' for the Blues." The second half of the program features Curson with the Zagreb Radio Orchestra at the 1966 Yugoslavian Jazz Festival. Zita Carno provided the arrangements to three of the trumpeter's originals (including "Quicksand" and "Flip Top") and Curson plays (in his own words) with "one foot in avant-garde, one foot in mainstream." A recommended and consistently stimulating release. ~ Scott Yanow, All Music Guide.

Seventies reissue of two sets of sparkling material from one of Ted Curson's best periods ever! Side one is classic Ted Curson/Bill Barron quartet stuff, with the two of them swinging, going out, and then hitting the money back again. Side two is some rare Eastern European stuff with a large group, and includes great workings of "Quicksand" and "Straight Ice", two of our favorite tracks by him! © Dusty Groove America, Inc.

Ted's audience now is young, something that continually surprises him. His music is so vital especially now, so many of Ted's constituents have died during his tenure (he will be 42 this year). The death of Booker Ervin is something Ted will never get over. The drug scene has eluded him totally for the simple reason that Ted thinks of his body as a shrine, his influences were Johnny Splawn, Clifford Brown and Miles Davis' lyricism. Charles Mingus was definitely the pivot point in his career, every musician around would listen to that band. With all the frustration Ted has gone through his positive attitude prevails. Although he hasn't reflected on what is happening to him now, he is really wired! "I like this album even better than my new one, because it seems to me that I'm getting closer to that big band sound". Ted is definitely ahead of his time and knows it, but with the release of this LP, the pieces finally fit. ~ Extract from Liner Notes by Mary Lou Webb, 1977

Arista/Freedom, AL 1030, 1977

Side A:

Tracks:

A1. Searchin' For The Blues {Ted Curson} (7:43)

A2. Desolation {Bill Barron} (8:42)

A3. Light Blue {Bill Barron} (3:40)

Musicians:

Ted Curson - Trumpet

Bill Barron - Tenor Saxophone

Herb Bushler - Bass

Dick Berk - Drums

Recorded 1st August, 1964 at Acousti Studio, Paris, France

Side B:

Tracks:

B1. Quicksand {Ted Curson} (6:17)

B2. Straight Ice {Ted Curson} (4:59)

B3. Flip Top {Ted Curson} (4:19)

Personnel:

Ted Curson - Trumpet

with Unnamed Members of The Zagreb Radio Orchestra

Miljenko Prohaska - Conductor

Arranger - Zita Carno

Recorded at the Seventh Yugoslavia Jazz Festival, Ljubljana, Yugoslavia

Date: Summer 1966

Label: [Private Recording]

Credits:

Producer - Alan Bates

Additional Production - Michael Cuscuna

Cover Art - Guy Billout

Photography - David Gahr

Art Direction - Bob Heimall