Showing posts with label Jerry Dodgion. Show all posts
Showing posts with label Jerry Dodgion. Show all posts

Thursday, May 19, 2022

Burt Collins, Joe Shepley Galaxy - Time, Space And The Blues (1970) [vinyl]

Sometime after March, 1969, trumpeters Burt Collins and Joe Shepley went into the studio and recorded a masterpiece. I’m betting you’ve never heard the album - Time, Space And The Blues - because it has never been released digitally and is rare on vinyl. Pianist Mike Abene wrote many of the songs and all of the arrangements except one - Soft Landing, which was arranged by Johnny Carisi. In fact, this is as much Abene’s album as it is Collins and Shepley’s. What makes this album special, in addition to Abene’s highly inventive charts, is the ability to hear Collins out in the open. The trumpeter was in some of the most exciting bands of the post-war years, including Woody Herman, Johnny Richards, Manny Albam, Elliot Lawrence, Urbie Green and Slide Hampton. But he was socked away in trumpet sections. Not until 1969 did Collins finally record as a leader on Time, Space And The Blues. Lennon/McCartney Live, his only other leadership date, was recorded a short time later with virtually the same band, except Herbie Hancock was on piano instead of Abene, who wrote all the arrangements. There's no recording date for Time, Space And The Blues in Tom Lord’s Jazz Discography or on the album or singles. I arrived at the post-March 1969 date by glancing at the songs on the album. One is Docking Maneuver and another is Module 3. Both are references to Apollo 9, which lifted off in March 1969 to work on aspects of the Apollo 11 flight to the moon scheduled for July. Shepley first recorded with Collins on Introducing Duke Pearson’s Big Band in 1967. They soon formed Collins/Shepley Galaxy and recorded Time, Space And The Blues for MTA Records, a division of Decca, at Columbia’s 30th St. studio. The session was produced by MTA head Bob Thompson. The band was impressive: The arrangements have a Gil Evans feel - heaving and sighing and creating an orchestral feel for Collins’s darting trumpet and Shepley’s moodier attack. In this regard, the album sounds like a cousin of the Evans-Miles Davis collaborations of the late 1950s and early 1960s. ~ by Marc Myers, www.jazzwax.com. 

MTA Records, NWS 2, 1970
Recorded after March, 1969 at Columbia 30th Street Studio "The Church", New York City 

Musicians:
Burt Collins, Joe Shepley - Trumpet, Flugelhorn
Bernie Glow - Trumpet, Trumpet [Piccolo]
Garnett Brown - Trombone
Paul Faulise - Bass Trombone
Joe DeAngelis - French Horn
Tony Price - Tuba
Jerry Dodgion - Flute, Soprano Saxophone
Michael Abene - Piano, Arranger, Conductor
Bob Cranshaw - Bass
Mickey Roker - Drums
John Carisi - Arranger 

Tracks:
A1. Time, Space And The Blues {Joe Shepley, Michael Abene} (6:02)
A2. Apogee {Michael Abene} (3:37)
A3. Blue Interlude {Joe Shepley} (4:29)
A4. Docking Maneuver {Michael Abene} (4:23)
B1. Module 3 {Johnny Carisi} (5:00)
B2. Soft Landing {Michael Abene} (4:09)
B3. Susan Moon {Michael Abene} (3:27)
B4. Fourth Dimension {Joe Shepley} (4:45) 

Total Time: 35:52 

Credits:
Producer - Bob Thompson
Recording Engineer - Frank Laico, Paul Goodman
Artwork [Cover] - Frank Frezzo
Design [Cover] - Forlenza Venosa Associates
Photography [Back] - Robin Forbes
Photography [Front] - Bob Venosa 

Fourth Dimension

Click on the play button to play track:

Thursday, February 25, 2016

Dom Um Romão - Spirit Of The Times (1975) [vinyl>re-rip,true flac]

For Spirit of the Times Romao contributes two more stunning percussion monologues, “Ginga Gingou” and “Cosinha.” As he states in Robert Palmer's expertly-penned liners, the street music of Brazil as practiced by the samba schools (not schools per se, but groups of percussionists) is really reflective of the African influence on the blacks of Brazil. Short of making your own field recordings during carnival time in Rio, Romao's recreations celebrate a festive spirit that's the next best thing. There's a more organic feel throughout to these selections too, although electronic elements, such as Joe Beck's wah-wah guitar, fit tastefully into the mix. Acting as a worthy microcosm of Brazilian fusion from the '70s, these recordings should serve the uninitiated well in that they're meaty but undeniably tuneful and enticing. Following on the heels of a recent renaissance in Brazilian music, particularly overseas and in Japan, Romao's Muse recordings have aged well and will be sure to please those individuals with a taste for the exotic and an open mind. ~ Chris Hovan, http://www.allaboutjazz.com.

Wicked Brazil album with the fusion tracks 'Wait On The Corner', 'The Angels' & 'Kitchen'. ~ http://www.rushhour.nl

An incredible set of Brazilian jazz - one of the few albums that percussionist Dom Um Romao recorded as a leader, and sublime all the way through! The record's got a wonderful blend of funky fusion and Brazilian percussion - and features a group from two continents that includes Sivuca on organ, Dom Salvador on electric piano, Joe Beck on guitar, Jerry Dodgion on alto sax, Lloyd McNeill on flute, and Mauricio Smith on tenor, soprano, and flute. Includes the percussion jammer "Shake (Ginga Gingou)", the modal groover "Wait on the Corner", and the lively scatting tune "The Angels" – but the whole album's great, and other tracks include "The Salvation Army", "Kitchen", and "Lamento Negro". © Dusty Groove, Inc.

Muse Records, MR 5049, 1975
Recorded 6th June & 21st November, 1973

Musicians:
Dom Um Romão - Drums, Percussion
Dom Salvador - Piano, Electric Piano
Joe Beck - Electric Guitar
Lloyd McNeill - Flute
Sivuca - Organ, Piano, Guitar
Amauri Tristao - Acoustic Guitar
Jerry Dodgion - Alto Saxophone, Flute
Mauricio Smith - Tenor & Soprano Saxophones, Flute
Frank Tusa - Bass
Portinho - Percussion

Track Listing:
A1. Shakin' [Ginga Gingou] {Dom Um Romão} (3:01)
A2. Wait On The Corner {Humberto Teixeira, Sivuca} (6:18)
A3. Lamento Negro {Dom Um Romão} (3:59)
B1. Highway {Amauri Tristao} (4:25)
B2. The Angels {Dom Salvador} (4:03)
B3. The Salvation Army {Dom Salvador} (4:05)
B4. Kitchen [Cosinha] {Dom Um Romão} (2:48)

Credits:
Producer - Dom Um Romão, Joe Fields
Recording Engineer - Michael Delugg
Album Design - Ron Warwell
Liner Notes - Bob Palmer

Wednesday, February 24, 2016

Dom Um Romão - Dom Um Romão (1973) [vinyl>re-rip,true flac]

An unbelievably fantastic album, and perhaps the greatest one that Dom Um Romão ever did. Dom recorded this one in America with a blend of Brazilian and New York musicians - creating an incredible sound that's unlike anything else one can think of. Includes the spare spacey groover "Dom's Tune", the lively dancer "Cinnamon Flower", the jazzy "Family Talk", a great version of "Ponteio", and a take on Sivuca's "Adeus Maria Fulô" with João Donato on electric harpsichord. ~ @ Dusty Groove Inc..

This LP was probably one of my first introductions to Brazilian music when I bought it in the early 80s after hearing Braun Blek Blu - it completely blew me away. I couldn't believe this could be the work of just one man, his drum kit, a cow bell and vocals!!! And what an LP to get-a storming version of Ponteio and each track a killer in its own right. But of course - it also features the great João Donato! Orgyinrhythm

Muse Records, MR 5013, 1974
Recorded 6th June & 21st November, 1973

Musicians:
Dom Um Romão - Drums, Percussion
Dom Salvador - Electric Piano, Piano
Lloyd McNeil - Flute
Joe Beck - Electric Guitar
João Donato - Harpsichord, Piano
Sivuca - Organ, Piano, Guitar
Amauri Tristao - Acoustic Guitar
Jerry Dodgion - Alto Saxophone, Flute
Mauricio Smith - Tenor & Soprano Saxophones, Flute
Richard Kimball - Synthesizer
Jimmy Bossey - Trombone
William Campbell, Jr. - Trumpet
Frank Tusa - Bass
Stanley Clarke - Bass
Eric Gravatt - Congas
Portintio - Percussion

Track Listing:
A1. Dom's Tune {Dom Um Romão} (8:43)
A2. Cinnamon Flower [Cravo E Canela] {Milton Nascimento} (4:53)
A3. Family Talk {Dom Um Romão} (5:42)
B1. Ponteio {Edu Lobo, Ruy Guerra} (6:07)
B2. Braun-Blek-Blu {Dom Um Romão} (4:40)
B3. Adeus Maria Fulô {Sivuca, Humberto Teixeira} (8:03)

Credits:
Producer - Dom Um Romão, Joe Fields
Recording Engineer - Michael DeLugg
Liner Notes - Gary Giddins

Thursday, January 8, 2015

Cal Tjader - Soul Burst (1966) [vinyl>flac]

Already an incredible musical amalgam - Swedish-American, sideman to both Dave Brubeck and George Shearing, Latin-jazz pioneer - Cal Tjader's Soul Burst on the scene with unprecedented excitement in 1966. More jazz-oriented than his Soul Sauce, utilizing repertoire from Clare Fischer, Dizzy Gillespie, and Kurt Weill (and Oliver Nelson arrangements), this record features three jazz flutists, a young Chick Corea, and terrific Latin percussionists, including Patato Valdes.

Very groovy! This is one of Cal's great Verve sides from the 60's! As with most of Cal's best, the grooves are a mix of jazz vibes and Latin rhythms – and the whole session's arranged by Oliver Nelson with impeccable skill. Players include Chick Corea, Atilla Zoller, Richard Davis – and a host of Latin percussionists like Patato Valdez, Jose Mangual, and Victor Pantoja. Titles include "Descarga Cubana", "Morning", "Oran", "Curacao", and "Chuchy Frito Man". Very nice! © Dusty Groove, Inc.

You will find Soul Burst an album containing the magnetism of the fresh, colorful, sensitive, and thoroughly dynamic and stimulating music of Cal Tjader - a lively synopsis of the history and development of North American improvisational concepts and Afro-cuban percussion. ~ Extract from Liner Notes by Herb Wong [KJAZ-FM, San Francisco]

Verve Records, V6-8637, 1966
Recorded 9th, 10th, 11th February, 1966 at Van Gelder Studios, Englewood Cliffs, New Jersey

Personnel:
Cal Tjader - Vibraphone
Jerry Dodgion, Seldon Powell, Jerome Richardson - Flute
Chick Corea - Piano
Atilla Zoller - Guitar
Richard Davis, Bobby Roriguez - Bass
Carlos "Patato" Valdez - Conga, Vocals
Jose Mangual - Timbales
Victor Pantoja - Percussion

Track Listing:
A1. Cuchy Frito Man {Ray Rivera, Vin Roddie} (2:21)
A2. Descarga Cubana {Osvaldo Estivill} (2:56)
A3. Soul Burst [Guajera] {Cal Tjader} (4:39)
A4. The Bilbao Song {Kurt Weill, Bertolt Brecht } (2:16)
A5. Manteca {Gil Fuller, Chano Pozo, Dizzy Gillespie} (6:34)
B1. It Didn't End [Nao Se Acabou] {João Donato} (3:55)
B2. My Ship {Kurt Weill, Ira Gershwin} (3:01)
B3. Morning {Robert Cazimero, Clare Fischer} (2:57)
B4. Oran {Chick Corea} (3:59)
B5. Curacao {Cal Tjader} (6:16)

Credits:
Producer - Creed Taylor
Arranger - Chick Corea
Recording Engineer - Rudy van Gelder
Director of Engineering - Val Valentin
Cover Design - Acy Lehman
Cover Photograph - Bruce Friedle
Liner Notes - Herb Wong

Sunday, June 8, 2014

Hank Crawford - Don't You Worry 'Bout A Thing (1974) [vinyl>flac]

"Don't You Worry 'Bout A Thing" by Hank Crawford was released in 1974 on Kudu Records, a subsidiary of the CTI label. On this his fourth Kudu release, Crawford showcases three original compositions alongside two Stevie Wonder tunes; "Don’t You Worry 'Bout A Thing" and “All In Love Is Fair.” Bob James handles the string arrangements and also shares electric keyboards with Richard Tee. James' arrangements don't smother Hank but instead instill a light touch of classiness, perfectly blending Crawford’s rhythm & blues phrasing. Joining him on this date is quite an impressive array of soul-jazz and modern jazz performers, including Pepper Adams, Randy Brecker, Ron Carter, Idris Muhammad, Joe Farrell, Jon Faddis, Bernard Purdie, and Hugh McCracken. As usual it is beautifully engineered by van Gelder; another significant slice of Hank’s discography to immerse even the most discerning jazz aficionado, Enjoy!

Sweet soulful jazz from reedman Hank Crawford - one of his killer Kudu sessions from the 70s - all of which really helped Hank redefine his sound! The setting here is large and full - put together beautifully by Bob James, with that sense of space for the soloist that makes his CTI/Kudu arrangements so crucial - and light years ahead of what other arrangers were doing at the time. The tracks are longish, but never overdone - and the record has all the soulful alto sounds of Crawford's 60s work at Atlantic, but with a definite 70s bent overall. James plays Fender Rhodes, Arp, and clavinet - and other players include Joe Farrell on tenor and flute, Idris Muhammad and Bernard Purdie on drums, and Richard Tee on additional keyboards. Titles include "Jana", "Sho Is Funky", "Don't You Worry 'Bout A Thing", "Groove Junction", and "All In Love Is Fair". ~ Dusty Groove, Inc.

Kudu Records, KU 19 S1, 1974
Recorded June, 1974 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:
Hank Crawford - Alto Saxophone
Alan Rubin, Jon Faddis, Randy Brecker - Trumpet, Flugelhorn
Pepper Adams, Romeo Penque - Baritone Saxophone
Jerry Dodgion, Joe Farrell - Flute, Tenor Saxophone
Dave Taylor - Bass Trombone
Bob James, Richard Tee - Keyboards
Hugh McCracken - Electric Guitar
Gary King - Bass (#A1-A3,B1)
Ron Carter - Bass (#B2)
Bernard Purdie - Drums (#A1,A3)
Idris Muhammad - Drums (#A2,B1,B2)
Ralph MacDonald - Percussion

Strings:
Lewis Eley, Max Ellen, Alexander Cores, Paul Gershman, Emanuel Green,
Matthew Raimondi, Charles Libove, Harry Lookofsky, David Nadien - Violin
Charles McCracken, George Ricci - Cello
Al Brown, Manny Vardi - Viola

Track Listing:
A1. Don't You Worry 'Bout A Thing {Stevie Wonder} (8:49)
A2. Jana {Hank Crawford} (5:08)
A3. All In Love Is Fair {Stevie Wonder} (4:46)
B1. Sho Is Funky {Hank Crawford, Bob James} (12:41)
B2. Groove Junction {Hank Crawford} (3:32)

Credits:
Producer - Creed Taylor
Arranger - Bob James
Recording Engineer - Rudy van Gelder
Design - Bob Ciano
Illustration - Pierre Le-Tan

Wednesday, November 21, 2012

J.J. Johnson - J.J.!

This album is a 5 star gem.  Johnson figured out how to arrange and conduct a big band, while featuring himself as the star soloist.  Sounds a bit ego driven doesn't it, well who else but this master of jazz to pull it off?!?!  The band tear through bebop and hard bop tunes like no other.  Although Johnson's 'bone is the featured solo chair, we do infact hear from many other players.  The personnel reads like a who's who of bop, a real "dream band" if there was ever any.  Not a dud to be found in these 9 tracks.

Click For Personnel Details



I worked obsessively for hours on this to make it perfect, and to get it done for tonight.  I think the results speak for themselves, I was really happy with the final product.  My LP is a minty stereo RCA/Victor original, ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.

RCA Victor – LSP-3350
1965
Recorded in Webster Hall, New York City.