Saori Yano - Groovin' High (2006)

Saori Yano, celebrated her 20th birthday on 27th October, 2006, and released this album "Groovin' High" that marks the end of her teenage years and the start of her 20s and beyond. The theme of this, her fifth album as leader is based around jazz expression in an ensemble format utilizing such jazz greats as: Randy Brecker (tp), Slide Hampton (tb), Jimmy Heath (ts), James Moody (ts,fl), Gary Smulyan (bs), Masaaki Imaizumi (p), Ray Drummond (b) and Adam Nussbaum (ds) in a mode reminiscent of her much loved and admired Dizzy Gillespie, whom was equally noted for his own big band groupings. Recorded at Clinton Studio, New York, Saori chose as her setlist a vivid array of well-known jazz standards. Listeners of Saori, even at this early age can truly appreciate her versatile and expansive performance/s, whilst accompanied by the some of the best modern day jazz masters. Her prowess lies in her ability to express herself freely at the same time showcasing her virtuosity, laying down the ground to be recognised as a bright new contender in the jazz world today. Overall, for any jazz fan this album serves as one not to be overlooked, enjoy! 

Savoy Records, COCB-53576, 2006
Recorded 22nd-23rd July, 2006 at Clinton Studio, New York 

Musicians:
Saori Yano - Alto Saxophone
Randy Brecker - Trumpet
Slide Hampton - Trombone
Jimmy Heath - Tenor Saxophone
James Moody - Tenor Saxophone, Flute
Gary Smulyan - Baritone Saxophone
Masaaki Imaizumi - Piano
Ray Drummond - Bass
Adam Nussbaum - Drums 

Featured Personnel:
01. Speak Low with Slide Hampton & Randy Brecker
02. Manteca with Full Band
03. My Ideal with Quartet
04. Greenism with Quartet
05. Over The Rainbow with Quartet
06. Groovin' High with Full Band
07. Corcovado with James Moody & Gary Smulyan
08. There Will Never Be Another You with James Moody
09. Billie's Bounce with James Moody
10. Song Of The Seashore with Full Band 

Tracks:
01. Speak Low {Kurt Weill} (9:20)
02. Manteca {Dizzy Gillespie} (6:56)
03. My Ideal {Newell Chase, Richard A. Whiting} (6:11)
04. Greenism {Saori Yano} (4:44)
05. Over The Rainbow {Harold Arlen} (6:43)
06. Groovin' High {Dizzy Gillespie} (6:50)
07. Corcovado {Antônio Carlos Jobim} (7:46)
08. There Will Never Be Another You {Harry Warren, Mack Gordon} (6:37)
09. Billie's Bounce {Charlie Parker} (3:35)
10. 浜辺の歌 [Song Of The Seashore] {Tamezō Narita} (6:28) 

Total Time: 65:16 

Credits:
Producer - Hiroyuki Okano
Artist Management, Co-producer - Haruki Naoi
Recording Engineer - Bryan Smith
Assistant Recording Engineer - Sheldon Yellowhair
Mixing Engineer - Toshiyasu Shiozawa
Assistant Mixing Engineer - Masumi Iwata
Mastering Engineer - Hiroshi Sato
Art Direction, Design - Ikkun Hagi
Inner Editor - Hiroshi Ajimoto
Photography - Nicci Keller 

Groovin' High

Albert Heath - Kwanza (The First), vinyl rip

Well folks...here we are again. Long time friends will recall that this was long one of my Holy Grail's from the Muse catalog. Once I had finally acquired what appeared to be a nice copy I was heartbroken to discover that side one was flawed with a fierce crackle or groove noise that I wasn't able to remove via software nor cleaning. Eventually I tried so many times to clean side 1 of this record that I likely caused new damage. My attempt to re-rip one last time yesterday was too just too flawed to work with, so I went back to my last, best rip and decided to see if the spectral denoising of Isotope RX4 Advanced could finally rid me of the flaw. It took some experimentation and a couple of junked tries, but I managed to sweep the vast majority of the noise away without messing with the music! The wonders of modern editing software!

So this is still the 16/48 rip from last year, but it is very clearly cleaner and a better listen. I recommend that you upgrade!

    Bass – Percy Heath
    Drums, Timpani [Tympani], Chimes – Albert Heath
    Electric Piano, Piano – Kenny Barron
    Flute, Soprano Saxophone, Tenor Saxophone – Jimmy Heath
    Guitar – Ted Dunbar
    Trombone – Curtis Fuller
 Recorded By – Paul Goodman
    Liner Notes – Gary Giddins
    Producer – Don Schlitten, Design, Photography By – Don Schlitten



Preceding the Strata East 1975 release "Marchin' On" by two years, this could be considered the first Heath Brothers release. A lovely set of spiritual modal jazz that has that 70's feel I can't resist. All the compositions are originals, written either collectively or individually by the brothers; each one a new gem. For me this one is a classic of the genre.

Blue Mitchell - Blue Soul (1959) [Bonus Remaster]

Trumpeter Blue Mitchell left his home in Miami for a short stint in New York City, headed back to Florida, and then to Los Angeles before his brief but vital career as a jazz trumpeter ended. This sojourn identified his sound, initially branded by the warmth of the Southeast, burnished by the hustle and bustle of the Big Apple, and polished by the West Coast cool school demeanor. In 1959, as Mitchell returned to Miami, he connected with Detroit trombonist Curtis Fuller and Philadelphia tenor saxophonist Jimmy Heath to form one of the most potent three-horn front lines in jazz history. Few knew how good they were until after the fact, but this recording, the third album for Mitchell as a leader, has him and his mates in full flight. Drummer Philly Joe Jones has a lot to do with the solid booster rocket-like propulsion on this primarily hard bop date, and check out his calypso variations on the second chorus of the otherwise easy blues swing and ultra-melodic "Waverley Street." Credit Mitchell's street smarts and highly developed melodic inventiveness as the focal point for this definitive session. In many ways, this is a parallel album to the Miles Davis classic Kind of Blue, with subtle undertones driven by fourth-gear swing. The CD kicks off with the famous "Minor Vamp," of which Fuller's original take for the Savoy label has been remixed and layered, and is heard in the acid jazz dancehalls. It's a familiar sparse line, a two-note vamp tacked onto a lithe, perky melody that needs no critique -- it's simply great! More concisely rendered hard bop follows on "The Head," not complex by any means, but filled with plenty o' soul. The hardest line crops up during "Top Shelf," featuring a memorable, cutting, precise solo by Heath. Fuller and Heath lay out so you can hear in full dimension the cozy and warm persona of Mitchell on the ballad "Park Avenue Petite," but especially on the bright, easy swinger "Blue Soul," which most accurately approaches Kind of Blue. In tribute to his then boss, Horace Silver, "Nica's Dream" features Mitchell's muted trumpet over an underlying fresh bed of trombone and tenor sax. Even more so, Mitchell's deep blue horn shines on the standard "Polka Dots and Moonbeams," an organ of sheer beauty and one to be studied for those who need to learn that playing fewer notes more musically is an admirable quality. This is one of the most precious jazz recordings of a year that would soon give sway to the Blue Note sound, and is in many real and important ways as much of a prelude as any other statement. It's a must-have for all serious mainstream jazz fans. ~ by Michael G. Nastos, AMG.

Riverside Records, RCD-30508, 2008

Recorded 24^th, 28^th, 30^th September, 1959 At Reeves Sound Studios, New York City

Personnel:

Blue Mitchell - Trumpet

Curtis Fuller - Trombone (except #3,4,7,11,12)

Jimmy Heath - Tenor Saxophone (except #3,4,7,11,12)

Wynton Kelly - Piano

Sam Jones - Bass

Philly Joe Jones - Drums

Tracks:

01. Minor Vamp {Benny Golson} (3:42)

02. The Head {Richard Mitchell} (4:29)

03. The Way You Look Tonight {Dorothy Fields, Jerome Kern} (3:23)

04. Park Avenue Petite {Benny Golson} (3:58)

05. Top Shelf {Jimmy Heath, Arr. Heath} (4:09)

06. Waverly Street {Jimmy Heath, Arr. Heath} (5:00)

07. Blue Soul {Richard Mitchell} (4:12)

08. Polka Dots And Moonbeams {Johnny Burke, Jimmy Van Heusen} (5:50)

09. Nica's Dream {Horace Silver} (6:36)

10. Minor Vamp [Take 1] {Benny Golson} (3:39)

11. Park Avenue Petite [Take 1] {Benny Golson} (5:11)

12. Blue Soul [Take 2] {Richard Mitchell} (6:29)

Credits:

Producer, Liner Notes - Orrin Keepnews

Recording Engineer - Jack Higgins (24th, 30th), Roy Friedman (28th) September, 1959

Cover Design - Paul Bacon, Ken Brearen, Harris Lewine

Photography [Back] - Lawrence N. Shustak

Remastering [24-bit] - Joe Tarantino (Fantasy Studios, Berkeley)

Editorial - Rikka Arnold

Project Supervision - Nick Phillips

Projest Assistant - Chris Clough, Albert Roman

Art Direction - Larissa Collins

Art Farmer - Plays The Great Jazz Hits (1967) [vinyl.flac]

New link in comments.

Review by Scott Yanow:
The title of this reissue LP is a bit ironic for jazz was really struggling commercially in 1967 and the "hits" were few and far between. In fact flugelhornist Art Farmer, who leads the notable hard bop quintet (with Jimmy Heath on tenor, pianist Cedar Walton, bassist Walter Booker and drummer Mickey Roker), would be moving to Europe the following year where he would work much more often than he had in the U.S. The ten numbers on this LP were fairly popular, particularly such tunes as "Song for My Father," "The Sidewinder," "Watermelon Man" and "Take Five." The quintet's concise interpretations (no performance is over six minutes) are melodic without being overly predictable. As usual Farmer's lyricism by itself is a good reason to search for this underrated album.

01 - Song For My Father
02 - Round Midnight
03 - Sidewinder
04 - Moanin'
05 - Watermelon Man
06 - Mercy, Mercy, Mercy
07 - I Remember Clifford
08 - Take Five
09 - Gemini
10 - The In Crowd

Art Farmer (flh) Jimmy Heath (ts) Cedar Walton (p) Walter Booker (b) Mickey Roker (d)

Don Patterson - These Are Soulful Days (1973) [re-rip]

On this 1973 date, organist Don Patterson and guitarist Pat Martino again show themselves to be equally at home with gritty, organ combo sounds and the more refined vocabulary of hard bop. Brothers Jimmy Heath (tenor sax) and Albert Heath (drums) round out the band. They are bop-oriented players who also have an affinity for the Patterson and Martino blend of brains and barbecue sauce. The quartet comes together nicely on all five tracks, beginning with the long, melodic line of Cal Massey's mid-tempo title track and winding up with the slow-cooking, 18-minute "Muse Blues." As for the group's cover of "Whistle While You Work," Patterson, Martino, and the Heaths transform the Disney ditty into a solid, straight-ahead, swinger, with intelligent solo work and without a speck of corn. Patterson's pianistic approach and sparing use of bass pedals creates lots of space for his bandmates. Martino, who is known for his fleet, single-note solo work spends considerable time playing behind the soloists on this set, demonstrating what a staggeringly accomplished accompanist he can be. Heath draws on his history with Dizzy Gillespie, Milt Jackson, and Art Farmer, and as a leader in his own right, to build tenor solos that have force, logic, and passion. These Are Soulful Days is easily recommendable to fans of classic organ, guitar, sax combos, as well as to listeners who simply enjoy the playing of top-flight jazz musicians who have a healthy respect for the music's blues roots. ~ by Jim Todd, Allmusic.com.

Muse Records, MR 5032, 1973

Recorded 17th September, 1973

Personnel:

Don Patterson - Organ

Pat Martino - Guitar

Jimmy Heath - Tenor Saxophone

Albert Heath - Drums

Track Listing:

A1. These Are Soulful Days {Cal Massey} (8:19)

A2. Whistle While You Work {Frank Churchill, Larry Morey} (7:33)

A3. Skylark {Hoagy Carmichael, Johnny Mercer} (9:13)

B1. Blue 'N' Boogie {Dizzy Gillespie, Frank Paparelli} (4:11)

B2. Muse Blues {Don Patterson} (17:54)

Credits:

Producer - Don Schlitten

Engineer - Paul Goodman

“These Are Soulful Days” is a very rewarding set; it catches Don Patterson at his very best. It features Don in a fine quartet which includes Jimmy Heath on tenor sax, Pat Martino on guitar and Albert Heath on drums. Right from the start the quartet presents an exhilarating interpretation of Cal Massey's and the album's title tune. This is followed by two standards ”Skylark” and an unusual but rewarding version of “Whistle While You Work”; and finally two blues compositions “Blue 'N' Boogie” by Dizzy Gillespie and Patterson's own lengthy “Muse Blues”. All players have opportunities to solo; Patterson in particular shows great sensitivity. Jimmy Heath excels on “Whistle While You Work” and “Blue 'N' Boogie” and indeed Pat Martino has no trouble blending seamlessly with Patterson on all tunes adding some amazing solos, especially heard on the slower tracks. However he really comes into his own and truly expresses his expertise on the faster numbers.

According to Douglas Payne this is Patterson’s ‘best recorded work and offers proof that this melodic bop organist is a neglected talent that, even a decade after his death, remains deserving of wider recognition.'

Red Garland - The Quota (1971)

From the now out of print Japanese CD reissue.

Dusty Groove review:
A surprisingly wonderful 70s session from pianist Red Garland – thanks to the presence of saxophonist Jimmy Heath on the set! Although Red's most commonly heard in a trio setting, the presence of Heath here really makes the session stand out – as Jimmy's playing with all the best sense of warmth and soulfulness he brought to his own wonderful work of the early 70s – helping Red's rare session for MPS sparkle nicely with his added touches! Heath plays both tenor and soprano sax on the record, and other players include Peck Morrison on bass and Lenny McBrowne on drums.

1. The Quota
2. The Days of Wine and Roses
3. For Carl
4. The Squirrel
5. On a Clear Day (You Can See Forever)
6. Love for Sale

Jimmy Heath (ts, ss) Red Garland (p) Peck Morrison (b) Lenny McBrowne (d)
RCA Studios, NYC, May 3, 1971

email for new link.