Jimmy Ponder, Ron Carter, Ben Green - I Giganti Del Jazz, Vol. 28 (1981) [vinyl]

A rare piece of vinyl released on the Italian Curcio Records label in 1981. Jimmy is in top form joined by bassist Ron Carter, drummer Ben Green and pianist Warren Bernhardt. On the last track it is suggested according a few sources that saxophonist William Skinner and organist Jimmy McGriff also come into the grouping. Jimmy showcases four of his own compositions along with one from Sam Jones and another from Miles Davis. Overall, a worthwhile earlier addition to Jimmy Ponder's discography that truly demonstrates his virtuosity and the emergence of a great guitarist. 

Curcio Records, GJ-28, 1981
Recorded prob. New York City: c. 1980 (?) 

Musicians:
Jimmy Ponder - Guitar
William Skinner - Tenor Saxophone (#B3)
Warren Bernhardt - Piano (#A1,A3,B1,B2), Electric Piano (#A2)
Jimmy McGriff - Organ (#B3)
Ron Carter - Bass
Ben Green - Drums 

Tracks:
A1. Seven Minds {Sam Jones} (4:46)
A2. Visions {Jimmy Ponder} (7:51)
A3. Ponder'n {Jimmy Ponder} (5:33)
B1. Blues Bag {Jimmy Ponder} (4:06)
B2. All Blues {Miles Davis} (5:42)
B3. Pices {Jimmy Ponder} (5:36) 

Total Time: 33:34 

Blues Bag

Richard “Groove” Holmes - Hot Tat (1989)

One of the last albums that Richard Groove Holmes ever recorded -- but a surprisingly strong little set, and one that shows that he never stopped hitting the Hammond hard, even in the later years of his life! The record's got a depth of feeling that goes way beyond the dated, cheesy album on the cover -- almost a classic organ groove, produced by Houston Person for the session -- who's also prominently featured on tenor for the date. Other players include Cecil Bridgewater on trumpet, Jimmy Ponder on guitar, Bad Bascomb on bass, and Greg Bandy on drums -- plus Ralph Dorsey on congas and a bit of added percussion. The largeish group still manages to sound nice and lean -- and although there's a few bassline moments that belie the date of the record, most of the material has a very classic soul jazz sound. Titles include "Renee", "Love Letters", "I Love Your Smile", "Hot Tat", "I Gotta Go", and "Second Time Around".  © Dusty Groove, Inc. 

Muse Records, MCD-5395, 1991
Recorded 5th September, 1989 at Fox Recording Studios, Rutherford, New Jersey 

Musicians:
Richard "Groove" Holmes - Organ [Hammond B-3]
Cecil Bridgewater - Trumpet

Houston Person - Tenor Saxophone
Jimmy Ponder - Guitar
Wilbur Bascomb, Jr. - Bass
Greg Bandy - Drums
Ralph Dorsey - Congas, Percussion

Tracks:
1. Renee {Richard "Groove" Holmes} (6:03)
2. Love Letters {Edward Heyman, Victor Young} (4:18)
3. I Love Your Smile {Cecil Bridgewater} (9:55)
4. Hot Tat {Richard "Groove" Holmes} (7:37)
5. Polka Dots And Moonbeams {Burke, Van Heusen} (6:04)
6. I Gotta Go {Cecil Bridgewater} (6:10)
7. Second Time Around {Cahn, Van Heusen} (6:51) 

Total Time: 46:58 

Credits:
Producer - Houston Person
Recording Engineer - David Blake
Mastering Engineer - Joe Brescio, The Cutting Room, NYC
Graphic Design - Ron Warwell/NJE
Cover Photo [Alicia Lashley] - Fred Salaff
Back Photo - J. Flint
Liner Notes - Larry Birnbaum 

Love Letters

Jimmy Ponder - White Room (1977) [vinyl]

A sweet little groover from guitarist Jimmy Ponder -- a surprisingly satisfying record that features Ponder soloing out over some tight funky backings that almost sound like the best of the larger group sessions on Kudu or Groove Merchant. Jimmy's playing a sweet hollow body that gives him a tone that's a bit like O'Donnel Levy -- warm and chromatic, with single notes picked out in a tight progression that has a lot more jazz than you'd expect for the session at the time. One cut does have some vocals from Jimmy, but the rest is instrumental -- with tracks that include "So In Love", "Quintessence", "Bro James", and "Easy".  Dusty Groove. 

ABC Impulse! AS-9327, 1977
Recorded at Sound Ideas, New York, N.Y. and
ABC Recording Studios, Los Angeles, California 

Musicians:
Jimmy Ponder - Guitar, Vocals (#A1)
Albert Prince - Electric Piano (#A1,B3), Organ (#A2,A3,B1), Clavinet (#A4), Piano (#B2)
Sonny Burke - Clavinet (#A1,B1), Piano (#A2), ARP String Ensemble (#B1)
Cedric Lawson, Michael Boddicker - Synthesizer (#B2)
Chris White - Bass (#A3,A4,B2)
James Jamerson, Sr. - Bass (#A1,B3)
Scott Edwards - Bass (#A2,B1)
Victor Jones - Drums (#A1-A4,B2,B3)
James Gadson - Drums (#B1)
Paulinho Da Costa - Conga Drums (#A1,A2,A4), Percussion (#A2,B2), Bongo Drums (#B1)
Stacy Edwards - Percussion (#A3)
+ Strings (#A1,A3,B3)
Arranger, Conductor - Johnny Pate
Concertmaster - Charles Veal

Tracks:
A1. If You Need Someone To Love {Jimmy Ponder} (6:10)
A2. Going Back To Country Living {Bell, Creed} (5:18)
A3. Easy {Jimmy Ponder} (4:02)
A4. Bro' James {Jimmy Ponder} (5:20)
B1. White Room {Bruce, Brown} (6:10)
B2. Quintessence {Jimmy Ponder} (7:02)
B3. So In Love {Jimmy Ponder} (5:47) 

Total Time: 39:49 

Credits:
Producer - Esmond Edwards
Recording & Mixing Engineer - Barney Perkins
Recording Engineer - Skip Juried
Collage Design - John Van Hamersveld
Photography - Chris Callis
Art Direction - Earl Klasky 

Easy

Link

Lou Donaldson - Mr. Shing-A-Ling (1967)

Here we have a reissue of one of Blue Note's LPs to remain out of print. Essentially, it is a classic soul-jazz album by the great jazz saxophonist & band leader, Lou Donaldson whom was a predominant fixture throughout the sixties. Lou had his own tone and thrived on expressing the boogaloo style which many later artists attempted to mimic and sample in the eighties onwards. "Mr. Shing-A-Ling", the follow up album to Lou Donaldson's hit album "Alligator Boogaloo", has long been considered the best of Lou Donaldson's funk/soul-jazz albums from the late-60s. For this date Lou surrounds himself with a who's who of great soul jazz players, including legendary trumpeter Blue Mitchell, organist Lonnie Smith, guitarist Jimmy Ponder and drummer Leo Morris. Together they showcase four popular tunes with the addition of Lou's own composition "The Humpback". Recorded by the master engineer Rudy van Gelder at his home studio in New Jersey, and now this audiophile vinyl reissue produced by Joe Harley and features an all-analogue vinyl is available. A revitalised and worthy addition to any Lou Donaldson fan's collection. [DR14] 

Blue Note, BST 84271, 1967
Blue Note, BST 84271, 2019
Recorded 27th October, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Lou Donaldson - Alto Saxophone
Blue Mitchell - Trumpet
Lonnie Smith - Organ [Hammond B-3]
Jimmy "Fats" Ponder - Guitar
Leo Morris - Drums

Tracks:
A1. Ode To Billie Joe {Bobby Gentry} (6:30)
A2. The Humpback {Lou Donaldson} (5:27)
A3. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (6:23)
B1. Peepin' {Lonnie Smith} (8:18)
B2. The Kid {Harold Ousley} (10:57) 

Total Time: 37:35 

Credits:
Producer - Frank Wolff
Reissue Supervisor - Joe Harley
Recording Engineer - Rudy van Gelder
Mastering, Lacquer Cut - Kevin Cray
Design [Cover], Photography [Cover] - Reid Miles
Liner Notes - Del Shields 

The Humpback

Jimmy Ponder - What's New (2005)

Guitarist Jimmy Ponder's trio date is very much in the style of the classic mid- to late-'60s soul-jazz sessions. His double-time version of "God Bless the Child" is a bit reminiscent of Richard "Groove" Holmes' hit version of "Misty," and the other standards are all interpreted with swing and soul. Ponder has an appealing sound that blends in well with organist Gene Ludwig and drummer Cecil Brooks III and results in accessible ensembles. Although few surprises occur, none are really needed, for this style of music always pleases organ fans and lovers of swinging soul-jazz. ~ by Scott Yanow, AMG.

HighNote Records, HCD 7100, 2005

Recorded 5^th August, 2002 At Anything Audio Multimedia, Pittsburgh, Pennsylvania

Musicians:

Jimmy Ponder - Guitar

Gene Ludwig - Organ

Cecil Brooks III - Drums

Tracks:

1. TNT {AC/DC} (4:39)

2. Polka Dots And Moonbeams {Jimmy Van Heusen, Johnny Burke} (7:17)

3. God Bless The Child {Billie Holiday, Arthur Herzog, Jr.} (7:57)

4. Besamé Mucho {Consuelo Velázquez} (7:15)

5. Please Give Me Someone To Love {Percy Mayfield} (7:38)

6. What's New {Bob Haggart, Johnny Burke} (9:28)

7. That's All {Alan Brandt, Bob Haymes} (9:21)

Credits:

Producer - Cecil Brooks III

Executive Producer - Joe Fields

Engineer - Dino DiStefano

Photography, Design - Keiji Obata, Littlefield & Co.

Portrait - Kaufmanns Studio

Liner Notes - Larry Hollis

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 - Mama Roots (1978) [re-rip]

Amazing late 70s work from Charles Earland – quite different material than his contemporaneous sets for Mercury and Columbia, and much more the rootsy soul jazz he first cut at Prestige! The tracks are long, and filled with rhythms – that undeniable Earland groove, which is laid out here beautifully on the Hammond – in a real no-nonsense sort of style that holds up wonderfully over the years. Players are great throughout – and include Dave Schnitter and George Coleman on tenor, Jimmy Ponder on guitar, and Walter Perkins on drums. Titles include "Undecided", "The Dozens", "Mama Roots", "Red Green & Black Blues", "Old Folks", and "Bluesette". ~ Dusty Groove Inc.,

Organist Charles Earland recorded nine albums for the Muse label between 1977 and 1995. None stand out particularly, but each had its share of solid, organ-combo swing and programs of mostly blues and ballads. This music was all recorded between Earland's more commercial (and less memorable) outings on Mercury and Columbia and catch the organ grinder in a kind of Jimmy Smith bag (reinforced even more when paired with Wes-like guitarist Jimmy Ponder). While the funk and the fire in Earland's playing had been missing since at least his last Prestige record (1974), there's an insistently melodic and appealing groove throughout this set. Another advantage is that the majority of the tunes here are Earland originals: slow burners that really let the organist cook nicely on a low flame. There are several nice features for George Coleman on tenor sax. A surprisingly cohesive set with an enjoyable after-hours feel. ~ by Douglas Payne.

Muse Records, MR 5156, 1978

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

Personnel:

Charles Earland - Organ

Dave Schnitter - Tenor Saxophone (#A1)

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Walter Perkins - Drums (#A1,A2,B1,B2)

Bobby Durham - Drums (#A3,B3)

Tracks:

A1. Undecided {Charlie Shavers} (7:45)

A2. The Dozens {Charles Earland} (3:46)

A3. Red, Green & Black Blues {Charles Earland} (4:54)

B1. Mama Roots {Charles Earland} (6:34)

B2. Old Folks {Willard Robison} (5:27)

B3. Bluesette {Toots Thielemans, Norman Gimbel} (6:38)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Cover Design - Ron Warwell

Cover Photography - Clarence Eastmond

Liner Notes - Tony Outhwaite

Charlie Earland - Smokin' (1977) [re-rip]

Fine mid-'70s sextet set featuring Earland's customary soul-jazz, blues, and funk, with uptempo and ballad originals. Tenor saxophonists David Schnitter and George Coleman excel, as does guitarist Jimmy Ponder. ~ by Ron Wynn, AMG.

Killer work by Charles Earland – a back to basics set of grooving tunes that are cut in the best soul jazz mode of earlier years! Earland heads a great group that includes Jimmy Ponder on guitar, George Coleman on tenor, and Walter Perkins on drums – and the set swings high, wide, and mightily with that tight groove that Charles always has on these straight soul jazz sets. With a very hot version of "Milestones", plus "Penn Relays", "Soon It's Gonna Rain", and an excellent uptempo take on "Strangers In The Night". © Dusty Groove, Inc.

Muse Records, MR 5126, 1977

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

Musicians:

Charles Earland - Organ [Hammond B-3]

Dave Schnitter - Tenor Saxophone

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Bobby Durham - Drums (#A1,A2), Keyboards (#A2)

Walter Perkins - Drums (#A3,B1,B2)

Herb Fisher - Percussion

Tracks:

A1. Penn Relays {Charles Earland} (5:48)

A2. Danny Boy's Blues {Dave Paul} (3:53)

A3. Milestones #2 {Miles Davis} (8:25)

B1. Soon It's Gonna Rain {Tom Jones, Harvey Schmidt} (9:38)

B2. Strangers In The Night {Bert Kaempfert} (4:58)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Design [Cover], Photography - Hal Wilson

Liner Notes - Frederick I Douglass

Houston Person - Stolen Sweets (1977) [vinyl>flac]

Person is a master of moving, luxuriant melody, of sweeping, tuneful saxophone lines. Much of his best work--in person and on record--is devoted to attractively structured pop songs--and this collection is no exception. On "At Last" and "Skylark", Person conjures up his richest, warmest ballad sound. "If Ever I Would Leave You" finds Houston fluent and exhilarating at a faster tempo. On "Stolen Sweets", one hears echoes of Jug's brusque tone and soulful emotion. Finally, on "T-Bone Steak", finds Person riding an earthy, instrumental blues and getting excellent support from organist Sonny Phillips and guitarist Jimmy Ponder. "Stolen Sweets" is unabashedly recommended. I think you'll agree that Houston Person and his band play my kind and your kind of jazz--music that is mellow, relaxed, warm, tasty and inventive. In startling contrast to the tenseness and turbulence fashionable in some jazz quarters, Houston Person offers a joyful, soulful musical experience, ~ Excerpts by Jon Lissner, New York Times; from Liner Notes.

Muse Records, MR 5110, 1977

Recorded 29^th April, 1976 at Blue Rock Studio, New York City

Musicians:

Houston Person - Tenor Saxophone

Jimmy Ponder - Guitar

Sonny Phillips - Organ

Frankie Jones - Drums

Buddy Caldwell - Congas

Tracks:

A1. If Ever I Would Leave You {Alan Jay Lerner, Frederick Loewe} (10:38)

A2. At Last {Harry Warren, Mack Gordon} (7:42)

B1. Stolen Sweets {Wild Bill Davis} (5:35)

B2. Skylark {Hoagy Carmichael, Johnny Mercer} (7:31)

B3. T-Bone Steak {Jimmy Smith} (6:32)

Credits:

Producer - Michael Cuscuna

Recording Engineer - Eddie Korvin

Art Direction, Design, Photography - Hal Wilson

Liner Notes - John Lissner, New York Times

This is album could easily be rated as one of Houston Person's best on Muse, if not definitely to be noted as a great sounding Soul Jazz LP from the classic 70's. Person is in excellent form producing some fantastic up-tempo and plenty of robust tenor sounds. The assortment of tunes allows him to display his masterful skills as a very talented ballad player to just breaking out into some juicy funk number. He is joined by a mighty crew; with Jimmy Ponder on guitar given many opportunities to perform some riveting solos; and along with Sonny Phillips' magnificent swirling organ the listener is taken on one hell of a Soul-Jazz-Funky ride. Backing these great men are two percussion and rhythmic experts in Frankie Jones and Buddy Caldwell. Right throughout the album their driving beats assist the soloists to hold it perfectly together. The only real fault is that its joyful ride ends so quickly. There's one thing to do just spin it again.

Willis Jackson - In The Alley (1977) [vinyl]

Smooth and mellow 70s funk from Willis Jackson - a record that still has him working with funky stalwarts from earlier years, but which has a more 70s-influenced kind of groove! There's actually a nice dose of older soul jazz lurking underneath a few of the tracks - making for a record that skirts both sides of Willis' career at the time nicely - and tracks are all longish, with enough room for good tenor work. Players include Sonny Phillips, Carl Wilson, Jimmy Ponder, and Buddy Caldwell - and titles include "Niamani", "Gator's Groove", "More", and "In The Alley". © Dusty Groove America, Inc.

Muse Records, MR 5100, 1977

Recorded At Dimensional Sounds Studio, New York City

Musicians:

Willis Jackson - Tenor Saxophone

Sonny Phillips - Piano

Carl Wilson - Organ

Jimmy Ponder - Guitar

Jimmy Lewis - Bass

Yusef Ali - Drums

Buddy Caldwell - Congas, Percussion

Tracks:

A1. Niamani {Sonny Phillips} (7:22)

A2. Gator's Groove {Yusef Ali} (7:06)

A3. Blues, Blues, Blues {Willis Jackson} (5:07)

B1. Young Man With The Horn {Ray Anthony} (5:54)

B2. More {Riziero Ortolani, Nino Oliviero, Norman Newell, Marcello Ciorciolini} (7:39)

B3. In The Alley {Willis Jackson} (9:07)

Credits:

Producer - Fred Seibert

Engineers - Malcolm Addey and Fred Seibert

Art Direction, Design, Photography - Hal Wilson

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

Etta Jones - My Mother's Eyes (1977) [re-rip]

Although by the mid-1970s she had already been a professional singer for 30 years, Etta Jones was in reality just entering her musical prime. Having developed her individuality gradually through the years, she was heard at her very best during her long string of Muse recordings. On this fine date, Jones is joined by her husband (tenor saxophonist Houston Person) and an oversized rhythm section that features keyboardist Sonny Phillips and guitarist Jimmy Ponder. Among the highlights are "The Way You Look Tonight," "Don't Misunderstand," "You Do Something to Me" and "This Girl's In Love With Me." ~ Scott Yanow, AMG.

Muse Records, MR 5145, 1978

Recorded 23^rd June, 1977 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Etta Jones - Vocals

Houston Person - Tenor Saxophone

Sonny Phillips - Keyboards

Jimmy Ponder - Guitar

George Devens - Vibraphone

Rufus Reid - Bass

Idris Muhammad - Drums

Lawrence Killian - Congas, Percussion

Tracks:

A1. The Way You Look Tonight {Dorothy Fields, Jerome Kern} (4:48)

A2. Don't Misunderstand {Gordon Parks} (6:09)

A3. Be My Love {Nicholas Brodszky, Sammy Kahn} (5:48)

B1. You Do Something To Me {Cole Porter} (4:41)

B2. My Mother's Eyes {Abel Baer, L. Wolfe Gilbert} (5:47)

B3. This Girl's In Love With You {Burt Bacharach, Hal David} (3:56)

B4. Gloomy Sunday {László Jávor, Rezsö Seress} (4:35)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Art Direction, Photography - Hal Wilson

Liner Notes - Agnes E. Green

Charlie Earland Trio feat. George Coleman - Soul Crib (1969) [re-rip]

This album has never seen the light of day on CD. Some tracks were later released on a few of Charles' Muse albums; namely Smokin' and Mama Roots, but careful checking of track timings reveals slightly different versions. In this regard they may have not been from the same session. George Coleman's addition to Charles Earland’s Trio truly makes this LP magnificent. He plays beautifully right throughout the whole session. In addition the listener cannot disregard the intuitive playing of Jimmy Ponder whereby he at times gets some marvelous opportunities to really stretch out. Of course as always Charles Earland beyond any doubt greatly entertains with his vivacious mastery of the B-3. Similarly without Walter Perkins’ driving the beat on drums and the inclusion of some very innovative percussive effects the tunes wouldn't be as dynamic. "Soul Crib" leans more toward the jazz side of things, featuring no fewer than five standards, one swinging original ‘The Dozens’ and a psychedelic free improvisation piece called ‘Mus’ Be LSD’ that seems completely out of place. Taken together the album truly entertains and clearly showcases George Coleman’s tenor blending seamlessly with Charles' big organ sounds. A masterful gem for its time and is highly recommended.

Choice Records, ST 520, 1969

Recorded November, 1969 in Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Walter Perkins - Drums

Track Listing:

A1. Soon It’s Gonna Rain {Tom Jones, Harvey Schmidt} (7:31)

A2. Strangers In The Night {Charles Singleton, Eddie Snyder, Avo Uvezian} (5:02)

A3. Old Folks {Dedette Lee Hill, Willard Robinson} (5:29)

B1. The Dozens {Charles Earland} (2:50)

B2, Milestones #2 {Miles Davis} (2:45)

B3. Mus' Be LSD {Charles Earland} (6:33)

B4. Undecided {Sid Robin, Charlie Shavers} (6:35)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Charles Earland - Muse Albums [vinyl>flac]

5126 - Smokin' (1977)
5156 - Mama Roots (1978)
5181 - Infant Eyes (1979)
5201 - Pleasant Afternoon (1981)
5240 - In The Pocket (1982)

These albums represent the output on Muse Records of the great Hammond B-3 master, Charles Earland throughout the seventies and early eighties. Many of these records are not easily found and have been ripped from the original vinyl LPs. The listener is given an opportunity to hear some dynamic Soul Jazz. He is joined by a vast number of players that were well-known or emerging stars. Just take a cursory glance at the personnel lists below you are sure to find the makings of some super group combinations.

[1] Smokin’

Muse Records, MR 5126, 1977

A1. Penn Relays {Charles Earland} (6:00)

A2. Danny Boy's Blues {D. Paul} (3:50)

A3. Milestones #2 {Miles Davis} (8:50)

B1. Soon It's Gonna Rain {Tom Jones, Harvey Schmidt} (9:30)

B2. Strangers In The Night {Bert Kaempfert} (5:30)

Charles Earland - Organ [Hammond B-3]

Dave Schnitter - Tenor Saxophone

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Bobby Durham - Drums (Tracks: A1, A2), Keyboards (Track: A2)

Walter Perkins - Drums (Tracks: A3, B1, B2)

Herb Fisher - Percussion

[2] Mama Roots

Muse Records, MR 5156, 1978

A1. Undecided {Charlie Shavers} (7:45)

A2. The Dozens {Charles Earland} (3:46)

A3. Red, Green & Black Blues {Charles Earland} (4:54)

B1. Mama Roots {Charles Earland} (6:34)

B2. Old Folks {Willard Robison} (5:27)

B3. Bluesette {Toots Thielemans, Norman Gimbel} (6:38)

Charles Earland - Organ

Dave Schnitter - Tenor Saxophone (#A1)

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Walter Perkins - Drums (#A1,A2,B1,B2)

Bobby Durham - Drums (#A3,B3)

[3] Infant Eyes

Muse Records, MR 5181, 1979

A1. We Are Not Alone (5:06)

A2. Blues For Rudy (11:43)

B1. The Thang (7:11)

B2. Infant Eyes (6:17)

B3. Is It Necessary? (4:56)

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

[4] Pleasant Afternoon

Muse Records, MR 5201, rec. 1978; rel. 1981

A1. Murilley (6:29)

A2. A Prayer (3:47)

A3. Organic Blues (7:25)

B1. Pleasant Afternoon (11:00)

B2. Three Blind Mice (6:16)

Charles Earland - Organ, Hammond Organ, Vocals

Houston Person - Tenor Saxophone

Bill Hardman - Trumpet

Melvin Sparks - Guitar

Grady Tate - Drums

Ralph Dorsey - Percussion, Conga

[5] In The Pocket

Muse Records, MR 5240, 1982

A1. Tackhead {Charles Earland} (9:47)

A2. In The Alley {Charles Earland} (8:04)

B1. Grant's Groove {Melvin Sparks} (4:51)

B2. A Good Date {Charles Earland} (5:09)

B3. Ballad For Mom {Charles Earland} (6:49)

Charles Earland - Organ

Houston Person - Tenor Saxophone

Melvin Sparks - Guitar

Idris Muhammad - Drums