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

Ray Bryant - MCMLXX (1970)

 Despite some commercial tendencies, this 1970 LP (not yet reissued on CD) is better than it looks. Pianist Ray Bryant uplifts such pop material as "Let It Be," "Bridge Over Troubled Waters," "Hey Jude," and "Spinning Wheel." Four selections find Bryant's trio (with electric bassist Chuck Rainey and drummer Jimmy Johnson) augmented by either horns (on "Let It Be") or by strings effectively arranged by Eumir Deodata. The colorful results are not essential but are less dated than one might think. ~ by Scott Yanow, AMG.

Timeless

=======

Long overdue, this is the album that propelled Ray Bryant onto the jazz radio charts for weeks (if not months) in 1971, by virtue of the remarkable interpretation of "Unchained Melody". Considering the popularity of the album, and the airplay, it is puzzling that this album has not been reissued before now (as the album title suggests, original -- and only previous -- release was 1970). Recommended to Ray Bryant fans and to piano jazz lovers equally. ~ Geezosaur, Amazon.com.

Atlantic Records, SD 1564, 1970

Rhino Records, WPCR-27092, 2012

Recorded At Atlantic Recording Studios, New York, NY

Musicians:

Ray Bryant - Piano

Joe Newman - Trumpet (#2)

Garnett Brown - Trombone (#2)

George Dorsey - Alto Saxophone (#2)

Joe Gentle - Tenor Saxophone (#1,3,4)

King Curtis - Tenor Saxophone (#2)

Pepper Adams - Baritone Saxophone (#2)

Leon Cohen - Bass Clarinet (#1,3,4)

Ron Carter - Acoustic Bass (#1,3,4)

Chuck Rainey - Electric Bass

Charles McCracken - Cello (#1,3,4)

Jimmy Johnson - Drums

Emanuel Green, Gene Orloff, Joseph Malignaggi, Julien Barber, Matthew Raimondi,

Noel Dacosta, Paul Gershman, Selwart Clarke, Winston Collymore - Violin (#1,3,4)

Arranger - Arif Mardin (#A2), Eumir Deodato (#1,3,4)

Tracks:

1. Stick With It {Ray Bryant} (5:54)

2. Let It Be {John Lennon, Paul McCartney} (4:02)

3. Bridge Over Troubled Water {Paul Simon, Art Garfunkel} (3:18)

4. Hey Jude {John Lennon, Paul McCartney} (4:53)

5. Shake-A-Lady {Ray Bryant} (2:40)

6. Unchained Melody {Alex North, Hy Zaret} (4:48)

7. My Cherie Amour {Henry Cosby, Sylvia Moy, Stevie Wonder} (4:59)

8. Spinning Wheel {David Clayton-Thomas} (3:39)

Credits:

Producer - Joel Dorn

Recording Engineer - Gene Paul

Recording & Re-Mix Engineer - Lewis Hahn

Photography - Joel Brodsky

Cover, Design - Haig Adishian

Total Time: 34:13

Hank Crawford - Double Cross (1968) [re-rip]

Here we have another classic early album by Hank Crawford on Atlantic Records from 1968. Similar to his other recordings on that label Hank puts together a powerful soulful collection of tunes. Four are penned by him; the others an engaging selection of notable standards. He is joined by a stellar array of players including: David "Fathead" Newman, Pepper Adams, Joe Newman, Jack McDuff, Carl Lynch & Bruno Carr to nominate a few. On one tune Hank plays piano, but it’s his alto playing that is truly sensational. There is not much more to add other than just give it a spin!

Atlantic Records, SC 1503, 1968

Recorded in 1968 at Atlantic Studios, New York

Personnel:

Hank Crawford - Alto Saxophone, Piano (#B3)
Joe Newman, Melvin Lastie - Trumpet (#A1-B2)
John Hunt, Fielder Floyd - Trumpet (#B3,B4)
Tony Studd - Trombone (#A1-B2)

David "Fathead" Newman - Tenor Saxophone (#A1-B2)

Wendell Harrison - Tenor Saxophone (#B3,B4)
Pepper Adams - Baritone Saxophone (#A1-B2)

Alenzo C. Shaw - Baritone Saxophone (#B3,B4)

Jack McDuff - Piano (#B1)

Carl Lynch - Guitar (#A1-B2)

Jimmy Tyrell - Fender Bass (#A1-B2)

Charles Green - Bass (#B3, B4)

Bruno Carr - Drums (#A1-B2)

Wilbert Hogan - Drums (#B3,B4)

Tracks:

A1. Double Cross {Hank Crawford} (3:18)

A2. Jimmy Mack {Eddie Holland, Lamont Dozier, Brian Holland} (2:36)

A3. Glue Fingers {Hank Crawford} (3:27)

A4. I Can't Stand It {Hank Crawford} (4:46)

B1. In The Heat Of The Night {Alan Bergman, Marilyn Bergman, Quincy Jones} (4:01)

B2. The Second Time Around {Jimmy van Heusen, Sammy Cahn} (3:52)

B3. Mud Island Blues {Hank Crawford} (5:59)

B4. Someday [You'll Want Me To Want You] {Jimmie Hodges} (3:52)

Credits:

Producer - Arif Mardin, Joel Dorn

Recording Engineer - Bruce Tergesen, Phil Iehle

Cover [Illustration & Design] - Stanislaw Zagorski

Liner Notes - Burt Burdeen, WSDM, Chicago

Ray Bryant And His Combo - Dancing The Big Twist (1960) [re-rip]

This Ray Bryant album was released on Columbia Records in 1961. Dancing The Big Twist is basically an album of novelty tunes with a twist theme, including "Twist City," "Twistin' On A Cat's Paw," and "Do That Twist." This session will appeal to those who favour Bryant's dance hit of the era, "MadisonTime."

Columbia Records, CS 8546, 1961

Musicians:

Ray Bryant - Piano

Harry Edison - Trumpet (#B3)

Joe Newman - Trumpet (#A1-B2,B4)

Pat Jenkins - Trumpet (#A1-B2,B4)

Matthew Gee - Trombone (#A1-B2,B4)

Buddy Tate - Tenor Saxophone (#A1-B2,B4)

Ben Richardson - Baritone Saxophone (#B3)

Jimmy Rowser - Bass (#A1-B2,B4)

Bill Lee - Bass (#B3)

Mickey Roker - Drums (#A1-B2,B4)

Gus Johnson - Drums (#B3)

Ray Barretto - Bongos, Scraper (#B3)

Don Covay - Vocals (#A2)

Tracks:

A1. Twist City {Matthew Gee} (5:44)

A2. Just A Little Bit Of Twist {Don Covay} (2:47)

A3. Big Susie {Ray Bryant} (5:21)

A4. Twist On {Ray Bryant} (4:45)

B1. Twistin' On A Cat's Paw {Buddy Tate} (5:00)

B2. Mo-Lasses {Joe Newman} (5:16)

B3. Fast Twist {Harry Edison, Ray Bryant} (2:16)

B4. Do That Twist [Early In The Morning] {Matthew Gee} (5:32)

Credits:

Producer, Liner Notes - John Hammond

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

David "Fathead" Newman - The Many Facets Of David Newman (1969) [re-rip]

This set along with "Bigger & Better" from 1968 'are among tenor-saxophonist David "Fathead" Newman's more commercial efforts. The Many Facets of David Newman is less poppish and more blues-oriented with the lengthy "Children of Abraham" showing some passion.' According to Mr. Yanow he states that 'overall the material is rather weak and has not aged very well. Skip this set in favor of Newman's more recent efforts.' However, I am not sure he truly listened to this album. Even though he did make mention of "Children of Abraham" there is still some great playing and artistry going down across many other tunes found on this LP. Listen with an open mind and judge for yourselves. Enjoy!

Atlantic Records, SD 1524, 1969

Recorded 7/03/68 (#A2,B2,B3); 2/12/68 (#A1,B1); 3/12/68 (#A3);
4/12/68 (#B4) and 11/2/69 (#A4) in New York City

Personnel:

David "Fathead" Newman - Alto, Tenor & Soprano Saxophones, Flute

Seldon Powell - Tenor Saxophone

Haywood Henry, Jerome Richardson - Baritone Saxophone

Melvin Lastie, Joe Newman, Jimmy Owens, Ernie Royal - Trumpet

Bennie Powell - Trombone

Paul Ingram, Julius Watkins - French Horn

Jack Knitzer - Oboe

Gene Orloff, Emanuel Green, Leo Kruczek, Richard Elias, Leo Kahn - Violin

Selwart Clarke, Alfred Brown - Viola

Kermit Moore - Cello

Joe Zawinul, George Stubbs - Piano

Billy Butler, Eric Gale - Guitar

Richard Davis, Ron Carter - Acoustic Bass

Chuck Rainey - Electric Bass

Bernard Purdie, Bruno Carr - Drums

Omar Clay - Percussion

Tracks:

A1. Shiloh {David "Fathead" Newman} (4:29)

A2. We're A Winner {Curtis Mayfield} (3:06)

A3. Children Of Abraham {William Fischer} (10:06)

A4. Headstart {David "Fathead" Newman} (2:53)

B1. Chained No More {David "Fathead" Newman} (6:23)

B2. The Funky Way To Treat Somebody {Calvin Arnold} (3:05)

B3. Sylvia {Henry Cosby, Stevie Wonder, Sylvia Moy} (3:17)

B4. That's All {Alan Brandt, Bob Haymes} (6:11)

Credits:

Producer - Joel Dorn

Recording Engineer - Adrian Barber, Bruce Tergesen, William Arlt

Arranger - Arif Mardin (#A2,B2,B3), David "Fathead" Newman (#A1,A4), William Fischer (#A3,B1,B4)

Count Basie - Dance Along With Basie

Hey gang!!  More from our look at the "Atomic Band"... Basie during his Roulette years.  This offering is interesting for a few reasons, but overall, it's a solid and excellent album.

Looking at the tracklist, it's easy to deduce that this record is tackling pop/dance tunes of the day.  Unlike many of the other albums we've listened to thus far, there's no guest arranger here.  So the first "interesting" item is the fact that Basie himself has interpreted these songs, with input from Teddy Reig presumably.

I would say the other difference on Dance Along is the clear absence of that blues influence that is a staple of this band's sound.  The swing is always there, and heavy at times, but there's really no blues approach to this material.  I will let you ponder the reasons for that.  That said, there's a ton of extended and incredible soloing throughout all of these tunes.  The mood manages to stay upbeat, even through a ballad like Misty.

My record is near mint, and luckily, in glorious mono.  The dynamics and soundstage are everything they should be on a Basie album - HUGE!!!  I know you guys are gonna love this one.  Ripped at 24/48 and transferred to FLAC for your convenience... enjoy!!!

Roulette Records R-52036
1960

Illinois Jacquet - Flying Home

Without a doubt, "The Kid" was one of the greatest sax players to ever breath life on this great Earth of ours.  His sound was gritty, raw and soulful but never without subtlety when required.  Indeed, his voice is instantly recognizable by jazz fans - "Flying Home" is quite possibly the most famous sax solo of all time.

This CD covers alot of ground while bringing you some of Jacquet's best cuts.  Bluebird  originally recorded all of these as 78's, and they have been expertly remastered here.  The recordings range in date from 1947 - 1967 and in location from Hollywood to NYC.  There are some personnel changes throughout the album, but certainly nothing to disappoint - Shadow Wilson to Jo Jones!!??!  Considering that this is technically a compilation, it plays incredibly well as an album.

And with that said, the band absolutely smokes.  It helps when each member is a seasoned pro - JJ Johnson, Leo Parker, Joe Newman, etc, etc.  It varies in size from track to track, but overall the idea is a "little big band".  One thing you will notice straight away is the weight that this band can produce.  Jacquet has basically put together a small group which can operate as a big band when called upon.  I love it.  And having dual trumpet players is one unique aspect to a band of this size.  The whole thing swings hard and is overall a definite shade of blue.  We are treated to all kinds of fun as the members all get to express themselves here, including Illinois' brother Russ who puts in some vocals on Try Me One More Time.

Flying Home is essentially a "Cole's Notes" of the impeccable Mosaic boxset which captured all of Jacquet's recordings from this period.  For those of you who are fortunate enough to have the boxset, this CD is probably not for you.  However for everybody else, including anybody looking to discover Illinois Jacquet, this album is an absolute gem.  I will include the AMG review which is glowing but curiously only scored the album a 3/5 stars.  I would say this set of classic tunes is without a doubt 4/5.  I have included all the scans and ripped the disc using EAC for 16/44.1 FLAC... enjoy!!!

This is a great selection of Jacquet's late-'40s/early-'50s work, hot on the heels of his success with Jazz At The Philharmonic and his tenure with the Lionel Hampton Band. There's lots of honking and squealing coupled to Jacquet's patented abrasive tone, one of the most exciting in jazz, heard to good effect on "Jet Propulsion." Jacquet's brother Russell vocalizes on "Try Me One More Time," making himself a worthy foil, and stalwarts like Leo Parker, Shadow Wilson and J.J. Johnson are counted up in the mix. The closing track is somewhat of a ringer; recorded live in 1967 at the Newport Folk Festival, it's a high voltage take on the the title cut with Illinois' old boss Hampton making a guest appearance. - Cub Koda/AMG

Bluebird / RCA 1992

1. Jet Propulsion 

2. Try Me One More Time 

3. Riffin' at 24th Street 

4. Symphony in Sid 

5. Jacquet for Jack the Bellboy 

6. Big Foot 

7. Black Velvet 

8. B-Yot 

9. Adam's Alley 

10. Hot Rod 

11. Flying Home

Shirley Scott - Now's The Time (1967) [vinyl>flac]

Now's the Time is an album by organist Shirley Scott compiling several tracks recorded between 1958 and 1964 and released on the Prestige label in 1967. "This is early Scott, several takes from different sessions for this Prestige release", Allmusic.

Yes once upon a time jazz was a man's world but with gals like Shirley Scott around some of the cats are beginning to get inferiority complexes. Like isn't a woman’s place in the kitchen! Not when she happens to be Shirley Scott. Her latest cooking is done on a Hammond, not a stove. ~ Extract from Liner Notes by Mark Gardner.

Prestige Records, PR 7440, 1967

Recorded 27th May, 1958 (#A3); 23rd October, 1958 (#B2-B4);
23rd June, 1960 (#B1); 22nd August, 1961 (#A2)
& 31st March, 1964 (#A1) at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Shirley Scott - Organ

Joe Newman - Trumpet (#A2)

Stanley Turrentine - Tenor Saxophone (#A1)

Oliver Nelson - Tenor Saxophone (#A2)

Lem Winchester - Vibraphone (#B1)

Bob Cranshaw - Bass (#A1)

George Tucker - Bass (#A2)

George Duvivier - Bass (#A3-B4)

Otis Finch - Drums (#A1)

Roy Brooks - Drums (#A2)

Arthur Edgehill - Drums (#A3-B4)

Track Listing:

A1. As It Was {Milt Jackson, Shirley Scott} (5:24)

A2. How Sweet {Shirley Scott} (7:22)

A3. Ebb Tide {Robert Maxwell, Carl Sigman} (4:11)

B1. Now's The Time {Charlie Parker} (4:26)

B2. That's Where It's At {Shirley Scott} (3:21)

B3. Cafe Style {Shirley Scott} (4:27)

B4. Out Of This World {Harold Arlen, Johnny Mercer} (4:27)

Credits:

Producer - Ozzie Cadena (#A1)

Producer - Bob Weinstock (#A3)

Producer - Esmond Edwards (#A2,B1-B4)

Recording Engineer - Rudy van Gelder

Liner Notes - Mark Gardner (June 1967)

Count Basie and Joe Williams - Just The Blues

Re-upped by request... even if only one person benefits from this re-up, it was worth it to me.  A must own album for any jazz fan.  I also want to let you guys know that "Basie Rides Again" is still active.

This is without a doubt my favorite Basie/Williams side, and overall, one of my favorite Basie albums.  Some of you have undoubtedly picked it up from me at a couple of other blogs, but it's never seen light at the Crypt.

Basie and Williams masterfully interpret the blues using all of their skill.  At moments, Basie has the band roarin while at others, you would think it's little more than a trio backing Williams.

This has never seen a CD reissue but was infact included on the Basie Mosaic set.  My copy is actually an EMUS reissue, which I bought still sealed.  I can tell you that this is one of my greatest rips - ever.  For those of you who have followed my posts, I think you know that I don't make statements like that too often.  The dynamics are perfect and this album will really hit you in the gut at different points.

Just The Blues was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  My hope is to share my Basie Roullette vinyl, most of which is unavailable and OOP.  The last iteration of The Crypt was seriously lacking Basie, lets change that.  Enjoy!!!

Roullette Records
R-52054
1960

A1 Confessin’ The Blues
A2 Mean Old World
A3 Trav’lin’ Light
A4 Key To The Highway
A5 Lyin’ Woman
B1 Chains Of Love
B2 Mean Mistreater
B3 Keep Your Hand On Your Heart
B4 Night Time Is The Right Time (When The Sun Goes Down)
B5 Tomorrow Night

Sonny Cohn, Thad Jones, Joe Newman, Snooky Young (tp)
Henry Coker, Al Grey, Benny Powell (tb)
Marshall Royal (cl,as)
Frank Wess (as,ts,fl)
Frank Foster, Billy Mitchell (cl,ts)
Charlie Fowlkes (bar)
Count Basie(p)
Freddie Green (g)
Eddie Jones (b)
Sonny Payne (d)
Joe Williams (vcl)

Count Basie - Basie Rides Again

 I really must insist you read the album notes for a great overview of this album. These sides really display everything that made the Basie band so legendary.  We are also treated to some not-so-typical scenarios... 1) Basie directing w/ Oscar Peterson on piano and 2) Oscar Peterson on piano & Basie on organ.  Al Hibbler handles vocals which is another treat.  Overall a really fun time.

I spent top dollar on this US original, it's absolutely minty. This glorious mono recording is what hi-fi is all about and I challenge those of you with remasters to compare.  The dynamics of the full band are enough to bring tears of joy to my eyes.  The brass has such incredible impact - that true musical reach that punches you in the chest.This was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  I hope it helps to shape your weekend... enjoy!!!

Jazz For Playboys

During the 50's, Savoy released quite a few mainstream jam sessions.  They generally revolved around the same batch of players, mostly culled from Basie's band.  The results were excellent and most importantly, consistent.  Jazz For Playboys is no exception and overall is a pleasant ride through jazzville.

You will find that this side gets listed under Frank Wess and Kenny Burrell's names... rightly so.  They appear on all of the tracks and definitely lead the charge as far as soloing is concerned.

I thought this would be a nice break from the Basie project, while still staying in a related sound.  This minty Savoy side is a 1985 reissue, ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Savoy Jazz MG-12095

Al Grey - Basic Grey

Mwha...MMMwhaaaaaaaa.

That one of a kind, distinct sound was Al Grey's calling card. Infact, he literally wrote the book on it. Grey's career is the stuff of jazz legend, setting the bar for all who follow. He did it all...composer, arranger, player, performer, recording artist, author, educator and all around purveyor of all things jazz.

Al Grey played for years with Count Basie, but luckily for us, set out to lay down his own path. For the most part, he brought his Basie bandmates along forming firstly the Al Grey/Billy Mitchell sextet, and The Basie Wing. During the 60's he recorded several wonderful sides for Argo/Cadet, the jazz arm of Chess Records.


Basic Grey is a collection from his Argo sessions. More specifically, it's actually 3 full length sides released on two LPs. This album was released on the Chess Jazz Masters Series, which took a close look at their jazz catalogue, re-issuing some greats. Unlike many of the two-fers that Prestige or Riverside released, Chess decided to give the listeners the full experience of each album, even keeping the track listings as they originally appeared. We are treated to Snap Your Fingers, The Al Grey/Billy Mitchell Sextet and The Last Of The Big Plungers. "Sextet" is actually a live album, recorded in NYC.

I will keep this review limited to generalizations. Clearly from the list of sidemen, this collection is a monster. Grey favours larger groups as far as the "small" group goes, usually between 6 - 9 players. The front line is generally weighed down with brass and as a result is real, real heavy. Dynamically the impact is just like a big band...fantastic.


All manner of tunes are called upon, but the consistent theme with Al Grey is the blues. It's best fit to his style, and he is relentless during a full on blues jam.


This double set is in NM condition. The fidelity of these recordings is outstanding making these transfers a real joy. Of course, they were ripped at 24/44.1 wav and dithered to 16/44.1 FLAC. The tracks from the live set are best enjoyed with no dead space or cross fade between. I have included all images from the original gatefold, and the notes will help to guide anyone wishing to re-tag these into single sides. And here we go again...Crypt style!! Enjoy!!

Snap Your Fingers:
Al Grey (tb); Billy Mitchell (ts); Dave Burns (tp); Bobby Hutcherson (vibes); Floyd Morris (p); Herman Wright (b); Ed Williams (d) also Al Grey (tb); Billy Mitchell (ts); Donald Byrd (tp); Herbie Hancock (p); Bobby Hutcherson(vibes); Herman Wright (b); Ed Williams (d)

The Last Of The Big Plungers: Al Grey (tb); Bennie Powell (tb); Joe Newman (tp); Billy Mitchell (ts); Charlie Fowlkes (bs); Floyd Morris (p); Ed Jones (b); Sonny Payne (d)

The Al Grey/Billy Micthell Sextet: Al Grey (tb); Billy Mitchell (ts); Henry Boozier (tp); Gene Kee (p); Art Davis (b); Jule Curtis (d); Ray Barretto (c)

Black And Blue

 Ripped from my I Giganti Del Jazz LP... ultra minty!!

Also made available on the Italian budget label I Ganti Del Jazz, this little-known effort finds veteran trumpeter Joe Newman (55 at the time) stretching out quite effectively on four standards and two originals. In what was his first opportunity to lead a recording session since 1962, Newman and his top-notch rhythm section (pianist Hank Jones, bassist George Duvivier and drummer Alan Dawson) swing their way through such songs as "Softly As In a Morning Sunrise," "Paper Moon" and "Fiddy's Moods."  - Scott Yanow

 

 

 

 

 

Curcio Editore GJ-50 / Black and Blue 

I Giganti Del Jazz Vol. 50


Recorded 1960??, Released 1972



Joe Newman - trumpet;  Hank Jones - piano;  George Duvivier - bass;  Alan Dawson - drums

1. Softly As A Morning Sunrise
2. It's Only A Papermoon
3. I Love My Woman
4. Fiddy's Moods
5. Summertime
6. Prelude To a Kiss

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This is a mint rip from my Classic Jazz reissue, as is the review.  A killer side to be sure...enjoy!!!

Also put out on the French Black & Blue label, this is one of the more obscure LPs to team together tenor saxophonist Eddie "Lockjaw" Davis and trumpeter Harry "Sweets" Edison. Lockjaw and Sweets always made for an exciting combination, constantly challenging each other to play with fire. Highlights of this particular encounter include "Jim Dawg," "Intermission Riff" and "Light and Lovely"; the two distinctive horn stylists are even able to uplift "The Good Life."  - Scott Yanow

Classic Jazz CJ116 / Black and Blue 33121
1975

Recorded on July 26th 1975 in Nice.

1. Jim Dawg
2. The Good Life
3. Meditation
4. Intermission Riff
5. Land Of Dreams
6. Light And Lovely

Eddie Lockjaw Davis - ts
Harry Sweets Edison - tp
Gerry Wiggins - p

Major Holley - b
Oliver jackson - d

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This was ripped from my mint I Giganti Del Jazz reissue.  The Curcio label was an Italian imprint, they put out a set of 100 albums, all reissues or out takes.

This album is a superb set, with both Tate and Buckner as expressive as can be.  Enjoy!!

 I Giganti Del Jazz Vol. 13 / Black and Blue 33014
Paris, France
1967

A1 - When I'm Blue (Tate), 10:50
A2 - You Have Changed (Fisher, Carey), 05:10
A3 - Day by Day (Weston, Stordhal), 06:45
B1 - Them There Eyes (Tracy, Tauber, Pinkard), 10:46
B2 - Margie (Davis, Conrad, Robinson), 10:29

Buddy Tate (Tenor Sax), Milt Buckner (Organ), Wallace Bishop (Drums)

Newport in New York '72 vol 5, The Jimmy Smith Jam

A look at the pictures on the cover would lead one to believe that this was a lovely outdoor event with everyone in good spirits and grooving on this dynamite band eh? Yeah, well that is not exactly how it went down; things may well have been pleasant and relaxed when these guys played that day but hardly ANYONE would have seen it!

Here is what happened: My buddy and I had popped the whole $7 for the floor of the stadium (see ticket ad below) and we arrived around 6:00 (as you can see it was scheduled for 7:00) only to find the doors already open and to our horror the music already started! We rushed in only to manage to catch the last 5 minutes of this set which ENDED at 6:25!!!!! When we and the others now filling the stadium realized what was happening we protested loudly - This Sucked! How could they possibly justify opening the doors and hour and a half to two hours early and have this act play for about 1000 people?

As more and more people poured in and were informed what had been done the mood turned ugly - people were shrieking obscenities at George Wein who made some lame apologies and a vague promise to bring them back later in the show (THAT never happened!). One particularly loud New Yorker must have harangued Wein for 2 hours minimum, following him everywhere, calling him a fat toad and demanding his money back. It got so bad Wein couldn't continue as MC over the waves of booing.

Sadly for us and seemingly everyone around us the evening had been poisoned beyond repair and the bad vibes continued, tempers were short, things got too crowded and the whole thing continued to go badly. Bad vibes, fights, Police taking on the bad mood too, it was a mess! I remember a few nice moments during Nina Simone but little else. We actually ended up leaving early and junking our plans to go back the following day; my first and last stadium show and only time in Yankee Stadium was an unmitigated disaster and we fled New York entirely the next morning. I went back the next year but nothing could ever temp me into a stadium show ever again.

Listening to this set now 40 years later, it is a shame that they couldn't have played for all of us because it is a lovely set and I'm sure that had it started at the proper time, the whole evening would have gone much better and some of the other music would be on these records too. You will notice that NOTHING else played that day has ever been published despite the big names - Hopefully the second day went a little better, it couldn't have been much worse.