Michael Dease - Coming Home (2012)

Trombonist Michael Dease's Coming Home is the evolutionary culmination of all of the small group work of which he has been a part. Dease's musical personality reveals itself fully on the disc, one he has populated with a very fine band and thoughtfully composed and selected pieces for that band. Dease's previous work as a leader on Dease Bones (Astrix Media, 2007), Clarity (Blues Back Records, 2008) and Grace (Legacy Jazz Productions, 2011), as well as with multi-reedist Sharel Cassity on Just For You (DW Records, 2009) and Relentless (Legacy Jazz Productions, 2009). Where Curtis Fuller is the patriarch, Wycliffe Gordon the earthy keeper of the flame (and Dease's teacher) and Luis Bonilla the Latin soul of the trombone, Dease is its intellectual heart. Following his fellow Augusta Georgia trombonist teacher to Juilliard, Dease established himself as part of an ambitious group of young musicians who were combining smarts, chops, bandstand and practice and translating that into recordings. Members of this group include Sharel Cassity, trumpeter Carol Morgan, and pianist Orrin Evans. Dease's compositional and performance approaches are ruled by passionate precision. His playing is exact and well-practiced. His tone is expansive and uniform through all registers. These characteristics are demonstrated immediately on the opening tune, "Solid Gold" where Dease shows great velocity in both head and solo playing. He adds mass to this velocity, creating an infectious momentum when playing with a mute as on Duke Ellington's "In a Sentimental Mood." Tony Lustig drops in with his tenor saxophone for the piece giving it a throaty presence. Lustig adds foundation to "Good and Terrible" with his crack baritone playing. His solo is at once gentle and virile on this angular, post-bop piece. Alto saxophonist Steve Wilson turns the gas on high, navigating Dease's complex circuitry. Dease rolls up his sleeves and gets his hands dirty on a searing performance of Oscar Peterson's "Blues Etude." While playing with his typical precision in the head, Dease begins to properly slur and wail in his solo, throwing off notes like pale blue sparks. He shares his solo space with bassist Christian McBride who amply demonstrates why he is Christian McBride and no one else. The instructive presence of pianist Renee Rosnes is heard throughout this fine disc as its timekeeper and drummer Ulysses Owens, Jr. Dease could not have put together a better band for this recording. He has come fully into his own as a leader. ~ by C. Michael Bailey, AllAboutJazz. 

D Clef Records, DCR 157, 2013
Recorded 12th August, 2012 at Alleycat Studios, South Orange, New Jersey 

Musicians:
Michael Dease - Trombone
Steve Wilson - Alto Saxophone
Renee Rosnes - Piano
Christian McBride - Bass
Ulysses Owens, Jr. - Drums
Eric Alexander - Tenor Saxophone (#11)
Tony Lustig - Tenor Sax (#4), Baritone Sax (#5)
Andrew Swift - Percussion (#10) 

Tracks:
01. Solid Gold {Michael Dease} (6:58)
02. Motherland {Michael Dease} (5:46)
03. Blues Etude {Oscar Peterson} (7:46)
04. In A Sentimental Mood {Duke Ellington; Arr. Michael Dease} (4:56)
05. Good & Terrible {Michael Dease} (7:01)
06. Lifewish {Renee Rosnes} (7:42)
07. The Shade Of The Cedar Tree {Christian McBride} (6:42)
08. Just In Time {Jule Styne} (3:41)
09. All Heath {Michael Dease} (6:30)
10. The Release {Michael Dease} (5:41)
11. Take It To The Ozone {Freddie Hubbard} (6:18) 

Total Time: 69:05 

Credits:
Producer - Michael Dease
Producer [Assistant], Mixing, Mastering, Graphic Design, Layout - Andrew Swift
Producer [Assistant] - Ulysses Owens Jr.
Engineer - John Lee
Photography [Cover] - Ernest Gregory
Photography [Inside] - Simon Yu
Liner Notes - Christian McBride 

Coming Home EPK

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

Eddie Fisher - Eddie Fisher & The Next One Hundred Years (1970)

A virtual primer in the art of soul-jazz guitar, Eddie Fisher and the Next Hundred Years is a record of uncommon virtue and consummate skill. A longtime R&B sideman, Fisher clearly relishes his turn in the spotlight, unspooling a series of endlessly inventive solos boasting the reach and consciousness of psychedelia. Fisher shifts gears effortlessly, transitioning from nuanced, intimate melodies to wild flights of fancy in the blink of an eye. Songs including "Jeremiah Pucket," "Land of Our Father," and "Either One" twist and turn like rides at an amusement park, achieving a comparable excitement and awe. ~  Extract by Jason Ankeny, AMG. 

Cadet Records, LPS 848, 1970
Cadet Records, LPS-848, 1999
Recorded 1970 at Archway Studios, St. Louis, Missouri 

Musicians:
Eddie Fisher - Guitar, Whistle [Human]
James Matthew - Piano, Electric Piano
Raymond Eldridge, Jr. - Bass
Johnny Johnson - Drums
Christina Fisher - Tambourine
Richard Nedler - Violin (#B2) 

Tracks:
A1. Jeremiah Pucket {Eddie Fisher} (4:40)
A2. Land Of Our Father {Eddie Fisher, James Matthews} (5:13)
A3. Either Or {Eddie Fisher} (5:41)
A4. Another Episode [In The Continuing Story Of Zeke And The Man] {Eddie Fisher} (2:55)
B1. Beautiful Things {Eddie Fisher} (12:00)
B2. East St. Louis Blues {Eddie Fisher} (4:09) 

Total Time: 34:38 

Credits:
Producer, Supervisor, Arranger - Eddie Fisher
Engineer - Oliver Sain
Remixing - Malcolm Chisholm
Art Direction - Michael Mendel
Photography - Bob Moore 

Land Of Our Father

Sonny Stitt - Featuring Howard McGhee (1967,61)

A concise compilation of works by two master jazz artists: Sonny Stitt and Howard McGhee. The tracks chosen are taken from two excellent 'Black Lion' releases arising out of two separate sessions; the first one held in Zürich from 1967 and the second held in New York City in 1961. Howard McGhee is featured on all tracks and six are his own compositions. The great altoist Sonny Stitt is joined by trumpet great Howard McGhee on the first half of the album along with pianist Walter Bishop, Jr., bassist Tommy Potter and drummer Kenny Clarke. For the second half of the album Howard McGhee takes over with his quintet comprising of tenorist Georg Coleman, pianist Junior Mance, bassist George Tucker and drummer Jimmy Cobb. All tunes are strong derivatives of bop and all players are at the top of their game. Many enthusiasts if they haven't done so beforehand will search out the original albums: Night Work & Shades Of Blue, Well Recommended! 

Jazz Life, 2473242, 1988
Recorded 18th October, 1967 (#1,2,4-6) at Turicop Studios, Zürich, Switzerland;
8th December, 1961 (#3,7-10) at Stea-Phillips Studios, New York City 

Musicians:
Sonny Stitt - Alto Saxophone (#1,2,4-6)
Howard McGhee - Trumpet (#1-10)
George Coleman - Tenor Saxophone (#3,7-10)
Walter Bishop, Jr. - Piano (#1,2,4-6)
Tommy Potter - Double Bass (#1,2,4-6)
Kenny Clarke - Drums (#1,2,4-6)
Junior Mance - Piano (#3,7-10)
George Tucker - Double Bass (#3,7-10)
Jimmy Cobb - Drums (#3,7-10) 

Tracks:
01. Night Work {Howard McGhee} (7:26)
02. Matter Horns {Eiger, Jungfrau} (10:43)
03. Shades Of Blue {Howard McGhee} (5:05)
04. Don't Blame Me {Dorothy Fields, Jimmy McHugh} (4:06)
05. Lover Man [Oh Where Can You Be] {Davis, Sherman, Ramirez} (5:15)
06. Hello {Howard McGhee} (6:50)
07. The Sharp Edge {Howard McGhee} (5:56)
08. Cool {Howard McGhee} (2:55)
09. The Day After {Tom McIntosh} (2:06)
10. Topside {Howard McGhee} (4:21) 

Total Time: 54:49 

Producer - Alan Bates
#1,2,4-6
Sonny Stitt - Night Work [Black Lion Records - BLP-307]
#3,7-10
Howard McGhee - Shades Of Blue  [Black Lion Records - BL-305] 

Matter Horns

Gap Mangione - Suite Lady (1978)

An Utter Classic
=============
Yet hardly known to those who weren't fortunate enough to have run across it back in the late seventies when the smooth jazz genre was in its ascendancy, though this isn't really smooth jazz as we've come to know it ~ it's rather fresher and funkier. Produced, recorded and even mixed by Larry Carlton at his own Room 335 studio in Hollywood, this is, for me, the pinnacle of Gap Mangione's musical career. And it's certainly not a Larry Carlton album with somebody else's name stuck on the cover, you may be pleased to learn. In addition to Mr. Mangione on a variety of keyboards (acoustic piano, ARP & Yamaha CS80 synthesizers & Fender Rhodes electric piano), we find Robert "Pops" Popwell (one of Larry Carlton's old pals from his days with the Crusaders), Mike Porcaro & Abe Laboriel (bass), (the now sadly late) Jeff Porcaro, Ralph Humphrey (later of Free Flight) & Peter Donald (drums & percussion), Joe Porcaro (congas & percussion), Greg Mathieson (acoustic and Fender Rhodes electric piano) and Dan Sawyer (sax & harmonica), plus strings and brass on selected tracks. Oh yes, Larry Carlton, as you might expect, played all the guitars. Mastering was undertaken by Bernie Grundman at A&M studios (and, coincidentally, A&M is the label on which this was issued). It's a touch on the bright side, but not disastrously so, and that touch of brightness is what's helped this album maintain its power and freshness after all these years. The opening track is unashamedly disco-ish (written, as it happens, by Larry Carlton) but, after that, the album settles down into a decidedly more sophisticated mood, not least the superbly bluesy Shh and King Snake, the latter followed by the superb title track which features a long-ish brass intro (trumpets, trombone and French horn) on which, with a good sound system, you can almost see each of the players standing side by side. You can certainly hear each of them breathing. This is a great album and I sincerely hope it won't be too much longer before it's reissued on CD. Though it's always difficult (I find) to get into an album several decades after its original release, Suite Lady might just be an exception to that general rule, whilst if you were there at the time, as they say, and like this particular genre of music, it might just be an indispensable memento of 1978 when the UK music scene was still pretty dire and people like me were looking across the pond for more inspiring fare. Still and always, one of my top ten albums. ~ Julian Stevens, Amazon.com. 

A&M Records, SP-4694, 1978
Recorded and mixed at Room 335, Hollywood, California

Musicians:
Gap Mangione - Synthesizer [ARP] (#A1,A4), Piano (#A2,A3,B1-B3), Fender Rhodes (#A2), Synthesizer [Yamaha C S 80] (#B1), Arranger [Brass] (#B1,B3,B4)
Chuck Findley - Trumpet (#A1,A2,B1-B4)
Bill Reichenbach, Jr. - Trombone (#A1,A2,B1-B4)
Vincent De Rosa - French Horn (#B3,B4)
Dan Sawyer - Tenor Saxophone, Harmonica (#A4)
Greg Mathieson - Piano [Acoustic] (#A1,A4), Fender Rhodes (#B2)
Larry Carlton - Guitar (#A1-A4), Arranger [Brass] (#A1,A2,B1,B2), [Strings] (#A3,B2)
Robert "Pops" Popwell - Bass (#A1,A2,B1)
Abraham Laboriel - Bass (#A3,B3)
Mike Porcaro - Bass (#B2)
Jeff Porcaro - Drums (#A1,A2,A4,B1,B2), Percussion (#A1,A2)
Peter Donald - Drums (#A3,B3)
Ralph Humphrey - Drums [Opening Statement Only] (#B1)
Joe Porcaro - Congas (#A1,A2,A4,B1), Percussion (#A1,A2,B1,B2)
Gerald Vinci - Concertmaster (#A2,A3,B2) 

Tracks:
A1. Mellow Out! {Greg Mathieson} (5:36)
A2. I Don't Know {Larry Carlton} (4:05)
A3. Shh {Greg Mathieson} (5:54)
A4. You Can't Cry For Help {Paul Bogush, Jr.} (3:32)
B1. Sister Jo {Gap Mangione} / Time Of The Season [Medley] {Rod Argent} (5:24)
B2. King Snake {Larry Carlton} (6:32)
B3. Suite Lady {Gap Mangione} (6:18)
B4. We Three [Scherzando] {Gap Mangione} (2:28) 

Total Time: 39:49 

Credits:
Producer, Recording, Mixing - Larry Carlton
Engineer [Second] - Steve Carlton
Engineer [Strings] - John Guess
Mastering - Bernie Grundman [A&M Studios]
Coordinator [Strings] - Gerald Vinci
Photography - Mark Hanauer, Raul Vega
Art Direction - Roland Young
Design - Phil Shima
Management - Richard Burkhart 

Suite Lady

Stanley Turrentine - Pieces Of Dreams (1974) [vinyl>re-rip]

“Pieces of Dreams” is an album by jazz saxophonist Stanley Turrentine, his first recorded for the Fantasy label after associations with Blue Note Records and CTI. The title track is certainly the tenorist’s standout on this LP, a classic for its time composed by Michel LeGrand, when jazz was entering a commercial period to counteract the onslaught of Rock/Pop. Turrentine's tenor is combined with various electric keyboards, guitarists, a few background vocalists, and strings, which are all arranged by Gene Page, who with Billy Page pen a couple of compositions. In many ways this album is very enjoyable despite its smooth jazz sound. Stanley still showcases his ability to handle his horn magnificently within some brilliantly arranged modern tunes. Certainly worth re-investigating! 

Fantasy Records, F-9465, 1974
Recorded 30th & 31st May, 1974 at Fantasy Studios, Berkeley, California 

Musicians:
Stanley Turrentine - Tenor Saxophone
Gene Page, John Miller, Sonny Burke - Keyboards
David T. Walker, Dean Parks, Ray Parker, Jr. - Guitar
Ron Brown - Bass
Ed Greene - Drums
Ed Moore - Drums (#A1)
Gary Coleman - Percussion
Joe Clayton - Congas
Carolyn Willis, Edna Wright, Myrna Matthews - Backing Vocals
Arranger, Conductor - Gene Page 

Tracks:
A1. Pieces Of Dreams {Alan Bergman, Marilyn Bergman, Michel LeGrand} (4:36)
A2. I Know It's You {Leon Ware} (4:08)
A3. Deep In Love {Billy Page, Gene Page {Arr.}, Johannes Brahms} (4:27)
B1. Midnight And You {Billy Page, Gene Page} (4:00)
B2. Evil {Stevie Wonder} (4:36)
B3. Blanket On The Beach {Billy Page, Gene Page} (6:23)
B4. I'm In Love {Bobby Womack} (4:02) 

Credits:
Producer - Billy Page, Gene Page, Stanley Turrentine
Executive Producer - Ron Granger
Production Coordinator - Olivia Page
Recording Engineer - Jim Stern
Additional Recording and Remix Engineer - Stan Ross
Art Direction - Phil Carroll
Art Direction, Liner Photography - Tony Lane
Cover Art - Jaymie Putnam

Renée Geyer - Moving Along (1977)

Released just over forty years ago, Moving Along was the first Renee Geyer album to be recorded in the US and released internationally. It also produced Renée's first Australian Top 20, the luscious "Stares And Whispers". It stands as a land mark release by one of Australia's greatest voices; a voice that has now found belated recognition amongst '70s soul and funk aficionados and collectors the world over. Moving Along was produced by former Motown staff producer Frank Wilson, who had previously written and produced hit records for Marvin Gaye, the Supremes, the Four Tops, the Temptations and others, and it featured, on some tracks, the absolutely legendary Motown bass player and Funk Brother James Jamerson. Ray Parker Jr on guitar - pre-Ghostbusters of course. Renée's own band also featured the former Chain bass player Barry 'Big Goose' Sullivan and Ayers rock keyboard player Mal Logan. Renée followed the album up with shows, including Melbourne Town Hall and Sydney's Regent Theatre, with one of our (or New Zealand's) great male soul singers, Leo De Catro and Rocco along for the ride. The album peaked at #11 in Australia. ~ Dave Laing, ILikeYourOldStuff.com. 

RCA Records/Mushroom Productions, VPL1-0140, 1977
Mushroom Records, MUSH32300.2, 1995
Recorded at Crystal Sound Recording, Los Angeles, California 

Musicians:
Renée Geyer - Vocals, Backing Vocals
Harry Booker, Jerry Peters, Mal Logan - Keyboards
Reginald Burke - Piano
Ray Parker, Jr., Greg Poree, Stephen Beckmeier - Guitar
James Jamerson, Nathan Watts, Barry 'Big Goose' Sullivan - Bass
Raymond Pounds - Drums
Jack Ashford, Frederick Lewis - Percussion
Venetta Fields, Sherlie Matthews, Pat Henerson, Tiemeyer McCain,
Otis Stokes, Frank Wilson - Background Vocals
Leader [Strings] - Charles Veal
Nica Rejto - Flute [Soloist]
Ernie Watts - Saxophone [Soloist] 

Tracks:
A1. Heading In The Right Direction {Mark Punch, Garry Paige} (3:01)
A2. Be There In The Morning {Renée Geyer, Mal Logan, Barry Sullivan} (4:27)
A3. Quicker Than The Eye {Harry Booker, Judy Wieder} (4:09)
A4. Tender Hooks {Ruth Copeland, Eric Thorngren} 4:39)
B1. Stares And Whispers {John Footman, Frank Wilson, Terri McFadden} (3:30)
B2. Just To Make Love To You {Greg Poree, Gralin Jerald} (4:45)
B3. Touch {Frank Wilson, Pam Sawyer} (4:50)
B4. Moving Along {Renée Geyer, Mal Logan, Barry Sullivan} (6:11) 

Total Time: 35:32 

Bonus Track:
Be There In The Morning [1976 Release] (3:46) 

Credits:
Producer, Mixing Engineer, Arranger - Frank Wilson [A Spec-O-Lite Production]
Recording & Mixing Engineer - Kevin Beamish
Mastering - Don Bartley
Management - Ray Evans
Creative Director - Hank Cosby
Art Direction: Basil Pao [AGI]
Photography - Norman Seef

Heading In The Right Direction [Video] (3:43)

Anita Baker - A Night Of Rapture - Live, 1986 (2004)

When you listen to this recording you get the full measure of Anita. By that I mean, you will find that what she does and is best at, is not by benefit of any studio technical wizardry. In many ways this recording is the equal of "Rapture" for its directness, it's straight to the point delivery. Anita's voice is rich with big, rich tones. Those exhortations and unique vocal embellishments hold you transfixed. The band is first rate and she is backed unobtrusively by a band of some exceptional musicians, most notably James Bradley, Jr. and Gerald Albright. For me, "Mystery" and "(Caught up in the) Rapture" actually surpass the studio versions because Anita is just so much more direct in concert. Nothing gets in the way. This is an enhanced CD with three video files from the accompanying video. This is an excellent concert recording. She even attempts Van Morrison's "Moondance" which has now become a standard especially within the jazz world. This is where the more contemporary band gives it a perfunctory performance but Anita transcends this and captures the jazzy feel of the piece, somewhat faithfully. It's the one departure from what we all know is the Anita Baker repertoire. A truly compelling concert recording. ~ ND, NY, Amazon.com. 

Atlantic/Rhino Entertainment, 8122-78144-2, 2004
Recorded Live at Constitution Hall Washington, DC, 1986 (#2-4)
Recorded Live at The Montreux Jazz Festival, Montreux, Switzerland, July, 1986 (#7)
Recorded Live on Tour, 1986 (#1,5,6,8,9) 

Musicians:
Anita Baker - Vocals
Bobby Lyle - Keyboards, Musical Leader
Garry Glenn - Keyboards, Backing Vocals
Gerald Albright - Bass Guitar, Saxophone
Donald Griffin - Guitar
James Bradley, Jr. - Drums
Freida Williams, Gina Taylor, Joanne Funderburg - Backing Vocals 

Tracks:
1. Caught Up In The Rapture {Dianne Quander, Garry Glenn} (5:30)
2. Mystery {Rod Temperton} (5:23)
3. Been So Long {Anita Baker} (5:53)
4. No One In The World {Ken Hirsch, Marti Sharron} (4:10)
5. Same Ole Love [365 Days A Year] {Darryl K. Roberts, Marilyn McLeod} (4:01)
6. Watch Your Step {Anita Baker} (6:17)
7. Moondance {Van Morrison} (4:07)
8. You Bring Me Joy {David Lasley} (4:34)
9. Sweet Love {Anita Baker, Gary Bias, Louis A. Johnson} (4:51) 

Total Time: 44:46

Enhanced Content:
1. Sweet Love [mp4] (5:12)
2. You Bring Me Joy [mp4] (4:30)
3. No One In The World [mp4] (4:08) 

Credits:
Compilation - Barry "Rockbarry" Benson
Art Direction Nancy L. Hopkins
Design - Saori Soga
Photography [Front, Inlay] - Clayton Call
Liner Notes - Gary Jackson

Melvin Sparks - Sparks! (1970)

Sparks! is the debut album by soul jazz guitarist Melvin Sparks recorded for the Prestige label in 1970. On this album Melvin is joined by trumpeter Virgil Jones, saxophonists Grover Washington Jr. and Houston Person, organist Leon Spencer Jr., drummer, Idris Muhammad and percussionist Buddy Caldwell. Even though Melvin chose predominantly popular commercial tunes for this album, he skillfully turns it into a solid soul-jazz outing. The LP contains five songs: ‘Thank You’ a cover of the popular Sly and the Family Stone Thank You (Falettinme Be Mice Elf Agin); ‘I Didn't Know What Time It Was’ is a straight-ahead guitar swinger; ‘Charlie Brown’ turned into a funky cover of the 1958 hit by the Coasters; ‘The Stinker’ another funky blues tune with a soul-jazz feel, featuring Houston Person on tenor saxophone, and again he is heard on ‘Spill The Wine’ which is a funky jam version of the radio hit by Eric Burdon & War released earlier in 1970. Sparks would go on to release another two albums on Prestige “Spark Plug” & “Akilah!”, each showcasing his technical richness, fine improvisations and wonderful phrasing reminding the listener of the style portrayed by Grant Green, probably his most immediate precursor. Only Houston is the sole surviving member of this wonderful band, a superb start to an extraordinary career, enjoy!

Prestige Records, PRST 10001, 1970

BGP Records, BGPD 1065, 1993

Recorded 14^th September, 1970 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Melvin Sparks - Guitar

Virgil Jones - Trumpet

Houston Person - Tenor Saxophone (#A3,B1)

John Manning - Tenor Saxophone

Leon Spencer, Jr. - Organ

Idris Muhammad - Drums

Tracks:

A1. Thank You {Sylvester Stewart} (7:59)

A2. I Didn't Know What Time It Was {Richard Rodgers, Lorenz Hart} (6:27)

A3. Charlie Brown {Jerry Lieber, Mike Stoller} (5:46)

B1. The Stinker {Leon Spencer, Jr.} (6:53)

B2. Spill The Wine {Papa Dee Allen, Harold Ray Brown, B.B. Dickerson, Lonnie Jordan, Charles Miller, Lee Oskar, Howard Scott} (10:56)

Total Time: 38:01

Credits:

Supervisor, Liner Notes - Bob Porter

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Photo - Al Johnson

Grover Washington, Jr. - All The King's Horses (1972) [vinyl]

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kudu imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well - especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous - and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington - who could inject pure soul into even the dullest music of Lawrence Welk - is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions. ~ by Thom Jurek, AMG.

Kudu Records, KU-07, 1972

Recorded 19^th May-June, 1972 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Grover Washington, Jr. - Alto Saxophone, Tenor Saxophone

Alan Rubin, Ernie Royal, Snooky Young, John Frosk, Marky Markowitz, Marvin Stamm - Trumpet, Flugelhorn

Paul Faulise, Tony Studd, Wayne Andre - Trombone

Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge - French Horn

George Marge - Alto Saxophone, Flute, English Horn, Oboe, Recorder

Pepper Adams - Baritone Saxophone

Arthur Clarke - Baritone Saxophone, Flute

Bob James - Electric Piano, Harpsichord

Richard Tee - Organ

Cornell Dupree, David Spinozza, Eric Gale - Guitar (#A1-B1,B3)

Gene Bertoncini - Guitar

Ron Carter - Bass

Gordon Edwards - Bass (#A1)

Bernard Purdie - Drums

Billy Cobham - Drums (#A4,B2,B3)

Ralph MacDonald - Congas

Airto Moreira - Percussion

Strings:

Margaret Ross - Harp

Charles McCracken, George Ricci - Cello

Emanuel Vardi, Richard Dickler - Viola

Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff,
Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle,
Max Ellen, Paul Gershman - Violin

Tracks:

A1. No Tears, In The End {Ralph MacDonald, William Salter} (3:49)

A2. All The King's Horses {Aretha Franklin} (3:48)

A3. Where Is The Love {Ralph MacDonald, William Salter} (5:07)

A4. Body And Soul [Montage] {Heyman, Sour, Eyton, Green} (3:02)

B1. Lean On Me {Bill Withers} (4:25)

B2. Lover Man {Jimmy Davis, Jimmy Sherman, Roger Ramirez}

      Interlude #2 {Bob James} (7:01)

B3. Love Song 1700 {Adapted ex Henry Purcell, Arr. Bob James} (4:51)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bob James

Design [Album] - Bob Ciano

Photography [Album] - Pete Turner

Grover Washington, Jr. - Inner City Blues (1971) [vinyl]

This 1971 date was Washington's first as a leader, after playing and recording with the small organ combos of Charles Earland and Johnny "Hammond" Smith. It's unheard-of for a jazz musician to make his debut complete with strings, horns, and vocal group, but Washington apparently got the opportunity when the backing tracks were in place for a Hank Crawford album and Crawford was out of the country. Stranger still, Washington is usually playing alto here rather than his customary soprano or tenor. It was an instrument he hadn't played in years, and the result of his horn switching is a compellingly original sound that's almost soprano-like. Despite the circumstances, Washington brings a lot of himself to this music, making personal statements of two contemporary Marvin Gaye songs, "Inner City Blues" and "Mercy, Mercy Me," and the standards "Georgia on My Mind" and "I Loves You, Porgy." He also puts together an effective combination of Bill Withers's "Ain't No Sunshine" and J.J. Johnson's "Theme from Man and Boy." Whether it's the tight combo of "Inner City Blues" or the full-blown orchestra with strings and backing vocals, this is soul jazz of the first rank. ~ Adam Rains.

Kudu Records, KU-03, 1971

Recorded September, 1971 at Van Gelder Studios, Englewood Cliffs, New Jersey

Musicians:

Grover Washington, Jr. - Alto & Tenor Saxophones

Thad Jones - Trumpet, French Horn

Eugene Young - Trumpet, Flugelhorn

Wayne Andre - Trombone

Don Ashworth - Baritone Saxophone

Bob James - Electric Piano

Richard Tee - Organ

Eric Gale - Guitar

Don Ashworth, Ron Carter - Bass

Idris Muhammad - Drums

Airto Moreira - Percussion

Strings:

Alan Shulman, Anthony Sophos, Charles McCracken, Maurice Brown - Cello

Harry Katzman, Julius Brand, Julius Held, Leo Kahn, Max Pollikoff, Paul Gershman, Paul Winter, Raoul Poliakin - Violin

Vocals:

Hilda Harris, Maretha Stewart, Marilyn Jackson, Tasha Thomas

Tracks:

A1. Inner City Blues {Marvin Gaye} (7:10)

A2. Georgia On My Mind {Hoagy Carmichael, Stuart Gorrell} (4:39)

A3. Mercy Mercy Me [The Ecology] {Marvin Gaye} (5:06)

B1. Ain't No Sunshine {Bill Withers} / Better Days {J.J. Johnson} (8:33)

B2. Until It's Time For You To Go {Buffy Sainte-Marie} (4:36)

B3. I Loves You Porgy {DuBose Heyward, George & Ira Gershwin} (5:06)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bob James

Design [Album] - Bob Ciano

Photography - Steve Salmieri

This is one of Grover Washington Jr.'s finest, yet funky, and complex works. Creed Taylor (a musical magician) had obviously been an inspiration as a producer. In Grover's later works, it shows. This one is so very soulfully deep, it is not to be missed for any Grover collector! ~ Beverly P, Amazon.

This is vintage Grover Washington in all his melodic genius and mellow tones. Grover's soulful style and creative riffs will entice new listeners to this genre as it continues to amaze and delight longtime jazz and soul fans since it's release in 1971. ~ Nora Rellihcs, Amazon

David "Fathead" Newman - Keep The Dream Alive (1978)

An overlooked Jazz-Funk/Soul Jazz classic from the late seventies. As a profoundly versatile musician and composer “Fathead” showcases his agility on flute, alto, tenor and soprano. With the crafty arrangements of William Fischer, Newman turns an interesting mix of well-known pop compositions and other less exposed and challenging tunes into prodigious music. For this album Newman is joined by a sterling array of fine players. With the likes of George Cables, Hilton Ruiz, Lee Ritenour, Wilbur Bascomb Jr., Idris Muhammad the listener is in for an enthusiastic piece of entertainment that doesn’t falter, Enjoy!

Prestige Records, PR 10106, 1978

Recorded 23^rd May-July, 1977 at Fantasy Studios, Berkeley, California

Musicians:

David "Fathead" Newman - Flute (#A1,A3,B3), Alto Saxophone (#A1,B2,B3),
Tenor Saxophone (#A2-A4), Soprano Saxophone (#B1)

Jeff Davis, Larry Moses - Trumpets

Janice Robinson, Earl McIntyre - Trombones

Ed Xiques - Baritone Saxophone

Kenneth Harris - Flute

George Cables - Electric Rhodes (#A3,A2,B1), Clavinet (#A1,A2),

Acoustic Piano (#A4,B2) Electric Piano [Yamaha Grand] (#B3)

Hilton Ruiz - Electric Rhodes (#A1,B2,B3), Clavinet (#A4,B1), Acoustic Piano (#A2,A3)

Lee Ritenour - Guitar (#A3,B1-B3)

George Davis - Guitar

Wilbur Bascomb, Jr. - Electric Bass

Idris Muhammad - Drums

Bill Summers - Percussion (Except #B1)

Yvonne Fletcher - Vocals

Renee Manning - Vocals (Except #A2)

William Fischer - Conductor

Tracks:

A1. Keep The Dream Alive {David "Fathead" Newman} (5:37)

A2. Destiny {David Batteau, Richard Holland} (4:47)

A3. Silver Morning {Kenny & Yvonne Rankin} (3:30)

A4. Freaky Beat {David "Fathead" Newman, William Fischer} (5:37)

B1. I Am Singing {Stevie Wonder} (6:30)

B2. Clouds {Durval Ferreira, Maurício Einhorn} (5:57)

B3. As Good As You Are {William Fischer} (6:18)

Credits:

Producer - Orrin Keepnews

Producer, Arranger - William Fischer

Recording Engineer - Eddie Bill Harris

Recording & Remix Engineer - Steve Williams

Assistant & Remix Engineer - Dan Kopelson

Mastering Engineer - John Golden

Art Direction - Phil Carroll

Photography - Phil Bray

Design - Dennis Gassner

David "Fathead" Newman - Scratch My Back (1979) [vinyl>flac]

Here's another LP by David "Fathead" Newman which has been cast aside; this time from 1979 when Disco/Jazz Funk was trying to counteract the onslaught of Rock music and all its derivatives. This album is arranged and co-produced by William Fischer whom also co-writes with Newman four tunes. Many of the tracks are backed by vocals, especially Side A, but the balance showcase many well-known artists giving the listener many an opportunity to hear some great playing. These include: Randy Brecker, Earl McIntyre, James Buffington on horns, Richard Tee, Kevin Toney on keyboards, Cornell Dupree, Eric Gale on guitar, Ron Carter on bass, Harvey Mason on drums and Bill Summers on congas etc.,. Highlights include "Two Can Do It", "Scratch My Back", "After The Ball" & “The Buggs”. An album easily overlooked or put down by jazz purists but in many ways it is a great example of a new style that was emerging in the late seventies, listen with revived appreciation and enjoy!

Prestige Records, P-10108, 1979

Recorded March, 1979 at Fantasy Studios, Berkeley, California

Personnel:

David Newman - Flute, Soprano, Alto & Tenor Saxophones

Randy Brecker, Jon Faddis - Trumpet

Earl McIntyre - Trombone

James Buffington - French Horn (#A3)

Jerry Dodgion, Kenneth Harris, George Marge - Flute

Richard Tee - Acoustic Piano (#A1-A3,B3,B4)

Kevin Toney - Electric Piano, Clavinet, Synthesizers

Cornell Dupree - Guitar (#A3,B1-B4)

Eric Gale - Guitar (#A1,A2)

Ron Carter - Acoustic Bass (#A1-A3,B3,B4)

Wilbur Bascomb, Jr. - Electric Bass (#A3,B1,B2)

Harvey Mason - Drums

Bill Summers - Congas, Percussion

Flame Braithwaite, Deborah McGriff, Bessie Ruth Scott, Tanyette - Vocals

and Strings

Tracks:

A1-A2. One Step At A Time_You Gotta Keep Gotta Keep Dancin' {Newman, Fischer} (12:22)

A3. Two Can Do It {David "Fathead" Newman, William Fischer} (6:32)

B1. Scratch My Back {Kevin Toney} (5:51)

B2. Rock Me,Baby [Like My Back Ain't Got No Bone] {Kevin Toney, Bessie Scott} (5:32)

B3. After The Ball {David "Fathead" Newman, William Fischer} (3:40)

B4. The Buggs {Claude Johnson} (3:26)

Credits:

Producer - Orrin Keepnews, William Fischer

Arranger - William Fischer

Recording Engineer - Vince McGarry

Assistant Engineer - James Faber

Art Direction - Phil Carroll

Design - Kris Johnson

Photography - Phil Bray

Lou Donaldson - Color As A Way Of Life (1977) [vinyl>flac]

Lou Donaldson made two Cotillion albums at the tail-end of the 70s; "Different Scene" and this one. Although not looked upon favourably Donaldson does not disappoint. He is joined by veteran horn players Ernie Royal and Seldon Powell, and just those guys alone bolster the album.

There are some sweet moments here despite the routine arrangements, sterile production and cut-rate roster, close to half of whom count this album as either their only credit or one of less than a handful. Except for drummer Jimmie Young most of the rhythm section were nobodies and both horn and string sections were split down the middle as far as seasoned session vet vs. unknowns is concerned. On the plus side, it's obvious a lot of these guys were going for broke and giving it their best shot, especially William Phipps on the rhodes (check out the sweet washes and nimble solos he sprinkles throughout) and A.C. Drummer on the guitar (this man loves the phased wah-wah sound for better or worse).

A couple cookers, a few ballads and a bit of funk make it worth the minimal fee but don't expect any revelations from Lou, who maintains his standard of techical excellence even though he tends to get buried in the busy arrangements or lost in the mix. Not essential by any means but it will have appeal for the more forgiving fans of LD and those of Jazz-Disco-Funk fusion in general. ~ soundological

Cotillion Records, SD 9915, 1977

Recorded December, 1976 at Groove Sound Studios, New York City

Personnel:

Lou Donaldson - Alto Saxophone

Ernie Royal - Trumpet, Flugelhorn

John Drew Kelly - Trombone, Bass Trombone

Paul G. Bogosian - Trumpet, Flugelhorn

Seldon Powell - Flute, Baritone Saxophone

William Phipps - Fender Rhodes, Clavinet

A.C. Drummer, Jr. - Guitar

Jacob Hunter - Bass

Jimmie Young - Drums

Raphael Cruz - Percussion, Conga

Irving Spice - Violin

Elliott Rosoff - Violin

David Sackson - Violin

Louis Stone - Violin

Jacqueline Copeland - Vocals (#A3)

Track Listing:

A1. Too Much Too Explain {Al Broomfield} (4:15)

A2. Love For Sale {Cole Porter} (5:05)

A3. A Piece Of Your World {Al Broomfield} (4:33)

A4. Passion Fruit {Lou Donaldson, Johnny Brantley, Rick Willard} (4:04)

B1. [Comin' Thru] The Backdoor {Al Broomfield} (3:44)

B2. Ebb Tide {Carl Sigman, Robert Maxwell} (5:24)

B3. Maker's Dream {Lou Donaldson} (4:57)

B4. Walkin' Sally {Lou Donaldson} (4:47)

Credits:

Producer - John Brantley, Rick Willard

Arranger - Mike Goldberg

Engineer - Eddie Youngblood

Mastering - Dennis King (Atlantic Recording Studios)

Notes:

Mixed at Music Farm Studio, New York City

Hank Crawford - Help Me Make It Through The Night (1972) [vinyl>flac]

Help Me Make It Through the Night is one of those Hank Crawford albums: large band, many horns, funky chunky Hammond B-3, strings, and polyrhythms dropping all over the arrangements by Don Sebesky and company. This 1972 set by Crawford is an exemplary portrait of his movin' and groovin' style. With the help of Sebesky and Pee Wee Ellis, Crawford provides the deep groove side of his work without reservation. Jazz takes a back seat as the R&B pours forth all sweaty, greasy, and dripping with a raw, honeylike sweetness. With cats like Airto, Eric Gale, Cornell Dupree, Grover Washington, Jr., Pepper Adams, Snooky Young, and Richard Tee in the house, a masterful groove session was to be expected. Listeners get their money's worth after the opener, which is the title track. With the Junior Walker stinging alto countered by the Hammond, the mess is loose and the vibe is pure downtown. Other cuts such as "Imagine," "Go Away Little Girl," "Brian's Song" -- perfect string arrangement by Sebesky -- and "In the Wee Small Hours of the Morning" make this a date of some of the most stellar covers Crawford ever cut. There are no extra notes, but there are plenty of extra beats; the improvisation is red hot, but the strings and supporting rhythm section are out of this world. Help Me Make It Through the Night is indeed one of those Crawford records. ~ Thom Jurek, Rovi

Kudu Records, KU-06, 1972

Recorded January 1972, except #B3 August 1971 at Van Gelder Studios, Englewood Cliff, New Jersey

Personnel:

Hank Crawford - Alto Saxophone, Tenor Saxophone (#B3)

Grover Washington, Jr. - Tenor Saxophone (#B3)

Pepper Adams - Baritone Saxophone (#B3)

Al DeRisi, Eugene "Snooky" Young - Trumpet (#B3)

Wayne Andre - Trombone (#B3)

Richard Tee - Organ (#A1,A4,B3,B4), Piano (#A2,A3), El-Piano (#B1,B2)

Phil Kraus - Vibraphone (#A1,A4,B1)

Cornell Dupree - Electric Guitar

Eric Gale - Electric Guitar (#B3)

Ron Carter - Bass (#A2-A4,B1,B2,B4), Electric Bass (#A1,B3)

Bernard Purdie - Drums

Idris Muhammad - Drums (#B3)

Airto Moreira - Percussion (#B3)

Strings Section [All Tracks, except #B3]:

Bernard Eichen, Felix Giglio, Emanuel Green,
Harold Kohon, Harry Lookofsky, Joe Malin,

Gene Orloff, Max Polikoff, Elliot Rosoff - Violin

Alfred Brown, Theodore Israel, Emanuel Vardi - Viola

Charles McCracken, George Ricci - Cello

Margaret Ross - Harp

Track Listing:

A1. Help Me Make It Through The Night {Kris Kristofferson} (5:53)

A2. Brian's Song {Michel Legrand} (3:24)

A3. Uncle Funky {Hank Crawford} (5:36)

A4. In The Wee Small Hours Of The Morning {Bob Hilliard, Redd Evans} (2:51)

B1. Go Away Little Girl {Gerry Goffin, Carole King} (4:21)

B2. Imagine {John Lennon} (4:07)

B3: Ham {Alfred Ellis} (3:09)

B4. The Sun Died {Ann Grégory, Hubert Giraud, Pierre Delanoë, Ray Charles} (4:09)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger - Don Sebesky, Pee Wee Ellis (#B3)

Album Design - Bob Ciano

Photography - William Cadge