Kengo Nakamura - Generations (2008)

Top bassist Kengo Nakamura, who is active on the front lines in New York, releases his fifth album after two years. The first trio album that spotlights the blues spirit that has been passed down from generation to generation from the pioneers of jazz to the present. Featuring two piano players, master Junior Mance and up-and-coming Danny Grissett, and drummer Clarence Penn, known for his co-stars with Makoto Ozone, Maria Schneider, Dave Douglas, etc., also fully participates. Don't miss the dynamic and realistic sound created by Grammy Award-winning engineer Joe Ferla. ~ fiftyfiverecords.com. [Translated from Japanese] 

55 Records, FNCJ-5528, 2008
Recorded 25th & 26th June, 2008 at Avatar Studio C, New York City 

Musicians:
Kengo Nakamura - Bass
Danny Grissett - Piano (#1,4-6,8,9)
Junior Mance - Piano (#2,3,7)
Clarence Penn - Drums (Except #2,6,10) 

Tracks:
01. Mingus Figures {Kengo Nakamura} (4:51)
02. The Single Petal Of A Rose {Duke Ellington} (5:18)
03. The Shepherd {Kengo Nakamura} (4:39)
04. Generations {Kengo Nakamura} (6:34)
05. Ellis Island {Kengo Nakamura} (7:33)
06. Reincarnation Of A Lovebird {Charles Mingus} (4:51)
07. Julian's Shuffle {Kengo Nakamura} (6:33)
08. Eternal Landscape {Kengo Nakamura} (5:10)
09. Chase The Chaser {Kengo Nakamura} (3:31)
10. Just Squeeze Me {Duke Ellington, Lee Gaines} (4:15) 

Total Time: 53:15

Credits:
Producer - Kengo Nakamura
Executive Producer - Hiroshi Itsuno
Recording Engineer - Joe Ferla
Assistant Engineer - Justin Gerrish
Mastering - Mark Wilder [Battery Mastering]
Photography - Michael Black [Black Sun Studio]
Artwork - Ruri Fujita [Design R]
Liner Notes - Hijiri Kanno 

Reincarnation Of A Lovebird

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

Junior Mance + Joe Temperley - Monk (2003)

In November of 2000 aboard a ship adrift on the Atlantic Ocean, reedman Joe Temperley joined pianist Junior Mance's Floating Jazz Festival Trio in what proved to be a perfect setting for a tribute to the music of Thelonious Monk. Like Monk, the waters beneath them were capable of powerful swings and torrents, and also like Monk, their music was pronounced amid a shroud of relative isolation.

Throughout this live set, Temperley and Mance - joined by the gifted rhythm section of bassist Peter Washington and veteran drummer Mickey Roker—drive Monk's music to deserved heights and moody lows. The opener, "Blue Monk," is given a gin-soaked treatment by Temperley's swaying bass clarinet, which is then reinforced by an appropriately blue-hued Mance solo and finally cemented by Washington's spot-lit rolls and picks.

On "Ask Me Now," Temperley cedes the floor to the trio, leaving them to take on one of Monk's more lyrical and melancholic works. They do so ably and with utmost care - evoking an image of Monk as the delicate dynamo he was. Another highlight is the group's work on the infectiously swinging "Rhythm-A-Ning." Mance pulls out all the stops from gate to gate, while Temperley, on baritone sax, flutters and flips his way through with remarkable dexterity.

From start to finish, it is evident that these four know their Monk. In fact, so familiar are they with the material that they infused it with a charming, lived-in quality which few other ensembles could manage. Their approach to the artist is hardly revolutionary, but rather warm, intimate and accustomed.

It's hard to say whether Monk ever sailed the seas on a sprawling cruiseliner, but thanks to Mance, Temperley and company we now know that setting would have agreed with him just fine. ~ by Riel Lazarus, AAJ.

Chiaroscuro Records, CR(D)370, 2003

Recorded 1^st, 4^th November, 2000 (#1-7) Aboard Queen Elizabeth 2, Atlantic Ocean;

28^th October, 1996 (#8) onboard S/S Norway, Caribbean Sea

Musicians:

Junior Mance - Piano

Joe Temperley - Soprano & Baritone Saxes, Bass Clarinet

Peter Washington - Bass

Keter Betts - Bass (#8)

Mickey Roker - Drums

Jackie Williams - Drums (#8)

Tracks:

1. Blue Monk (9:08)

2. Little Rootie Tootie (8:19)

3. Ba-Lue Bolivar Ba-Lues-Are (7:25)

4. Ask Me Now (9:14)

5. I Mean You (7:48)

6. Rhythm-A-Ning (6:51)

7. Straight No Chaser (7:47)

8. Hackensack (9:43)

All Compositions by Thelonious Monk

Credits:

Producer SOS Productions with HOSS Inc. and Floating Jazz Festival

Recording, Remixing & Digital Mastering - Jon Bates [Downtown Sound]

Cover Design - Richard Merkin

Photography - Rollo Phlecks

Liner Notes - Paul Bacon

Gene Ammons - Makes It Happen (1948-51) [re-rip]

This 1967 Cadet release repackages the 1958 Chess date Soulful Saxophone, itself a session originally recorded in 1950 in the months prior to Gene Ammons' landmark stint with the Prestige label--and while the provocative cover suggests a collection of lush romantic ballads, Gene Ammons Makes It Happen is instead deep and dark, underscored by the tenorist's potently soulful sound. A melancholy reading of "My Foolish Heart" was Ammons' first hit and sets the tone for the remainder of the material, which boasts an affecting, late-night atmosphere--the music absolutely marinates in echo, transcending the waking world into the dreamscape. ~ Jason Ankeny, AMG.

Argo Records, LPS-783, 1967

Cadet Records, CA 783, 1977

Recorded October 1948 through May 1951 in Chicago, Illinois

12^th October, 1948; (#B5)

28^th February, 1949; (#B4)

8^th January, 1950; (#B1)

2^nd May, 1950; (#A1,A3,B3)

August, 1950; (#A2,A4)

3^rd May, 1951; (#A5,B2)

Personnel:

Gene Ammons - Tenor Saxophone

Bill Massey - Trumpet (#A1-A4,B3)

Matthew Gee - Trombone (#A1-A4,B1,B3)

Charlie Bateman - Piano (#A1-A4,B3)

Gene Wright - Bass (#A1-A5,B2,B3)

Wesley Landers - Drums (A1-A4,B1,B3,B5)

Sonny Stitt - Baritone Saxophone (#A2,A4)

Junior Mance - Piano (#A5,B1,B2)

Teddy Stewart - Drums (#A5,B2)

Jesse Miller - Trumpet (#B1)

Leo Blevins - Guitar (#B1,B4)

Leroy Jackson - Bass (#B1,B5)

Christine Chatman - Piano (#B4,B5)

Lowell Pointer - Bass (#B4)

Ike Day - Drums (#B4)

Tom Archia - Tenor Saxophone (#B5)

Tracks:

A1. My Foolish Heart {Victor Young, Ned Washington} (2:48)

A2. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (2:59)

A3. Goodbye {Gordon Jenkins, Benny Goodman} (3:08)

A4. Can Anyone Explain {Bennie Benjamin, George David Weiss} (2:52)

A5. It's You Or No One {Jule Styne, Sammy Cahn} (2:43)

B1. Pennies From Heaven {Johnny Burke, Arthur Johnston} (2:36)

B2. Happiness Is A Thing Called Joe {Harold Arlen, E.Y. "Yip" Harburg} (2:48)

B3. You Go To My Head {J. Fred Coots, Haven Gillespie} (2:59)

B4. Once In A While {Michael Edwards, Bud Green} (3:11)

B5. It's The Talk Of The Town {Jerry Livingston, Marty Symes, Al J. Neiburg} (2:50)

Preserved in the tracks of this album are ten memorable performances that represent an early Gene Ammons. This time, these sounds have been further enhanced through the process of re-channeled stereo. The crooning tones emanating from Gene's tenor on these ballads are the ideal purveyors of warmth and thoughtfulness of a quiet mood. To those who recall with fondness the excitement created by these recordings when they first were issued, this album will be a welcome treat. This album is a good starting place, and as you listen to evergreens like My Foolish Heart, Prelude To A Kiss, Pennies From Heaven, Once In A While, and You Go To My Head, I'm sure you'll nod in agreement with this album title ...Gene Ammons always MAKES IT HAPPEN. ~ Excerpts from Liner Notes by Burt Burdeen (WSDM, Chicago).

Credits:

Cover Photo - Michel Ditlove

Art Direction - Howard Blume, Bill Sharp

Note:

Originally released in 1959 as "Soulful Saxophone" [Chess Records - LP 1442]

Junior Mance - The Soul Of Hollywood (1962)

The Soul of Hollywood was an interesting departure for Junior Mance. Most of the time he has been heard in small-group settings, but on this album the pianist is backed by an orchestra arranged and conducted by trombonist Melba Liston. With Orrin Keepnews serving as producer, Mance and Liston turn their attention to film music -- and the films that they acknowledge range from musicals (West Side Story) to Westerns (One-Eyed Jacks). Because the material is heavily arranged, Mance doesn't have as much room to stretch out and improvise. Nonetheless, he manages to get in his share of noteworthy solos, and Liston's tasteful arrangements make The Soul of Hollywood well worth the price of admission. In some cases, albums of film music can become albums of background music, but that isn't a problem on this release (which was recorded in 1961 and early 1962). Liston's arrangements are always in good taste, and that is true whether the participants are tackling "Maria" from West Side Story, "Tara's Theme" from Gone With the Wind, or Greek star Manos Hadjidakis' charming theme from Never on Sunday. Meanwhile, "On Green Dolphin Street" and the haunting "Invitation" are both well-known Bronislaw Kaper standards from films that starred Lana Turner. The interesting thing is that, even though "Invitation" has been recorded countless times over the years, the movie that Kaper wrote it for was far from a box office smash; "Invitation" is from 1950's very underrated A Life of Her Own, which stars Turner as a supermodel who falls in love with a married man but ultimately decides against breaking up his marriage. The Soul of Hollywood isn't quite in a class with Gil Evans or Oliver Nelson's best work, but it's still a decent example of orchestral jazz. ~ by Alex Henderson, AMG.

Jazzland Records, JLP 63, 1962

Recorded October, December, 1961 and January, 1962 At Plaza Sound Studios, New York City

Personnel:

Junior Mance - Piano

Ernie Royal, Clark Terry - Trumpet

Jimmy Cleveland, Britt Woodman - Trombone

Romeo Penque - Flute

Jerome Richardson - Flute, Tenor Saxophone

Danny Bank - Baritone Saxophone, Bass Clarinet

George Duvivier - Bass

Osie Johnson - Drums

Melba Liston - Conductor, Arranger

+ Unidentified Orchestra

Tracks:

A1. Never On Sunday {Manos Hadjidakis} (2:48)

A2. Maria [From West Side Story] {Leonard Bernstein, Stephen Sondheim} (2:51)

A3. Tara's Theme [From Gone With The Wind] {Max Steiner} (4:00)

A4. Fanny {Harold Rome} (4:01)

A5. On Green Dolphin Street {Bronislaw Kaper, Ned Washington} (2:37)

A6. One-Eyed Jacks {Hugo Friedhofer} (2:33)

B1. Exodus {Ernest Gold, Miklós Rózsa} (2:30)

B2. Invitation {Bronislaw Kaper} (4:03)

B3. The Apartment {Charles Williams, John Moran} (3:36)

B4. Goodbye Again {Georges Auric, Dory Langdon} (4:09)

B5. Spellbound {Miklós Rózsa} (3:33)

Credits:

Producer - Orrin Keepnews

Recording Engineer - Ray Fowler

Mastering Engineer - Neal Ceppos, Plaza Sound, NYC

Album Design - Ken Deardoff

Photography - Steve Schapiro

Junior Mance - Holy Mama

Today's offering is one of my favorite albums by our main man, Junior Mance.  Recorded in the late 70's, we are getting a snapshot of his best work in my opinion.  The older Riverside and Jazzland sides may be more attractive, but musically Mance is world's ahead by this point in his career.  I wanted to share this side a few years back but it had been reissued to CD.  It appears that it has gone OOP.

Holy Mama is really a showcase for both Mance and Martin Rivera, his bassist.  Sal LaRocca comps accordingly and does an amazing job keeping up with his partners - no easy task.  Overall, the dynamics on Holy Mama really speak to an excellent recording, but also to a trio with great abilities.  From the softest whisper to a lion's roar within a moment's notice, they capture one of the great essences of acoustic jazz.

The opener is a great example of what to expect from this album.  "By The Time I Get To Pheonix" explores just about every emotion and groove that Mance has to offer.  The way in which they change the time signatures, to the way they change the feel is something only the greatest of musicians are capable of.  The group are rooted in swing but use everything available to them;  from funk to blues.  I think that Rivera really deserves a shout out as he shows himself to be a bassist of the highest caliber.  Really, would a player like Junior Mance work with anything less?  Rivera's solo on "That Mellow Feeling" displays not only an immaculate sense of groove and feel, but amazing dexterity and mastery of his instrument.  I find when he takes a solo, I want to yell out to him and encourage him.  He seems to play right to the edge of chaos - where a player loses himself but of course, he always stays in the tune, fully composed.

Holy Mama was ripped from minty vinyl at 24/44.1 wav and dithered to 16/44.1 FLAC.  I have changed my methods a tad and now use FLAC Frontend to convert from wav.  All scans are still included in 300dpi quality.  For several reasons, I had shy'd away from ripping vinyl - only now and again.  I am now reborn and plan on flooding the Crypt with the huge backlog of albums I have.  I hope everyone digs this Sunday offering... enjoy!!!

___________________________________________________________

Inner City Records
IC 6018
1979

Bass – Martin Rivera
Drums – Salvatore LaRocca
Piano – Junior Mance


A1 By The Time I Get To Phoenix
Written-By – Jim Webb* 7:30

A2 God Bless The Child

Written-By – A. Herzog Jr.*, B. Holiday* 8:17

A3 That Mellow Feeling
Written-By – Junior Mance 7:13 

B1 Holy Mama
Written-By – Junior Mance 5:20

B2 Miss Otis Regrets
Written-By – Cole Porter 2:56

B3 The Good Old Days
Written-By – Junior Mance 5:57

B4 Blues For The Schnug
Written-By – Junior Mance 6:44

Eddie 'Lockjaw' Davis & Johnny Griffin Quintet - Live! The Midnight Show

Another burner from this legendary quintet... enjoy!!

Prestige PR7330
1964

Bass – Larry Gales
Drums – Ben Riley
Piano – Junior Mance
Tenor Saxophone – Eddie "Lockjaw" Davis, Johnny Griffin

A1   In Walked Bud   6:18
A2   Land Of Dreams   7:40
A3   Beano   6:35
B1   Robbin's Nest   10:00
B2   Our Delight   7:15

Eddie 'Lockjaw' Davis & Johnny Griffin Quintet - The First Set

Here at the Crypt, it's no secret that we love Griff and Jaws.  Personally, Davis would be on my top ten list of favorite tenor players.  He had a swagger and style that simply can't be taught or learned.  That said, one of my favorite working groups - of all time - would most certainly be this fine quintet.

I want to emphasize working, because so many wonderful studio sessions never materialized beyond the mixing board.  Like so many great jazz groups, this combo only lasted a couple years.  I suppose in hindsight that's equivelant to a 15 year stint of a rock band...  jazz years.  The rhythm section had some changes but Mance, Riley and Gales actually stayed on for much of the groups time.  The group were regulars at the legendary NYC club, Mintons.

Luckily, for those of us who couldn't get a seat, Bob Weinstock had the good sense to record these guys doin' their thang.  As great as their studio sessions were, this quintet were at their best when challenged with an audience and a theme.  Lock and Jaws have an unending, gigantic bag of tricks between them - seemingly never without something interesting or passionate to say.  The First Set takes a snapshot of a great moment both in the history of jazz and Minton's.  For anybody relatively new to this album, or this group, I want you to really pay attention to how they tackle the Monk tunes.  Griff aside, I think Davis is sometimes viewed as a "straight ahead" type of player by some jazz fans.  The way Lockjaw filters the brilliance of Monk through his personal style is in itself brilliant.  Monk's music was ultra hip, and in the early 60's there wasn't alot of players who were tackling it.  As we know, this quintet cut a whole side of Monk covers for the Jazzland imprint.

I have all of this group's releases on vinyl, but I took these tracks from my "Complete Live At Minton's" collection.  My album is only a VG, and the remastering done on the CD is fantastic.  I used EAC and ripped it to FLAC 16/44.1... enjoy!!!

Prestige PRLP 7309
1961

Eddie "Lockjaw" Davis, Johnny Griffin - tenor saxophone;  

Junior Mance - piano;  Larry Gales - bass;  Ben Riley - drums

"Billie's Bounce" (Charlie Parker) - 8:43
"Epistrophy" (Thelonious Monk, Kenny Clarke) - 7:17
"Well, You Needn't" (Monk) - 8:58
"I'll Remember April" (Gene de Paul, Patricia Johnston, Don Raye) - 8:05

Gene Ammons - Brother Jug! (1969) [vinyl>flac]

A swinging soul-jazz set from just before the point where soul-jazz turned once and for all into fusion, 1970's Brother Jug is very much an album of its time. (Note Billy Butler's funky-cheesy wah-wah guitar underpinning "Jungle Strut.") That said, while the album doesn't have the classic timelessness of Gene Ammons' best '50s and early-'60s work, Brother Jug is one of Ammons' better albums released soon after the tenor saxophonist's release from a seven-year prison sentence. Ammons' playing on this album has an unaccustomed grit; even on ballads like "Didn't We," there's an R&B-style honk to Ammons' tone that suits the funky, electric arrangements well. Brother Jug is not an all-time classic -- the closing take on "Son of a Preacher Man," with Sonny Phillips' in-your-face wah-wah organ, is hampered by a too-sluggish rhythm section and some unimaginative, braying solos by Ammons -- but even the weakest tunes have a certain historical interest. ~ by Stewart Mason, AMG.

Nice soul jazz vibes from Mr. Ammons featuring Bernard Purdie, Candido and Billy Butler amongst others. The track Jungle Strut is a stone cold B-boy throwdown. ~ Mista WARZ!!!

Prestige Records, PR 7792, 1969

Recorded 10th (#B3) & 11th (#A1-B2) November, 1969 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Gene Ammons - Tenor Saxophone

Sonny Phillips - Organ (#A1-B2)

Junior Mance - Piano (#B3)

Billy Butler - Guitar (#A1-B2)

Bob Bushnell - Electric Bass (#A1-B2)

Buster Williams - Bass (#B3)

Bernard Purdie - Drums (#A1-B2)

Frankie Jones - Drums (B3)

Candido - Congas (#B3)

Track Listing:

A1. Son Of A Preacher Man {John Hurley, Ronnie Wilkins} (4:20)

A2. Didn't We {Jimmy Webb} (5:58)

A3. He's A Real Gone Guy {Nellie Lutcher} (4:59)

B1. Jungle Strut {Gene Ammons} (5:03)

B2. Blue Velvet {Lee Morris, Bernie Wayne} (4:02)

B3. Ger-Ru {Gene Ammons} (8:37)

Credits:

Supervisor - Bob Porter

Recording Engineer - Rudy Van Gelder

Liner Notes - Dan Morgenstern (May 1970)

Note:

There is discrepancy in the session listing at the ‘Prestige Records Discography Project’.
Prince James not listed, but is on album cover. Also Billy Butler only seems to play on tracks A1, B1.

The Soulful Piano Of Junior Mance

Junior Mance is one of those players who truly has been underated through the years.  People commonly make the mistake of confusing underated with underexposed - there is a huge difference.  Mance has had quite an incredible career, playing with some of jazzes elite, yet his skill as a player has always been overlooked.

As a fan of the Eddie 'Lockjaw' Davis & Johnny Griffin quintet, I can tell you that the main ingredient of their sound was Mance's soulful and groovy playing.  No matter what gets thrown at him, JM has the ability to filter it and give us something that is undeniably rhythmic.

This was his first trio album for the Jazzland label, and a really nice showcase of tunes.  Mance strings a wonderfully upbeat theme throughout, and we get that classic groove which is so representative of the early 60's.  There is a real potpourri of songs on 'Soulful Piano' - gospel, blues, pop and jazz standards.  This combined with Junior Mance's inimitable style, keeps the entire side fresh and interesting.  Thomas and Tucker blend in perfectly and give the support needed to help Mance shine.

This was ripped from a NM record.  Only a handful of blemishes are audible, and the tonal quality is superb.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Dizzy Gillespie 1960 - 63

I know that many of you are looking at this post with great excitement, can't say I blame you!  These wonderful gems have been provided by our friend and Crypt brother - Tom Ryan.  For some of you, this will be an introduction to Tom's work which is exactly why I chose these sides.  Many of us are privvy to Mr. Ryan's great contributions, but for the rest of you, I have decided to start rolling out some of his amazing efforts.

These albums are all killer, no filler.  These were Diz' working bands at the time, and they were rock solid.  Superb music, executed by one of jazz' finest sons.  I want to assure you that none of these LPs have any of the corniness which began to creep into his later albums.  My personal favorite would have to be 'Something Old, Something New'.

Let's make sure we thank Tom for these and keep your eyes peeled for more of his great vinyl transfers!!  Enjoy!!

_________________________________________________________________________

Something Old, Something New

1963

Philips

Vinyl Rip + Front & Back Covers

FLAC

1.  Bebop

2.  Good Bait

3.  Medley:  I can't Get Started / 'Round Midnight

4.  Dizzy's Atmosphere

5.  November Afternoon

6.  This Lovely Feeling

7.  The Day After

8.  Cup Bearers   

Dizzy Gillespie, trumpet;  James Moody, tenor and alto sax, flute; Kenny Barron, piano;  Chris White, bass;  Rudy Collins, drums

______________________________________________________________________

The Ebullient Mr. Gillespie

1960

Verve MG V-8328

Vinyl Rip + Front & Back Covers

FLAC

1.  Swing Low, Sweet Cadillac

2.  Always

3.  Willow Weep For Me

4.  Ungawa

5.  Lorraine

6.  Girl Of My Dreams

7.  Constatinople

8.  The Umbrella Man

Dizzy Gillespie, trumpet;  Junior Mance, piano;  Leslie  Spann, flute and guitar;  

Sam Jones, bass;  Lex Humphries, drums;  Francisco "Chino" Pozo, conga drums

_______________________________________________________________________

New Wave!
1962
Philips PHM 200-070
Vinyl Rip + Front & Back Covers
FLAC

1. In A Shanty In Old Shanty Town
2. Careless Love
3. Chega De Saudade (No More Blues-Part II)
4. Taboo
5. Gee Baby Ain't I Good To You
6. One Note Samba
7. Morning Of The Carnival (Theme From Black Orpheus)
8. Pergunte Ao Joao (Ask John)


Dizzy Gillespie, trumpet; Leo Wright, alto saxophone & flute; Lolo Schifrin, piano;
Chris White, bass; Rudy Collins, drums; Bola Sete, guitar; Jose Paula, guitar & Tambourine;
Carmen Costa, cabasa, Charlie Ventura, tenor and bass saxophone