Horace Silver Quintet & Trio - Blowin' The Blues Away (1959, 2004)

Blowin' The Blues Away is one of Horace Silver's all-time Blue Note classics, only upping the ante established on Finger Poppin' for tightly constructed, joyfully infectious hard bop. This album marks the peak of Silver's classic quintet with trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor, and drummer Louis Hayes; it's also one of the pianist's strongest sets of original compositions, eclipsed only by Song for My Father and Horace Silver and the Jazz Messengers. The pacing of the album is impeccable, offering up enough different feels and slight variations on Silver's signature style to captivate the listener throughout. Two songs - the warm, luminous ballad "Peace" and the gospel-based call-and-response swinger "Sister Sadie" - became oft-covered standards of Silver's repertoire, and the madly cooking title cut wasn't far behind. And they embody what's right with the album in a nutshell -- the up-tempo tunes ("Break City") are among the hardest-swinging Silver had ever cut, and the slower changes of pace ("Melancholy Mood") are superbly lyrical, adding up to one of the best realizations of Silver's aesthetic. Also, two cuts ("Melancholy Mood" and the easy-swinging "The St. Vitus Dance") give Silver a chance to show off his trio chops, and "Baghdad Blues" introduces his taste for exotic, foreign-tinged themes. Through it all, Silver remains continually conscious of the groove, playing off the basic rhythms to create funky new time patterns. The typical high-impact economy of his and the rest of the band's statements is at its uppermost level, and everyone swings with exuberant commitment. In short, Blowin' the Blues Away is one of Silver's finest albums, and it's virtually impossible to dislike. ~ Steve Huey, All Music Guide. 

Blue Note Records, TOCJ-6421, 2004
Recorded 29th August (#1,6), 30th August (#3,4,5) and 13th September (#2,7), 1959
at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Horace Silver - Piano
Blue Mitchell - Trumpet (#1,3-6)
Junior Cook - Tenor Saxophone (#1,3-6)
Gene Taylor - Bass
Louis Hayes - Drums 

Tracks:
1. Blowin' The Blues Away (4:45)
2. The St. Vitus Dance (4:09)
3. Break City (4:57)
4. Peace (6:03)
5. Sister Sadie (6:19)
6. The Baghdad Blues (4:53)
7. Melancholy Mood (7:09) 

All compositions by Horace Silver 

Total Time: 38:19 

Credits:
Producer - Alfred Lion
Recording Engineer - Rudy van Gelder
Cover Design - Reid Miles
Cover Illustration - Paula Donohue
Liner Notes - Ira Gitler 

Blowin' The Blues Away

Horace Silver Quintet - 6 Pieces Of Silver {RVG} (1956,58)

The first classic album by the Horace Silver Quintet, this set is highlighted by "Señor Blues" and "Cool Eyes." The early Silver quintet of 1956 was essentially the Jazz Messengers of the year before, with trumpeter Donald Byrd, tenor saxophonist Hank Mobley, and bassist Doug Watkins (while drummer Louis Hayes was in Blakey's place), but already the band was starting to develop a sound of its own. "Señor Blues" officially put Horace Silver on the map, and the album is a hard bop and gospel-tinged jazz gem. [Some reissues add bonus tracks, including two additional versions of "Señor Blues," including a later vocal rendition by Bill Henderson.]. ~ by Scott Yanow, AMG. 

Blue Note Records, 5 25648 2 8, 2000
Recorded 10th November, 1956 (#1-8) & 15th November, 1958 (#9,10)
at Van Gelder Studio, Hackensack, New Jersey

Musicians:
Horace Silver - Piano
Donald Byrd - Trumpet (#1,2,4-6,8-10)
Hank Mobley - Tenor Saxophone (#1,2,4-6,8)
Junior Cook - Tenor Saxophone (#9,10)
Doug Watkins - Bass (#1-8)
Gene Taylor - Bass (#9,10)
Louis Hayes - Drums (#1-8)
Roy Haynes - Drums (#9,10)
Bill Henderson - Vocals (#10) 

Tracks:
01. Cool Eyes {Horace Silver} (5:55)
02. Shirl {Horace Silver} (4:16)
03. Camouflage {Horace Silver} (4:25)
04. Enchantment {Horace Silver} (6:22)
05. Señor Blues {Horace Silver} (7:01)
06. Virgo {Horace Silver} (5:48)
07. For Heaven's Sake {Elise Bretton, Donald Meyer, Edwards Sherman} (5:09) 

Bonus Tracks:
08. Señor Blues [Alternate 45 Take] {Horace Silver} (6:38)
09. Tippin' {Horace Silver} (6:12)
10. Señor Blues [Vocal Version] {Horace Silver} (6:14) 

Total Time: 58:05 

Credits:
Producer - Alfred Lion
Reissue Producer - Michael Cuscuna
Recording, Remastering - Rudy van Gelder
Liner Notes - Bob Blumenthal, Leonard Feather
Creative Director - Gordon H. Jee
Cover Design - Reid Miles
Cover & Liner Photos - Francis Wolff 

Señor Blues

CANNONBALL ADDERLEY - with ERNIE ANDREWS - LIVE SESSION! 1964 VINYL (FLAC)

1964
Capitol ST 2284
My Vinyl Rip
Front & Back Covers
DR Value 13
FLAC 8 (250 MB)

While Cannonball Adderley is a fine and well-known alto saxophonist, his equal partner on Live Session!, vocalist Ernie Andrews, is a more obscure figure.  Andrews recorded frequently during the late '40s and throughout the '50s, but retained a lower profile during the '60s.  That's one reason why Live Session!, recorded in 1964, is such a special work.  Backed by Adderley, cornetist Nat Adderley, pianist Joe Zawinul, bassist Sam Jones, and drummer Louis Hayes, Andrews' warm, rich vocals offer lovely interpretations of an even dozen songs.  The material cuts a wide swath across non-jazz genres, from the bluesy "Next Time I See You," to the popular "Since I Fell for You," to the fun nonsense of "Green Door."  Although the instrumental work takes a backseat to the vocals, both Adderleys find room to offer pithy solos that spice up the proceedings.  The accompaniment is an active one, too, with intricate piano and horns highlighting and underlining Andrews as needed.  Interestingly, the songs were recorded live on two different dates, two years apart.  The album nonetheless flows as a piece.   AllMusic Review by Ronnie D. Lankford, Jr.  

The Tracks:
A1 Big City
A2 Next Time I See You
A3 I'm Always Drunk In San Francisco
A4 Ten Years Of Tears
A5 Bill Bailey
B1 I'm A Born World Shaker
B2 Don't Be Afraid Of Love
B3 Since I Fell For You
B4 If You Never Fall In Love With Me

Charles Davis - Ingia! (1974) [vinyl>flac]

Charles Davis is joined by Louis Hayes & Company on this rare post-bop outing released on Strata-East Records back in 1974. Charles excels as a musician, composer and arranger. All players are on fire and there is plenty of room for them to express their individual talents. It is an LP that can be revisited many a time. Highly Recommended!

Strata-East Records, SES-7425, 1974

Recorded 15^th July, 1974 At Minot Sound Studio, White Plains, New York

Musicians:

Charles Davis - Baritone Saxophone

Andrew "Tex" Allen - Trumpet, Flugelhorn

Gerald Hayes - Alto Saxophone, Flute

Ronnie Mathews - Piano, Electric Piano

Louis Davis - Guitar

David Williams - Bass

Louis Hayes - Drums

Tracks:

A1. The Gems Of Mims {Charles Davis} (10:30)

A2. Little Miss Jump Up {Charles Davis} (7:05)

B1. Linda {Charles Davis} (11:22)

B2. Ingia {Billy Higgins} (9:07)

Credits:

Producer, Arranger - Charles Davis

Recording & Mixing Engineer - John R. Battiloro

Mastering Engineer - Donald Van Gorden

Design - Sandra Williams

Photography - Charles Stewart

Hicks/Williams/Hayes - On The Wings Of An Eagle

Power trio time! I've been doing a lot of Russian torrents lately and upgrading a whole mess of albums by my favorite artists. I used to favor mp3s for reasons I can no longer explain and so many, many things I had and sold or lost have needed replacement. In the course of looking for some Buster Williams titles, I came across this beauty. A really beautiful album and recording, thanks to the original sharer.

"The passing of pianist John Hicks in 2006 marks the loss of one of the quintessential New York pianists. And this, perhaps his last recording, is a stunning example of a fully developed bebop piano trio in flight.

Hicks gained the spotlight working with Art Blakey, Betty Carter and Woody Herman in the 1960s and '70s. He then migrated to avant-garde saxophonists Pharoah Sanders and David Murray before returning to the hard bop sounds of his Keystone Trio (with George Mraz and Idris Muhammad) and Power Trio (with Elvin Jones and Cecil McBee). In the 1990s he could also be found at the keyboard for the weekly gig of the Mingus Big Band. He recorded a string of CDs, dedicated to the likes of Mary Lou Williams, Sonny Clark, Errol Garner, Billy Strayhorn, and Earl Hines. None of these tribute discs would be mistaken for the honored player, as Hicks (to his credit) could never play with anything but his beautiful sound.

The recording On The Wings Of An Eagle is part of Chesky Records' ongoing New York Sessions series of single-point recordings that employ no overdubs, no signal path compression, no multi-tracking and no mixing desk. These audiophile discs playable on a regular CD player and, as an SACD, are the type of discs you take to a stereo component shop to test new speakers for reproduction of the seemingly live experience.

Paired with veterans Buster Williams and Louis Hayes, Hicks kicks off with the jaunty Gigi Gryce track "Minority, taken at near breakneck speed. The ease with which Hicks could maneuver his way around a keyboard is evident throughout and Buster Williams plays with his ever-present stoicism. Bebop flies its flag high on Dexter Gordon's "Cheese Cake and "As Birds Fly. The only track written by Hicks, "As Birds Fly is his dedication to Cedar Walton, his contemporary in swing and piano demeanor.

Two ballads penned by Williams, "Christina and "Stiver's Jewels are both meditative narratives with the bassist alternatively bending notes and walking us through some deeply felt moments. Sammy Cahn's "Dedicated To You showcases Hicks' ability to play just a handful of notes yet express a loving tribute to this classic song.

The choice of the seldom heard Thelonious Monk tune "Balues-Bolivar-Balues-Are is a chance for all three musicians to shine. After they state the theme, Williams propels a walking line over Hick's mimicking Monk-like jabbed strokes and Louis Hayes drops some smart bombs.

The pianist will be sorely missed, but he does leave us with a lengthy catalog of fine sessions to remember him by." Michael Corroto, AAJ

Dexter Gordon - Homecoming (LP rip)

Ahhhh yes, it is actually me over here for a moment! Given the major sparks being thrown off this last week by all my beloved blog-mates, I just HAD to chip in with a bit of a firework of my own!

My coffee mate Cliff has pointed out to me that this particular album is more than a little over-looked in the Dex catalog, largely due to some unfortunate decisions at Columbia/Sony. Clifford recently went and bought a crispy promo copy of the original LP and gave it to me to rip; couldn't leave y'all out of the Lagniappe.

These marvelous live tracks were recorded shortly after Dex's return from Europe but I seem to recall there was a Xanadu date just prior to this. In a surprising but savvy move, Dex chose to play his first Vanguard booking with Woody Shaw and his magnificent working band of the time.

Michael Cuscuna and Columbia had the good sense to show up and record the gigs and this very well received double album set (subsequently released in 1977) was the fortunate result. Now comes the confusing part.....Despite the relative popularity (jazz-wise) of both Dex and Woody in the ensuing years, this album sees only two pressings and then disappears from print until 1990. In 1990 Columbia reissues the set with two additional tunes on a double disc CD. Great news, eh? Well....not so much... do you remember those first Columbia digital remasters on the blue cover Jazz Masterpieces series? Do you remember the way they absolutely butchered their first CD issue of Kind Of Blue? They may have done an even worse job on their reissue of this jewel! Even more baffling is the idea that they have yet to rectify this travesty to this day!

Soooo...here we are - my buddy scored this lovely copy and I've ripped it to FLAC, of course. We enter the Way-Back Machine to 1976 at the Village Vanguard, the bill says Dexter Gordon, Woody Shaw, Ronnie Mathews, Stafford James and Louis Hayes....You buying a ticket?

Cedar Walton - Firm Roots

Cedar Walton – Firm Roots
Muse Records – MR 5059, 1976

A1 Firm Roots     7:24    
A2 Shoulders     7:16    
A3 One For Amos     6:47    
B1 You Are The Sunshine Of My Life     6:58    
B2 I'm Not So Sure     7:53    
B3 Voices Deep Within Me     8:34    


    Bass – Sam Jones
    Design, Illustration – Mark Kaplan (3)
    Drums – Louis Hayes
    Liner Notes – Doug Ramsey
    Piano, Electric Piano, Producer – Cedar Walton
Recorded live at the Colony East Inn, Rochester, N.Y. April 1974

The performances on this album were culled from a three week stay at The Saratoga Room of the Colony East Inn in Rochester New York, how they managed to book this trio for such a long stay is anybody's guess. It seems like a bit of false advertizing to have that Grand Piano featured on the cover though. There was indeed one in the room but for some reason Cedar only plays it for two tunes and spends the rest of the time on a Fender Rhodes. Granted it was certainly in fashion in 1974 but why you would choose it over a perfectly good piano already in the same room is beyond me. Nonetheless this trio was rock solid and incapable of bad music so the music is quite good despite the plugged in keys.

Jackie McLean - Makin' The Changes (1957) [vinyl>flac]

I prepared this post for the RVG blog. Another contributor posted a CD rip, so rather than wasting my efforts I decided to offer it at the Crypt. This is a marvellous early album by Jackie McLean. It was recorded over two dates one consisting of a Quartet and the other as a Sextet; by the masterful Rudy van Gelder. These variants do detract from the album's flow, but taken individually the music is excellent and well played. The listener can easily discern the dynamics offered by Mal Waldron, Paul Chambers and Curtis Fuller to highlight a few of the great musicians on show here. Overall the album is an opportunity to experience some great hard bop that sounds fresh even in today’s diverse jazz world. Enjoy!

Makin' the Changes features altoist Jackie McLean in two different settings. On three selections -- a rollicking "Bean and the Boys," an up-tempo "I Never Knew" and "I Hear a Rhapsody" -- McLean teams up with pianist Mal Waldron in a quartet with bassist Arthur Phipps and drummer Art Taylor. The other three numbers ("What's New," " "Chasin' the Bird" and McLean's original "Jackie's Ghost") have more of a jam session feel, and feature McLean in a sextet with trumpeter Webster Young, trombonist Curtis Fuller, pianist Gil Coggins, bassist Paul Chambers and drummer Louis Hayes. In general, the hard bop music is swinging and fairly advanced, a step above the usual jam sessions of the time. ~ by Scott Yanow, AMG.

New Jazz, NJLP 8231, 1960

Recorded 15^th February, 1957 (#A1,A3,B1) in Hackensack, New Jersey

Recorded 30^th August, 1957 (#A2,B2,B3) in Hackensack, New Jersey

Track Listing:

A1. Bean And The Boys {Coleman Hawkins} (8:32)

A2. What's New {Bob Haggart, Johnny Burke} (7:08)

A3. I Never Knew {Gus Kahn, Ted Fiorito} (2:58)

B1. I Hear A Rhapsody {Dick Gasparre, George Fragos, Jack Baker, Richard Bard} (5:07)

B2. Jackie's Ghost {Ray Draper} (5:26)

B3. Chasin' The Bird {Charlie Parker} (6:35)

Personnel:

Jackie McLean - Alto Saxophone

Curtis Fuller - Trombone (#A2,B2,B3)

Webster Young - Trumpet (#A2,B2,B3)

Mal Waldron - Piano (#A1,A3,B1)

Gil Coggins - Piano (#A2,B2,B3)

Arthur Phipps - Bass (#A1,A3,B1)

Paul Chambers - Bass (#A2,B2,B3)

Arthur Taylor - Drums (#A1, A3, B1)

Louis Hayes - Drums (#A2,B2,B3)

Credits:

Supervision - Bob Weinstock

Recording Engineer - Rudy Van Gelder

Cover Artwork - Esmond Edwards

Liner Notes - Nat Hentoff

Bennie Green - Back On The Scene (1958) [vinyl>flac]

It's evident from the opening pair of Latin-flavored performances that Back on the Scene is one of Bennie Green's most diverse efforts. Green's warm, supple tone and fondness for swinging, bop-influenced mainstream jazz and jump blues hasn't disappeared; he's just found new facets in his style. The infectious Latin rhythms on Cole Porter's "I Love You" and "Melba's Mood" are welcome, as is "You're Mine You," which showcases Green's sensitive ballad style. Reviving the standard "Just Friends" emphasizes the trombonist's ties to big band and bop, particularly through tenor saxophonist Charlie Rouse's strong solos. The jumping "Bennie Plays the Blues" and "Green Street" are also terrific, finding Green, Rouse and pianist Joe Knight trading full-bodied solos. Even with this vast array of styles, Back on the Scene retains all the good-natured spirit and humor of his earlier Prestige albums. ~ Stephen Thomas Erlewine, Allmusic.com.

Blue Note, BLP 1587, 1958

Recorded 23rd March, 1958 at Van Gelder Studio, Hackensack, New Jersey

Track Listing:

A1. I Love You {Cole Porter} (6:01)

A2. Melba's Mood {Melba Liston} (5:33)

A3. Just Friends {John Klenner, Sam M. Lewis} (7:00)

B1. You're Mine You {Johnny Green, Edward Heyman} (5:16)

B2. Bennie Plays The Blues {Bennie Green} (8:24)

B3. Green Street {Melba Liston} (5:09)

Personnel:

Bennie Green - Trombone

Charlie Rouse - Tenor Saxophone

Joe Knight - Piano

George Tucker - Bass

Louis Hayes - Drums

Credits:

Producer - Alfred Lion

Recording Engineer - Rudy van Gelder

Bennie Green was one of the few trombonists of the 1950s who played in a style not influenced by J.J. Johnson (Bill Harris was another). His witty sound and full tone looked backwards to the swing era yet was open to the influence of R&B. After playing locally in Chicago, he was with the Earl Hines Orchestra during 1942-1948 (except for two years in the military). Green gained some fame for his work with Charlie Ventura (1948-1950) before joining Earl Hines' small group (1951-1953). He then led his own group throughout the 1950s and '60s, using such sidemen as Cliff Smalls, Charlie Rouse, Eric Dixon, Paul Chambers, Louis Hayes, Sonny Clark, Gildo Mahones, and Jimmy Forrest. Green recorded regularly as a leader for Prestige, Decca, Blue Note, Vee-Jay, Time, Bethlehem, and Jazzland during 1951-1961, although only one further session (a matchup with Sonny Stitt on Cadet in 1964) took place. Bennie Green was with Duke Ellington for a few months in 1968-1969 and then moved to Las Vegas, where he spent his last years working in hotel bands, although he did emerge to play quite well at the 1972 Newport Jazz Festival and in New York jam sessions. ~ Scott Yanow, All Music Guide.

Roosevelt Wardell Trio - The Revelation

A real killin side featuring some exciting and dynamic piano jazz.  It's a wonder how some of these guys never took off...

Ripped from an original LP, and although we are copin with some fried chicken in parts, the music is gorgeous.

Enjoy!!!

Roosevelt Wardell was an R&B singer before he became a jazz pianist. Altoist Cannonball Adderley, who by then was also acting as a Riverside A&R, discovered Wardell in Los Angeles while he was playing with Dexter Gordon. He quickly arranged for the recording of “The Revelation”, Wardell’s debut. An authoritative performer, the young pianist showed a maturity beyond his years, developing well-constructed, imaginative lines and absorbing his formative influences into an individual style devoid of empty flourishes or gimmicks, in which his roots and swing are ever present.

Riverside RLP 350
Roosevelt Wardell (p) Sam Jones (b) Louis Hayes (d)

Los Angeles, CA, October 5, 1960

Tubby Hayes - Return Visit! 1962

A recovery from the Crypt but with a different review and in FLAC.

Tubby Hayes - Return Visit! 1962
Fontana, 1962


1. Afternoon In Paris 5:46
2. I See My Third "I" 9:27
3. Lady "E" 3:15
4. Stitt's Tune 9:51
5. Medley: If I Had You; Alone Together; For Heaven's Sake 7:24

 Tubby Hayes tenor sax, vibes; Roland Kirk tenor sax, manzello, flute, nose flute, stritch; Jimmy Gloomy tenor sax, flute; Walter Bishop Jr. piano; Sam Jones bass; Louis Hayes drums


"A Saturday morning in June 1962 and Tubby Hayes arrives at the recording studio on West 48th Street in New York City. A session has been slated for later that day with a pick-up group. None of the group has been aware of the date until the night before. One by one they wander in. All have been playing spots in various clubs until the early hours. Introductions are made. One member wonders who Tubby Hayes is, asks if he's a rock `n' roll singer. This is Jimmy Gloomy, not his real name, as he probably shouldn't be there at all - contractual reasons. Memories of Louis Armstrong: "It wasn't me, sir. I won't do it again".

Midday arrives and producer Quincy Jones suggests maybe they get started. But what to play? They don't have a play list, have never rehearsed. Apart from pianist Walter Bishop Jnr, Tubbs has never met any of them. Quincy suggests they warm up with a blues, and they choose `Stitt's Tune`, the theme of Tubb's old band The Jazz Couriers - Tubbs and Gloomy on tenor sax, Roland Kirk providing counter melody on manzello and stritch, his customary hybrid horns. Next it's a minor blues - a Kirk original `I See With My Third "I"', then a ballad medley, including `Alone Together', one of Tubbs' favourites. Next Tubbs switches to vibes for `Afternoon In Paris', with solos from Kirk and Gloomy on tenors and Bishop on piano, and an unrehearsed coda from one-man brass section Kirk on tenor, manzello and stritch. They round off the session with another Kirk original `Lady "E"', with Tubbs still on vibes and Kirk on flute. And then they're through. Just time for bassist and drummer Sam Jones and Louis Hayes to get to Birdland and Kirk to the Five Spot for their first sets, and for Tubbs to return to the UK. In the space of just a few short hours they've recorded an exciting and memorable jazz album. That's how it was and them were the days."
By David Baxter.