Dusko Goykovich - Swinging Macedonia [Enja 1966]

This was fairly early in Goykovich's career but it was his bandmates Nathan Davis and Mal Waldron who first caught my attention here; Goykovich was a secondary pleasant discovery for me. Clearly a Miles influenced player, Goykovich has lovely tone and favors modal compositions, making the Miles comparison even easier. The truth is he has cleaner, more controlled chops than MDD3 but we have all learned by now that chops aren't everything. Speaking of chops, Nathan Davis flashes his considerable arsenal from the first tune. The failure of most of America to catch on to Davis is really sad - this man should be in the same sentence with Wayne Shorter and Joe Henderson yet even jazz educators in the States are barely aware of him as anything other than a teaching colleague. Pretty unforgivable since he is one of ours. Goykovich hasn't much presence in the US either which is also pretty sad given the length of his career and the prolific, high quality output he has produced.

1. Macedonia (Goykovich) - 7:51
2. Old Fisherman's Daughter (Goykovich) - 3:59
3. Jumbo Uganda (Goykovich) - 3:47
4. The Gypsy (Reid) - 4:06
5. Macedonian Fertility Dance (Waldron) - 2:13
6. Bem-Basha (Goykovich) - 4:26
7. Saga Se Karame (Goykovich) - 4:12
8. Wedding March of Alexander the Macedonian (Goykovich) - 3:59
9. The Nights of Skopje (Goykovich) - 5:17
10. Balkan Blue (Goykovich) - 4:42

Dusko Goykovich - Trumpet, Flugelhorn
Mal Waldron - Piano
Nathan Davis - Flute, Sax (Soprano), Sax (Tenor)
Eddie Busnello - Sax (Alto)
Peter Trunk - Bass
Cees See - Drums

New link to flac CD rip in comments.

Mal Waldron - The Quest (1961) [vinyl]

The Quest seems not only an appropriate name for this album but for Waldron's entire musical output, a pianist and composer who always seems to be seeking for something just out of reach. All the compositions here are Waldron's and show the variety of his approach. What makes this particular recording so interesting is the inclusion of Dolphy and Ervin, widely different in style but both rhythmically ingenious. I sometimes find Dolphy too abandoned but here he plays within the constraints of Waldron's compositions and the results are often superb. Ervin is an under-rated tenorist (all of the albums under his own name are well worth checking out, there's a good selection here at the Crypt) who plays with an economy that contrasts well with Dolphy.
A challenging record but occasionally very beautiful, I love Dolphy's clarinet on 'Warm Canto', and the whole LP is consistently rewarding.

01 - Status Seeking
02 - Duquility
03 - Thirteen
04 - We Diddit
05 - Warm Canto
06 - Warp And Woof
07 - Fire Waltz

Eric Dolphy (as, bcl) Booker Ervin (ts) Mal Waldron (p) Ron Carter (cello) Joe Benjamin (b) Charlie Persip (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, June 27, 1961

Eric Dolphy - Giants Of Jazz (1958-61)

This CD contains a selection of some of Eric Dolphy’s prime cuts. It spans the years from 1958 when he spent time with Chico Hamilton through to the classic 1961 tracks taken from the infamous Five Spot date. In addition, the listener will be treated to further tunes taken from his association with Booker Little, Charles Mingus etc., to name a few of the notorieties he interfaced with during his condensed career, like Booker cut short by an untimely death. Any jazz lover should know his work, but this compilation will certainly serve to enhance his following. So, sit back and marvel at Eric’s musicianship, and no doubt many newcomers to jazz will be won over, Enjoy!

Giants Of Jazz, CD 53164, 1995

Recorded 30^th December, 1958 - 16^th July, 1961

#1 from Eric Dolphy At The Five Spot, Volume 1 (1961)

#2,3 Eric Dolphy - Here And There (1960)

#4-6 Booker Little - Out Front (1961)

#7 Charles Mingus - Mingus (1960)

# 8-10 - Chico Hamilton - Gongs East! (1958)

Personnel:

Eric Dolphy - Alto Sax (#2-10) Flute (#2,4-6,8-10), Bass Clarinet (#1,2,8-10)

Booker Little - Trumpet (#1,4-6)

Freddie Hubbard - Trumpet (#3)

Ted Curson - Trumpet (#7)

Julian Priester - Trombone (#4)

Mal Waldron - Piano (#1)

Jaki Byard - Piano (#2,3)

Don Friedman - Piano (#4-6)

Dennis Budimir - Guitar (#8-9)

Richard Davis - Bass (#1)

George Tucker - Bass (#2,3)

Art Davis - Bass (#4)

Ron Carter - Bass (#5,6)

Charles Mingus - Bass (#7)

Wyatt Ruther - Bass (#8-10)

Nate Gershman - Cello (#8-10)

Ed Blackwell - Drums (#1)

Roy Haynes - Drums (#2,3)

Max Roach - Drums, Percussion (#4-6)

Dannie Richmond - Drums (#7)

Chico Hamilton - Drums (#8-10)

Tracks:

01. Bee Vamp {Booker Little} (12:19)

02. April Fool {Eric Dolphy} (4:04)

03. G.W. {Eric Dolphy} (7:57)

04. Quiet, Please {Booker Little} (8:02)

05. Moods In Free Time {Booker Little} (5:37)

06. Hazy Hues {Booker Little} (5:29)

07. Stormy Weather {Harold Arlen, Ted Koehler} (13:15)

08. Where I Live {Gerald Wilson} (2:58)

09. Gongs East {Chico Hamilton} (5:03)

10. Beyond The Blue Horizon {Leo Robin, Richard A. Whiting} (3:04)

Total Time: 67:48

Gene Ammons - Sock! (1954,55,62) [re-rip]

Sock! is an album by Gene Ammons compiling sessions recorded between 1954 and 1962 and released on Prestige in 1965.

A striking title - and a strong set of grooves, even if the tracks were pulled from a variety of different sessions, and not recorded as a unified album. Jug plays tenor on all cuts - working in formats that range from a Mal Waldron led trio to larger honking groups with horn players like Henderson Chambers, Cecil Payne, Nate Woodward, and Gene Easton. Tracks are short, and most are pretty rocking - with titles that include "Blue Coolade", "Short Stop", "Scam", "Sock", "What I Say", and "Rock Roll". © Dusty Groove, Inc.

Prestige Records, PR 7400, 1965

Recorded 26^th November, 1954 (B1-B4); 4^th November, 1955 (#B5,B6);

Recorded 13^th April, 1962 (#A4) & 5^th September, 1962 (#A1-A3)

At Van Gelder Studio, Hackensack, New Jersey

Personnel:

Gene Ammons - Tenor Saxophone

Nate Woodward - Trumpet (#B1-B6)

Henderson Chambers - Trombone (#B1-B4)

Edwin Moore - Trombone (#B5-B6)

Gene Easton - Baritone Saxophone (#B1-B4)

Cecil Payne - Baritone Saxophone (#B5-B6)

Mal Waldron - Piano (#A1-A3)

Patti Bown - Piano (#A4)

John Houston - Piano (#B1-B4)

Lawrence Wheatley - Piano (#B5-B6)

Wendell Marshall - Bass (#A1-A3)

George Duvivier - Bass (#A4)

Ben Steuberville - Bass (#B1-B4)

Ernie Shepherd - Bass (#B5-B6)

Ed Thigpen - Drums (#A1-A3)

Walter Perkins - Drums (#A4)

George Brown - Drums (#B1-B6)

Tracks:

A1. Blue Coolade {Mal Waldron} (4:11)

A2. Short Stop {Mal Waldron} (3:33)

A3. They Say You're Laughing At Me {Jerry Livingston} (3:58)

A4. Scam {Gene Ammons} (5:27)

B1. Sock! {Gene Ammons} (2:47)

B2. What I Say {Ray Charles} (2:38)

B3. Count Your Blessings {Richard Morgan} (4:25)

B4. Cara Mia {Lee Lange, Tulio Trapani} (3:08)

B5. Blues For Turfers {Gene Ammons} (4:03)

B6. Rock Roll {Chico O'Farrill} (2:58)

Total Time: 37:09

Credits:

Supervision - Esmond Edwards [Side A] - Bob Weinstock [Side B]

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Liner Notes - Jack McKinney (July, 1965)

Gene Ammons - Velvet Soul (1960,61,62)

Classic mellow Jug - from a time when Prestige discovered that Gene Ammons would sell equally well to the mellow jazz crowd as to the jukebox jumpers. Most of the cuts feature Gene with a deep soulful tone that could qualify as "velvet",  but which still has enough of a rough edge to remain soulful. One track is played by a larger group, and the rest are with small combos that either feature organ or piano. Tracks include "Salome's Tune", "Velvet Soul", "Stranger In Town", and "Light N Up". © 1996-2013, Dusty Groove, Inc.

No Matter in what context we hear Gene Ammons, his characteristic directness and passion can easily be heard. As this set closes we can feel Ammons' concern with all that he plays and the passion with which he invests his music. Ammons has had his outing and he has, once again proven himself worthy of our attention. ~ Extracts from Liner Notes by Michael Gold (Feb. 1964).

Prestige Records, PRST 7320, 1964

Recorded 17^th June, 1960 (#A1,A2); 13^th June, 1961 (#B2);

& 5^th September, 1962 (#A3,B1,B3)

At Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:
Gene Ammons - Tenor Saxophone
Frank Wess - Tenor Saxophone (#A1,A2)

Hobart Dotson, Clark Terry - Trumpet (#B2)

Oliver Nelson - Alto Saxophone (#B2)

George Barrow, Red Holloway - Tenor Saxophone (#B2)

Bob Ashton - Baritone Saxophone (#B2)

Richard Wyands - Piano (#B2)

Johnny "Hammond" Smith - Organ (#A1,A2)

Mal Waldron - Piano (#A3,B1,B3)

Doug Watkins - Bass (#A1,A2)

Wendell Marshall - Bass (#A3-B3)

Arthur Taylor - Drums (#A1,A2)

Ed Thigpen - Drums (#A3,B1,B3)

Bill English - Drums (#B2)

Tracks:

A1. Velvet Soul {Johnny "Hammond" Smith} (8:54)

A2. In Sid's Thing {Gene Ammons} (5:26)

A3. Salome's Tune {Mal Waldron} (4:13)

B1. Light'n Up {Mal Waldron} (3:59)

B2. The Song Is You {Jerome Kern, Oscar Hammerstein II} (9:41)

B3. A Stranger In Town {Mel Tormé} (5:58)

Credits:

Supervision - Esmond Edwards

Recording Engineer - Rudy van Gelder

Photography - Gai Terrell

Liner Notes - Michael Gold (Feb. 1964)

Mal Waldron - Jazz A Confronto (1972) [vinyl>flac]

The way Waldron chose for his music is that of simplicity and economy. His compositions are made up of very few phrases, single elements he composes, overlaps and slips one over the other, ruling this intricate game of iterations and transformations with geometrical rationality, which you can most easily perceive in the piano playing behaviour of his left hand.

Tew Nune and Breakin’ Through are for me two good examples of a performing style which is so influenced by musical thought, and they can easily be compared to musicians such as Bud Powell, or even remind you of Ravel, Terry Riley, Steve Reich. But if Waldron shares with them the importance he gives to planning, his way of breaking chords into melody is very peculiar, and so is the structure of his short phrases, which contain quantitatively homomorphic, but still homologous elements. Excerpts taken from the Liner Notes by Giampiero Cane.

HORO Records, HLL 101-19, 1975

Recorded 1^st April, 1972 At "Titania Studios" in Rome, Italy

Mal Waldron - Piano [Solo]

Tracks:

A1. Tew Nune {Mal Waldron} (4:31)

A2. Picchy's Waltz {Mal Waldron} (7:19)

A3. Breakin' Through {Mal Waldron} (6:45)

B1. Canto Ritrovato {Giorgo Gaslini} (5:20)

B2. Lullaby {Mal Waldron} (4:10)

B3. Appia Antica {Mal Waldron} (9:11)

Credits:

Producer - Aldo Sinesio

Assistant Producer - Robert Gambuti

Engineer - Massimo di Cicco

Cover Design - Piero Gratton

Photograph - Pepito Pignatelli

Liner Notes - Giampiero Cane

Translation - Cristina Piancastelli

Tiziana Ghiglioni, Enrico Rava, Mal Waldron - I'll Be Around (1989)

Not many singers could pull off the kind of vulnerable, open-armed performance Tiziana Ghiglioni does on this wonderful collection of ballads. Maybe Sheila Jordan or Helen Merrill or Chet Baker when he was young. Fragile, brave, backed only by the spare piano of Mal Waldron and the trumpet of Enrico Rava, Ghiglioni gets the most out of understatement, which is a true art. ~ by Jack Fuller, Chicago Tribune.

"Music this intimate and emotionally naked is seldom risked; it's safer to show off techinique than to expose feelings.  Ghiglioni, Rava, and Waldron shed light on the dark corners of the soul, with music that is beautifully bittersweet." ~ from Liner Notes by Art Lange.

Soul Note, 121256-2, 1991

Recorded 25^th July & 1^st August, 1989 At Barigozzi Studio, Milano, Italy

Personnel:

Tiziana Ghiglioni - Vocals

Enrico Rava - Trumpet

Mal Waldron - Piano

Tracks:

01. Am I Blue? {Harry Akst, Grant Clarke} (6:15)

02. They Can't Take That Away From Me {George & Ira Gershwin} (5:14)

03. You Don't Know What Love Is {Gene DePaul, Don Raye} (7:18)

04. All Or Nothing At All {Arthur Altman, Jack Lawrence} (3:22)

05. Glad To Be Unhappy {Richard Rodgers, Lorenz Hart} (5:16)

06. I'll Be Around {Alec Wilder} (2:49)

07. Yesterdays {Jerome Kern, Otto Harbach} (2:23)

08. Where Are You? {Harold Adamson, Jimmy McHugh} (4:16)

09. Darn That Dream {Edgar De Lange, Jimmy Van Heusen} (5:43)

10. But Not For Me {George & Ira Gershwin} (2:09)

Credits:

Recording Engineer - Giancarlo Barigozzi

Mastering Engineer - Gennaro Carone (Phonocomp, Tribano, Milano)

Cover Painting - Giuliano Crivelli

Photo [Tiziana Ghiglioni, Enrico Rava] - Lidia Panizzut

Photo [Mal Waldron] - Brian McMillen

Cover Art by Xerios and Paola Bianchi

Liner Notes - Art Lange 

----------------------------------------------------------------------- 

It is an intimate album, modest in its pretensions and great in its results. It consists of ten standards with cause. That is, immortal. And it is delightful to hear Tiziana's nuanced voice, accompanied by the minimalists Rava and Waldron, fortunately two declared enemies of artificiality and pyrotechnics. There is a splendid version of "Am I Blue?", The best I've ever heard (along with Charlie Rich in "Pictures And Paintings" and Ray Charles in "Modern Sounds in Country & Western"), but I also love the light of "They Can not Take That Away From Me".

Neither are the melancholy interpretation of "Where Are You?" And "Darn That Dream" (yes, with the inevitable shadow of Sinatra gravitating around). Less I like the somewhat accelerated, in my opinion, of "All Or Nothing At All". And there is still the title track, "I'll Be Around," by Alec Wilder, which Carmen McRae will take to infinity. And the mere mention of such a singer already gives an idea of the category that Tiziana Ghiglioni has.

And there is place, for solo performances like Waldron's exciting "Glad To Be Unhappy" and Rava's nude and cutting of "Yesterdays". And also duos like the ghostly, black film, Rava and Waldron of "You Do not Know What Is Love Is", daquí stripped of a certain mellow of other versions. The "But Not For Me" by Tiziana and Enrico is also comforting.

In short, a very content album, very pleasant; that yes, not to listen in any way, but with the due attention that simple things require, those that we neglect daily, and that, nevertheless, form an important part of life precisely because of their vocation of transcendence, because it is the reverse of the bombast with which so many musical, literary or cinematographic works are undertaken. A blessing in these times. ~ dorotea, RYM.

Eric Dolphy - Here And There (1961) + BONUS

Sort of a "house cleaning" album, one in which Prestige collected together a number of unissued Dolphy tracks after his death - but still a strong one, and in a way, the record features music that's even a bit more far-reaching than some of the studio albums on Prestige. Dolphy plays a solo bass clarinet version of "God Bless The Child"; he plays with Booker Little and Mal Waldron on "Status Seeking"; he's on flute in a quartet with Jaki Byard on "April Fool"; and he plays with a pickup Danish rhythm section on an alternate take of "Don't Blame Me". © Dusty Groove, Inc.

Prestige Records, PR 7382, 1966

Recorded 16^th July, 1961 (#A1,A2) At The Five Spot Café, New York City;

1^st April, 1960 (#B1) At Van Gelder Studio, Englewood Cliffs and

6^th September, 1961 (#B2) in Berlingske Has, Copenhagen, Denmark

Musicians:

Eric Dolphy - Alto Sax (#A1), Bass Clarinet (#A2), Flute (#B1,B2)

Booker Little - Trumpet (#A1)

Mal Waldron - Piano (#A1)

Jaki Byard - Piano (#B1)

Bent Axen - Piano (#B2)

Richard Davis - Bass (#A1)

George Tucker - Bass (#B1)

Erik Moseholm - Bass (#B2)

Eddie Blackwell - Drums (#A1)

Ed Blackwell - Drums (#A1)

Roy Haynes - Drums (#B1)

Jorn Elniff - Drums (#B2)

Tracks:

A1. Status Seeking {Mal Waldron} (13:13)

A2. God Bless The Child {Arthur Herzog, Jr., Billie Holiday} (5:18)

B1. April Fool {Eric Dolphy} (4:05)

B2. Don't Blame Me [Take 2] {Dorothy Fields, Jimmy McHugh} (12:59)

Credits:

Producer - Esmond Edwards

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Liner Notes - Mack Thomas (Dec. 1965)

Note:

Bonus Track included on CD [OJC Records - OJCCD-673-2, 1991]

G.W. [Take 1] {Eric Dolphy} (12:09)

Taken from 'Outward Bound' session

===========================

Eric Dolphy - Alto Saxophone

Freddie Hubbard - Trumpet

Jaki Byard - Piano

George Tucker - Bass

Roy Haynes - Drums

Recorded 1^st April, 1960 at Van Gelder Studio, Englewood Cliffs, New Jersey

FRANK WESS - with KENNY BURRELL - STEAMIN' - 1963 - WAVE

1963

Prestige PR 7278

MY Vinyl Rip

Front & Back Covers

WAVE

One of Frank Wess' strongest albums from the time – a harder-than-usual burner recorded with Kenny Burrell on guitar, plus Thad Jones trumpet, Mal Waldron piano, and rhythm by Paul Chambers and Art Taylor. Tracks are long and very jamming – almost in the mode of the Prestige blowing sessions of a few years hence, especially when Wess is playing tenor. Titles include "Count One", "Empty Street", "Steamin", and "Blue Jelly".

01 Steamin'

02 Blue Jelly

03 Count One

04 Empty Street

Nathan Davis - Jazz Concert in a Bennedictine Monastery

This is certainly one of the rarest of birds and after years of trying to clean a muddy cassette tape copy from an old pal J.D., (it was better than nothing for sure), I have finally pieced together a much cleaner, clearer copy from multiple sources and in mp3. Still not perfect, but MUCH better than what we've had around here to date. The music itself is well worth the trouble, Davis is at his peak as is Waldron, and the Woode/Taylor rhythm connection is a powerful one. Great Stuff!

Mal Waldron - Signals (1971) [vinyl>flac]

One of two LP's by pianist Mal Waldron made available on the Freedom label in the mid-1970's when Arista was handling it, this set features a solo outing by Waldron that fully displays his continually evolving style. He had moved away from his earlier Thelonious Monk influence to an extent and developed his own brooding style which made expert use of repetition. Waldron's four originals give him plenty of opportunity to stretch out; hopefully this intriguing set will be reissued on CD eventually. ~ by Scott Yanow, AMG.

Freedom Records, FLP 41042, 1979

Recorded 14^th August, 1971 in Baarn, Holland

Mal Waldron: Solo Piano

Track Listing:

A1. Signals {Mal Waldron} (7:42)

A2. Things That Go Bump In The Night {Mal Waldron} (8:44)

B1. Zapata {Mal Waldron} (10:41)

B2. Touch Of The Blues {Mal Waldron} (8:49)

Credits:

Producer - Alan Bates

U.S. Production Coordination - Michael Cuscuna, Steve Backer

Cover Art and Design - Ron Kellum

Photography - Raymond Ross

Art Direction - Howard Fritzson

Mal Waldron w/ Joe Henderson - One Entrance, Many Exits

 I think this is about it for Joe Fest, at least for me - if I think of anything else I'll be sure to post it; meanwhile this is one beautiful album that seems to be overlooked in the torrent of albums Mal made in the last couple decades he was with us. Some have raised issues with the sound mix, but Yanow liked it!

"It is a pity that this album is long out-of-print for the combination of musicians works quite well. Pianist Mal Waldron has an inside/outside post bop style that matches perfectly with tenor-saxophonist Joe Henderson, bassist David Friesen and drummer Billy Higgins. On five Waldron originals plus the standard "How Deep Is The Ocean," Henderson and the pianist are heard soloing in top form. Highlgihts include "Chazz Jazz" (dedicated to Charles Mingus), "Golden Golson" (which is purposely in the style of Benny Golson) and an ad-lib blues for the trio "Blues In 4 By 3." Scott Yanow

Mal Waldron - Manfred Schoof

This is a gorgeous album delivered by an exemplary quintet of jazz pros.  In some ways, on paper anyhow, they almost seem incompatible.  I liken this album and grouping to Benny Bailey's SABA release: Soul Eyes.  What we end up getting is a highly capable group who can take the music to both likely and unlikely destinations.

As we listen, we find out that what really makes this quintet tick - their incredible sensitivity.  It's what allows the music it's interesting flavour, at least as much as their collective talents on their respective axes.

Sonically, this recording is beautiful and the album itself is super minty.  Some of you may have this already as an Enja release.  For those who don't, don't miss it.  This is really adventurous music which never gets boring OR pretentious.  Ripped at 24/96 and dithered to 16/44.1 FLAC... enjoy!!!

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

Marty Cook Group - Red, White, Black and Blue

Marty Cook Group: RED, WHITE, BLACK & BLUE

Enja 5067 (Germany) [LP/CD], Tutu 888 174 (Germany) [CD]

Tracks: 1. Spirit War 2. It’s About Time 3. Love Life 4. Grab Bag 5. Sweet / No Regrets Now 6. Mr. D.C. (J. Pepper) 7. Trapeze (Claudine François) 8. Face The Nation

Personnel: Marty Cook, trombone; Jim Pepper, tenor and soprano saxophone; Ed Schuller, bass; John Betsch, drums; Mal Waldron, piano on 1, 3, 4, 7

7, 8 on the CD edition only Rec. November 23-24, 1987, Trixi Studios, Munich

As long-playing shellack, this recording was greatly in demand and as a compact disc, it's a jazz classic. Marty Cook's illustrious compositions, the singing, melodic saxophone lines of the wonderful Jim Pepper, sometimes garnished with the magic touches of the great old Fakir on the piano, Mal Waldron; and upon the hand-woven carpet of rhythm made by the unbeatable bass and drums tandem Ed Schuller and John Betsch, the climate for primary combustion comes into being; what takes place is a feast, a banquet! Marty Cook succeeds in bringing together the various artistic temperaments of his fellow musicians, the "colours of jazz": Red, white, black and blue! Get up with it!

"If Ray Anderson is way out on his own, Marty Cook must be leading the contemporary trombone pack. Whatever their respective merits, there is certainly no quantitative comparison to their respective outputs. Anderson is everywhere, while Cook's most noted recorded work before the mid-1980s was a too brief appearance...!" So says the newest issue of the Penguin Guide To Jazz.

The musical statement of the album stands as a symbol for the wide stream of various colours in Cook's music; he has a genial understanding of how to give his fellow players the right position, from which they acquire freedom unimaginable; each one of them responds thankfully, with an almost inconceivable kind of expressiveness in their solos.