Geri Allen - The Life Of A Song (2004)

Life of a Song is Geri Allen's first recording under her own name in six long years. She teams with the rhythm section of bassist Dave Holland and drummer Jack DeJohnette, whom she worked with on the late Betty Carter's stellar live date Feed the Fire in 1993. Allen composed eight of the album's 11 cuts, and the covers include Bud Powell's "Dance of the Infidels," Billy Strayhorn's "Lush Life," and Mal Waldron's "Soul Eyes." This last selection is augmented by the participation of Marcus Belgrave on flugelhorn, saxophonist Dwight Andrews, and trombonist Clifton Anderson. The album's title reflects the depth of commitment to the song forms inherent in jazz. Allen is in fine form here, and one can hear her various instrumental and vocal influences. The album swings, but looks underneath swing for its subtleties and its edges, too. The set opens with a playful, pianistic dissonance on "LWB's House (The Remix)" -- and lest punters be alarmed, the tune is not "remixed" at all, but is actually an earlier composition reworked. The bluesy funk here is augmented with Afro-Cuban rhythms and a series of tonal shifts where Allen is trying to emulate the African stringed instrument, the kora. Swing is inherent in every chorus, and Holland and DeJohnette keep the pace relaxed yet deeply focused. The interplay between Holland and Allen on "Mounts and Mountains" -- particularly during the bassist's solo passage -- are remarkable as she responds with a contrapuntal solo that draws on both Herbie Hancock and Ahmad Jamal. Elsewhere, on the Powell tune her facility to usher it in a relaxed, easy way, and then dazzle with her two-handed counterpoint in the solo showcase Allen's quick wit and dazzling chromatic command. The title cut, with its obvious Hancock homage in the head and swinging head, is one of the album's many high points. This is a trio date that has all the elements: an indefatigable lyricism and honesty of emotion, as well as beautiful colors and deft, even uncanny engagements among the three principals. What a welcome return for Allen, who expertly displays she's been refining her chops and listening deeply to her Muse these past six years ~ by Thom Jurek, AMG. 

Telarc Jazz, CD-83598, 2004
Recorded 16th & 17th January, 2004 at Avatar Studios, Studio C, New York 

Musicians:
Geri Allen - Piano, Arranger
Dave Holland - Bass
Jack DeJohnette - Drums 

Guests:
Marcus Belgrave - Flugelhorn
Dwight Andrews- Saxophone
Clifton Anderson - Trombone 

Tracks:
01. LWB's House [The Remix] {Geri Allen} (5:55)
02. Mounts And Mountains {Geri Allen} (8:08)
03. Lush Life {Billy Strayhorn} (8:15)
04. In Appreciation: A Celebration Song {Geri Allen} (6:13)
05. The Experimental Movement {Geri Allen} (7:13)
06. Holdin' Court {Geri Allen} (4:41)
07. Dance Of The Infidels {Bud Powell} (4:05)
08. Unconditional Love {Geri Allen} (5:19)
09. The Life Of A Song {Geri Allen} (5:24)
10. Black Bottom {Geri Allen} (4:34)
11. Soul Eyes {Mal Waldron} (5:41) 

Total Time: 65:28

Credits:
Producer, Audio Production, Liner Notes - Geri Allen
Audio Production, Producer - Elaine Martone
Executive Producer - Robert Woods
Production Supervisor - Erica Brenner
Audio Engineer, Engineer, Mixing & Mastering - Michael Bishop
Engineer - Ed Meitner
Assistant Engineer - Peter Doris
Production Coordination - Ora Ross Harris
Art Direction, Design - Anilda Carrasquillo
Photography - Shonna Valeska
Liner Notes - Dan Ouellette

Geri Allen - Open On All Sides - In The Middle (1987)

Electric and acoustic pianist Geri Allen joins with fellow Detroiters for one of her more ambitious projects, offering a large ensemble featuring bassist Jaribu Shahid, drummer Tani Tabbal, soloists David McMurray and trumpeters Rayse Biggs and Marcus Belgrave, and New Yorkers as saxophonist Steve Coleman and trombonist Robin Eubanks. The tour de force "I Sang A Bright Green Tear For All Of Us This Year" is stunning, featuring the wonderful vocals of Shahida Nurullah, insistent rhythm, haunting refrains from Allen's keyboards, and shifting dynamics that are compelling. The rest of the material is not as innovative within a jazz-funk/M-Base framework, but contrasts her piano trio work. Not essential, but still an invigorating session. ~ by Scott Yanow, AMG. 

Minor Music, CD MM 801013, 1987
Recorded December, 1986 At Sound Suite Recording Studio, Detroit, Michigan 

Musicians:
Geri Allen - Piano, Keyboards, Backing Vocals
Racy Biggs - Trumpet, Flugelhorn
Marcus Belgrave - Trumpet, Flugelhorn [Special Guest] (#8)
Robin Eubanks - Trombone
Steve Coleman - Alto Saxophone, Arranger [Horns] (#4)
David McMurray - Flugelhorn, Soprano Saxophone, Flute
Jaribu Shahid - Acoustic Bass
Tani Tabbal - Drums
Mino Cinelu - Percussion [Special Guest]
Shahita Nurallah - Lead Vocals
Lloyd Storey - Tap Dance [Special Guest] 

Tracks:
1. Open On All Sides / The Glide Was In The Ride... (6:49)
2. Forbidden Place (4:27)
3. The Dancer (2:36)
4. In The Middle (4:06)
5. Ray (4:23)
6. I Sang A Bright Green Tear For All Of Us This Year... (12:46)
7. Drummer's Song (2:29)
8. In The Morning [For Milton Nascimento] (5:05)
9. The Dancer Pt. 2 (1:34) 

All Compositions by Geri Allen 

Total Time: 44:15 

Credits:
Producer, Arranger, Composer - Geri Allen
Co-Producer - Steve Coleman
Executive-Producer - Stephan Meyner
Producer [Associate] - David McMurray, Mino Cinelu
Recording Engineer - Mike Brown
Mixing Engineer - Peter Denenberg
Design [Cover] - Christin Schindler, Claus Bäuerle
Photography - Jules Allen

Geri Allen - The Nurturer (1990)

A fine example of Geri Allen's advanced music (which holds on to tradition without merely recreating the past), this CD matches the talented pianist with veteran trumpeter Marcus Belgrave, altoist Kenny Garrett, bassist Robert Hurst, drummer Jeff Watts and percussionist Eli Fountain on group originals and two obscurities. Everyone is in fine form, and the Belgrave-Garrett combination works quite well. ~ by Scott Yanow, AMG.

The music is highly interesting! Bold, complex, energetic, beautiful acoustic jazz, typical of its period. There's some effortless blending of different subdivisions of rhythm (Watts and Hurst have teamed up before...), some spirited almost-free blowing, some serious loose and groovy second-line blues romping, floating, all-encompassing jazz music. All the players deliver, and the band sound is great. Geri Allen rocks. Open your ears and dig in. ~ B.A.H., Amazon.com.

Blue Note, CDP 7 95139 2, 1991

Recorded 5^th & 6^th January, 1990 At Sound On Sound, New York, NY

Musicians:

Geri Allen - Piano

Marcus Belgrave - Trumpet, Flugelhorn

Kenny Garrett - Alto & Straight-Alto Saxophones

Robert Hurst - Bass

Jeff Watts - Drums

Eli Fountain - Percussion

Tracks:

1. Night's Shadow {Eli Fountain} (8:26)

2. No. 3 {Lawrence Williams} (8:17)

3. It's Good To Be Home Again {Lawrence Williams, Arr. Gene Kee} (4:32)

4. Batista's Groove {Marcus Belgrave} (5:24)

5. Night Of Power [For My Daughter Laila] {Geri Allen} (2:19)

6. Our Gang {Robert Hurst} (5:38)

7. Silence And Song / The Nurturer {Geri Allen} (9:51)

8. Le Goo Wop {Geri Allen} (1:48)

9. Lullaby Of Isfahn {Kenny Garrett} (6:41)

Credits:

Producer - Geri Allen

Executive-Producer - Hitoshi Namekata

Recording & Mixing Engineer - Peter Denenberg

Mastering Engineer - Yoshio Okazaki (Capitol Jax)

Photography [Back] - Shigeru Uchiyama

Art Direction - Kaoru Taku

Cover Painting - Michael Kelly Williams

David Murray Quartet - Black & Black (1992)

In general, tenor saxophonist David Murray's Red Baron recordings are not on the same level of his Black Saints albums; the settings tended to be more conservative and the material not as strong. This outing with pianist Kirk Lightsey, bassist Santi Debriano, drummer Roy Haynes and trumpeter Marcus Belgrave is better than most of his Red Baron releases. The material is fairly basic (including "Duke's Place" and the two-note "C Jam Blues" theme, which is listed as being composed by four people), Murray tends to play fairly freely despite the boppish rhythm section, and the closing "Head Out" (the longest of the five lengthy jams) has plenty of fiery intensity. Not essential but worth picking up by David Murray fans. ~ by Scott Yanow, AMG.

Red Baron/Sony Music, AK 48852, 1992

Recorded 7^th October, 1991

Musicians:

David Murray - Tenor Saxophone

Marcus Belgrave - Trumpet

Kirk Lightsey - Piano

Santi Debriano - Bass

Roy Haynes - Drums

Tracks:

1. Anti-Calypso {Roland Prince} (10:12)

2. Duke's Place {Duke Ellington, Bob Thiele, Ruth Roberts, Bill Katz} (11:16)

3. Cool {Glenn Osser, Bob Thiele} (11:13)

4. Black And Black {Glenn Osser, Bob Thiele} (10:47)

5. Head Out {David Murray} (12:45)

Credits:

Producer - Bob Thiele

Recording & Mixing - Harvey Goldberg

Assistant Engineer - Susie Fink

Digital Mastering - Chris Herles (Sony Studios, New York)

Musical Coordinator - Gary Pacheo

Photography - Michael Hashimoto

Art Direction & Design - Sid Maurer (MPI Graphics, New york)

Liner Notes - Nat Hentoff

David "Fathead" Newman - Fathead Comes On (1962) [vinyl>flac]

David "Fathead" Newman recorded this album for Atlantic during his stint with Ray Charles' band (which lasted from 1954-1964). Personnel on the album include Hank Crawford, Edgar Willis and Bruno Carr. ~ Oldies.com

 

This 1962 David "Fathead" Newman album picks up where 1961's STRAIGHT AHEAD left off. However, this release is slightly less bebop-oriented. Instead, Newman blends together hard bop with his own R&B roots. (He was a key member of Ray Charles's band for many years.)

FATHEAD COMES ON is a very bluesy album, but also contains its share of tricky melodies and ambitious arrangements. Highlights include "Unchain My Heart," which is the funkiest tune on the disc, and "Cellar-Groove," which begins with a clever train rhythm; here the locomotive sound is simulated by the repetitive hi-hat work of Charlie Persip and the boogie-woogie playing of pianist Norris Austin. The disc ends with "Lady Day," a tribute to Billie Holiday, which is, not surprisingly, a somber ballad. Hard-bop records from this era typically lean on the influence of Art Blakey and the Jazz Messengers, but FATHEAD COMES ON is a statement unto itself, and therefore, a very compelling listen. ~ AMG.

Atlantic Records, SD 1399, 1962

Recorded 3^rd (#A2,A4,B3) & 9^th (#A1,A3,B1,B2) May, 1961 in New York City

Personnel:

Dave "Fathead" Newman - Flute (#A1), Tenor Sax (#A2,A4,B1,B3), Alto Sax (#A3,B2)

Marcus Belgrave - Trumpet (#A2,A4,B3)

Hank Crawford - Piano (#A1,A3,B1,B2)

Norris Austin - Piano (#A2,A4,B3)

Edgar Willis - Bass (#A1,A3,B1,B2)

Jimmy Jefferson - Bass (#A2,A4,B3)

Bruno Carr - Drums (#A1,A3,B1,B2)

Charlie Persip - Drums (#A2,A4,B3)

Track Listing:

A1. Unchain My Heart {Agnes Jones, Freddy James} (3:06)

A2. Cellar Groove {Norris Austin} (5:38)

A3. Alto Sauce {David "Fathead" Newman} (3:40)

A4. Hello There {David "Fathead" Newman} (4:28)

B1. Scufflin' {David "Fathead" Newman} (5:14)

B2. Esther's Melody {David "Fathead" Newman} (4:02)

B3. Lady Day {Leroy Johnson} (6:37)

Credits:

Supervisor - Nesuhi Ertegün

Recording Engineer - Phil Iehle, Phil Ramone

Design [Cover] - Loring Eutemey

Photography [Cover] - Lee Friedlander

Liner Notes - Mort Fega

David 'Fathead' Newman - Resurgence! (new 24-48 LP rip)

David Fathead Newman - Resurgence (1980)

Muse 5234, Vinyl LP

1. Everything Must Change 4:35
2. Mama Lou 5:54
3. Davey Blue 9:15
4. Carnegie Blues 8:28
5. Akua Ewie 6:24
6. To The Holy Land 7:04

Marcus Belgrave Trumpet, Flugelhorn
Ted Dunbar Guitar
Louis Hayes Drums
David "Fathead" Newman Flute, Sax (Alto), Sax (Soprano), Sax (Tenor)
Cedar Walton Piano, Piano (Electric)
Buster Williams Bass

This is one of the best David Newman albums you will ever hear and we are talking about a guy with some great albums! All the players compliment each other nicely and the session was recorded beautifully. Add to this that I have a Near Mint copy and I don't see how you can go wrong.

Mr. 'Fathead' leaves the R&B soaked sound of the Ray Charles band behind and really digs deep into some hard bop and soul jazz type material on this fine record.( I wonder what Dave and Jimmy Heath would have sounded like together?) The Walton, Williams Hayes rhythm section is as good as it gets and they shine like gold here. You also get rarer opportunities to hear guitarist Ted Dundar and trumpeter Marcus Belgrave. The version of Everything Must Change is just sublime and Cedar Walton's To The Holy Land is taken for a really satisfying spin. Davey Blue is the kind of late night, smokey, whiskey sippin' Blues that I just love and that David always excelled at. Akua Ewie could easily have come off of a classic mid 60's Blue Note LP. Anyone who can actually sit still during Carnegie Blues probably needs to go to the hospital right away. It has the kind of infectious, head bobbing swing that changes the mood of a room.

Gotta say I like 'em all, All Killa, No Filla

Hank Crawford - Dig These Blues (1966) [vinyl>flac]

Hank kicks back and blows soulfully - working in a variety of groups with hip players that include Wendell Harrison, Ali Mohammed, Wilbur Brown, and Leroy Cooper. The overall sound is similar to Crawford's other work on Atlantic - nothing too challenging, but in a soulful mode that's always pretty tight. Titles include "New Blues", "Hollywood Blues", "These Tears", "HC Blues", and "The Crazy Saloon". © Dusty Groove, Inc.

This LP in many ways could easily be considered one of Hank Crawford's finest albums released on Atlantic records. It showcases Hank in some excellent groupings and performing some great soul jazz-jazz blues styled tunes. Highlights include the title track “Dig These Blues”, “Don't Get Around Much Anymore” and "Baby Won't You Please Come Home" featuring Marcus Belgrave on trumpet. The final tune, "Bluff City Blues," features Hank on piano, also heard on "The Crazy Saloon". Overall some deep soul grooves that clearly express Crawford's wonderful versatility and phenomenal musicianship.

Atlantic Records, SD 1436, 1966

Recorded 13th April, 1964 (A4,B1,B3); 10th December, 1964 (A1,A3,A5);
and 11th February, 1965 (A2,B2,B4) in New York City

Personnel:

Hank Crawford - Alto Saxophone (#A1,A2,A4-B3), Piano (#A3,B4)

Oliver Beener - Trumpet (#A1,A3,A5)

Phil Guilbeau - Trumpet (#A1,A3,A5)

Jimmy Owens - Trumpet (#A2,B2,B4)

Marcus Belgrave - Trumpet (#A2,B2,B4)

John Hunt - Trumpet (#A4,B1,B3)

Julius Brooks - Trumpet (#A4,B1,B3)

Wendell Harrison - Tenor Saxophone (#A1,A3,A5)

Abdul Baari - Tenor Saxophone (#A2,B2,B4)

Wilbur Brown - Tenor Saxophone (#A4,B1,B3)

Leroy Cooper - Baritone Saxophone (#A1,A3-B1,B3)

Howard Johnson - Baritone Saxophone (#A2,B2,B4)

Ali Mohammed - Bass (#A1,A3,A5)

Charlie Green - Bass (#A2,B2,B4)

Edgar Willis - Bass (#A4,B1,B3)

Bruno Carr - Drums (#A1,A3-B1,B3)

Milt Turner - Drums (#A2,B2,B4)

Track Listing:

A1. Dig These Blues {Hank Crawford} (4:33)

A2. Don't Get Around Much Anymore {Duke Ellington, Bob Russell} (5:02)

A3. The Crazy Saloon {Hank Crawford} (2:58)

A4. H. C. Blues {Hank Crawford} (2:48)

A5. These Tears {Hank Crawford} (2:35)

B1. Hollywood Blues {Hank Crawford} (3:18)

B2. Baby Won't You Please Come Home {Charles Warfield, Clarence Williams} (5:46)

B3. New Blues {Phineas Newborn} (4:23)

B4. Bluff City Blues {Hank Crawford} (3:52)

Credits:

Supervision - Nesuhi Ertegün & Arif Mardin

Recording Engineer - Phil Lehle, Tom Dowd

Cover Design - Marvin Israel

Liner Notes - Nat Hentoff

Ray Charles Presents David Newman - Fathead (1958) [vinyl>flac]

Fathead: Ray Charles Presents David "Fathead" Newman (also referred to as Ray Charles Sextet) is the debut release of jazz saxophonist David "Fathead" Newman. Teamed with Ray Charles, ‘Bennie’ aka Hank Crawford and others; this sextet really gets down and plays a number of great tunes, three of which are written by Hank and one by David himself “Fathead”; the rest fine standards, enjoy!

The talented David Newman, who alternates on this album between tenor and alto, made his debut as a leader at this session. Since he was in Ray Charles' band at the time, Newman was able to use Charles on piano along with Hank Crawford (here called "Bennie Crawford") on baritone, trumpeter Marcus Belgrave, bassist Edgar Willis, and drummer Milt Turner. The music is essentially soulful bebop, with the highlights including "Hard Times," "Fathead," "Mean to Me," and "Tin Tin Deo." Everyone plays well and this was a fine start to David "Fathead" Newman's career. ~ Scott Yanow, AMG.

Atlantic Records, SD 1304, 1960

Recorded 5^th November, 1958 at Atlantic Recording Studios, New York City

Ray Charles Sextet:

David "Fathead" Newman - Alto Sax (#A1,A3,B3), Tenor Sax (#A2,A4,B1,B2,B4)

[Bennie] Hank Crawford - Baritone Saxophone

Marcus Belgrave - Trumpet

Ray Charles - Piano

Edgar Willis - Double Bass

Milton [Milt] Turner - Drums

Track Listing:

A1. Hard Times {Paul Mitchell} (4:41)

A2. Weird Beard {Bennie Crawford} (4:48)

A3. Willow Weep For Me {Ann Ronell} (4:57)

A4. Bill For Bennie {Bennie Crawford} (4:15)

B1. Sweet Eyes {Bennie Crawford} (3:44)

B2. Fathead {David "Fathead" Newman} (5:21)

B3. Mean To Me {Fred Ahlert, Roy Turk} (4:14)

B4. Tin Tin Deo {Gil Fuller, Chano Pozo} (5:19)

Credits:

Supervision - Nesuhi Ertegün, Jerry Wexler

Recording Engineer - Tom Dowd

Cover Photo - Lee Friedlander

Cover Design - Marvin Israel