Eddie “Cleanhead” Vinson - Kidney Stew (1969-1978, 1996)

Here’s another remastered compilation of Eddie “Cleanhead” Vinson output spanning the years 1969 through to 1978 by Black & Blue Records and released in 1996. It is accurately packaged with more information, liner notes and photos. Most remarkedly, it includes two additional tracks Person To Person and Alimony Blues from a session in 1972 with Al Grey & Wild Bill Davis. Eddie truly showcases his versatility as great altoist and jazz-blues singer. 

Black & Blue Records, BB 878.2 ND 215, 1996
Recorded 28th March, 1969 (#1-10) at Pathé Studio, Paris, France
Recorded 28th July, 1972 (#11,12) at Seed Studio, Vallauris, France
Recorded 14th July, 1978 (#13,14) at Black & Blue Studio, Nice, France 

Musicians:
Eddie "Cleanhead" Vinson - Alto Sax, Vocals
Al Grey - Trombone (#11,12)
Hal Singer - Tenor Saxophone (#1-10)
Eddie "Lockjaw" Davis - Tenor Saxophone (#13,14)
Jay Mc Shann - Piano (#1-10)
Wild Bill Davis - Organ (#11,12)
Bill Doggett - Organ (#13,14)
T. Bone Walker - Guitar (#1-10)
Floyd Smith - Guitar (#11,12)
Roland Lobligeois - Bass (#1-10)
Milt Hinton - Bass (#13,14)
Paul Gunther - Drums (#1-12)
J.C. Heard - Drums (#13,14)

Tracks:
01. Kidney Stew {Leona Blackman, Eddie Vinson} (3:04)
02. Wait A Minute Baby {Eddie Vinson} (3:16)
03. Old Maid Boogie {Eddie Vinson} (3:49)
04. Somebody's Got To Go {B.B. Broonzy} (3:20)
05. Things Ain't What They Used To Be {Mercer Ellington, Ted Persons} (4:50)
06. Wee Baby Blues {Pete Johnson, Big Joe Turner} (3:21)
07. Juice Head Baby {Eddie Vinson, Louis Zito} (4:35)
08. I Had A Dream {B.B. Broonzy} (3:40)
09. I'm In An Awful Mood {T-Bone Walker} (3:20)
10. Please Send Me Someone To Love {Percy Mayfield} (4:12)
11. Person To Person {Eddie Vinson} (2:55)
12. Alimony Blues {Eddie Vinson} (5:44)
13. Hey Little Doggey {Bill Doggett} (7:24)
14. Totsy {Eddie Vinson} (5:25) 

Total Time: 58:55 

Credits:
Recording Engineer - Serge Remi
Digital Remastering - Gilbert Préneron
Photograph - Jean-Pierre Tahmazian
Design, Liner Notes - Jean-Marc Fritz, Jean-Michel Proust
English Translation - Jeff and Patricia Kresser 

Alimony Blues

Eddie Vinson - Cleanhead Blues (1995)

These numbers are the perfect synthesis of jazz and the blues; clean-cut sounds from Cleanhead. Eddie Vinson had been recently 'rediscovered' when most of these tracks were recorded. A new lease of life is evident as he takes a few blues classics for a spin. The quality of the 'sidemen' here is notable as is their willingness to let Eddie stretch out and take center stage. T-Bone Walker, for example, confines himself to accompaniment, adding a second instrumental voice as Vinson sings, and soloing in his riff-based, dramatic style. ~ Liner Notes. 

Orbis Records, BLU NC 057, 1995
Recorded 28th March, 1969 (#1-10) in Boulogne-Billancourt, France;
Recorded July, 1978 (#11,12) Nice, France 

Musicians:
Eddie Vinson - Alto Saxophone, Vocals (#1-10)
Hal Singer - Tenor Saxophone (#1-0)
Eddie "Lockjaw" Davis - Tenor Saxophone (#11)
Jay McShann - Piano (#1-10)
Bill Doggett - Organ (#11,12)
T-Bone Walker - Guitar (#1-10)
Roland Lobligeois - Bass (#1-10)
Milt Hinton - Bass (#11,12)
Paul Gunther - Drums (#1-10)
J.C. Heard - Drums (#11,12) 

Tracks:
01. Wee Baby Blues {Pete Johnson, Big Joe Turner} (3:20)
02. Wait A Minute Baby {Eddie Vinson} (3:14)
03. I Had A Dream {B.B. Broonzy} (3:38)
04. Kidney Stew {Leona Blackman, Eddie Vinson} (3:02)
05. Old Maid Boogie {Eddie Vinson} (3:47)
06. I'm In An Awful Mood {T-Bone Walker} (3:18)
07. Juice-Head Baby {Eddie Vinson, Louis Zito} (4:34)
08. Things Ain't What They Used To Be {Mercer Ellington, Ted Persons} (4:48)
09. Somebody's Got To Go {B.B. Broonzy} (3:19)
10. Please Send Me Someone To Love {Percy Mayfield} (4:12)
11. Hey Little Doggey {Bill Doggett} (7:23)
12. Totsy {Eddie Vinson} (5:24) 

Total Time: 50:08 

Kidney Stew

Ricky Ford - American-African Blues (1991)

Ricky Ford means business on this pulsating album, originally released in 1991, his first passionate, bursting solo draws its inspirational roots all the way from Hawkins to Coltrane via Al Sears and Roland Kirk. On this and the other six Ford originals in this set, Ricky organized the tune structures to allow for the insertion of free improvised passages for himself and the other players. Throughout the date Ricky's fellow musicians - Jaki Byard (piano), Milt Hinton (bass), Ben Riley (drums) - are able to indulge in classic interplay, to be free yet to function as a whole. ~ wowhd.co.uk.

Always enjoyed Ricky Ford. Stumbled on this live album of his on Spotify. Great rhythm section really pushes Ricky along. He played music that may have been more in vogue in the '50s and '60s, but he played it well. Good example of a live "late hard bop" tenor quartet recording. ~ Tom Spitzer, AMG.

Candid Records, CCD79528, 1993

Recorded 16^th September, 1991 Live At Birdland, New York City

Musicians:

Ricky Ford - Tenor Saxophone

Jaki Byard - Piano

Milt Hinton - Bass

Ben Riley - Drums

Tracks:

1. American-African Blue [1st Version] (10:47)

2. Environ (7:06)

3. Of (8:23)

4. Complex Harmony (6:48)

5. Descent (8:41)

6. Mostly Arco (5:52)

7. Encore (8:46)

8. American-African Blues [2nd Version] (7:10)

All Compositions by Ricky Ford

Credits:

Producer - Mark Morganelli

Executive Producer - Alan Bates

Engineer - Malcolm Addey

Editing - Bob Auger

Design - Malcolm Walker

Photography - Jimmy Katz

Liner Notes - Ricky Ford, Gerry Attrick

Willis Jackson with Jack McDuff - Cookin' Sherry (1959-60) [vinyl]

Seminal early work from Willis Jackson - Cookin' Sherry is solid-sending soul jazz from the great Willis Jackson! The album features Gator blowing in a group that includes Jack McDuff and Wild Bill Jennings on all cuts - plus bass by either Milt Hinton or Wendell Marshall, drums by Bill Elliott or Al Johnson, and some tasty added conga by Buck Clarke on a few cuts! The album's got a tight, yet laidback feel to - perfect kickback jam session material, in that classic Prestige soul jazz mode. Titles include "Contrasts", "Cookin Sherry", "Mellow Blues", and "Sportin". ~ Dusty Groove.

Prestige Records, PR 7211, 1961

Recorded 9^th November, 1959 (#A3); 26^th February, 1960 (#A2,B2)

& 16^th August, 1960 (#A1,B1,B3) at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Brother Jack McDuff - Organ

Bill Jennings - Guitar

Wendell Marshall - Bass (#A1,A3,B1,B3)

Milt Hinton - Bass (#A2,B2)

Bill Elliot - Drums (#A1,B1,B3)

Alvin Johnson - Drums (#A2,A3,B2)

Buck Clarke - Conga (#A2,B2)

Track Listing:

A1. Mellow Blues {Willis Jackson, Bill Jennings, Jack McDuff} (9:02)

A2. Sportin' {Willis Jackson, Bill Jennings} (4:49)

A3. When I Fall In Love {Edward Heyman, Victor Young} (4:03)

B1. Cookin' Sherry {Willis Jackson} (8:15)

B2. Where Are You? {Harold Adamson, Jimmy McHugh} (5:42)

B3. Contrasts {Jimmy Dorsey} (5:48)

Credits:

Supervision, Photography - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Howard Cook

Willis Jackson - Cool "Gator" (1959-1960) [vinyl]

Raw early stuff by Willis Jackson – and an album that has hard wailin' soul jazz solos by Brother Jack McDuff on organ and Wild Bill Jennings on guitar! Those two, plus Gator, make up the core of the combo that features additional backing by bass and drums, but you won't need to worry about the additional players, because the triple threat of tenor/organ/guitar will hold all your attention. Tracks are long, and as usual, the best ones are the originals, including "Blue Strollin", "A Smooth One", and "Keep On A Blowin". © Dusty Groove, Inc.

A tenor sax ought to sound like a tenor, Willis Jackson has said, and he is here to prove it. In this album he has put together for the first time in half a young lifetime on the horn a collection of tunes that he wanted to blow. The musicians who work with him here have been caught up in the mood of 'Gator's musical dream and they turn in performances of rare musicianship. ~ Extract from Liner Notes by Dale Wright.

Prestige Records, PRLP 7172, 1960

Recorded 25th May (#A2,B2,B3) & 9th November (#A3,B1) 1959;

26th February (#A1) 1960 At Van Gelder Studio, Hackensack, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Jack McDuff - Organ

Bill Jennings - Guitar

Tommy Potter - Bass (#A2,B2,B3)

Wendell Marshall - Bass (#A3,B1)

Milt Hinton - Bass (#A1)

Alvin Johnson - Drums

Buck Clarke - Conga Drum (#A1)

Tracks:

A1. Keep On A Blowin' {Jack McDuff, Willis "Gator" Jackson} (10:23)

A2. How Deep Is The Ocean {Irving Berlin} (4:04)

A3. On The Sunny Side Of The Street {Dorothy Fields, Jimmy McHugh} (3:29)

B1. Blue Strollin' {Willis "Gator" Jackson} (7:44)

B2. The Man I Love {George Gershwin, Ira Gershwin} (7:12)

B3. A Smooth One {Benny Goodman} (5:23)

Credits:

Producer - Esmond Edwards

Recording Engineer - Rudy Van Gelder
Design - Don Schlitten

Liner Notes - Dale Wright

Note:

Also issued on Prestige [PR 7830] entitled Keep On A Blowin'

Pat Bowie - Out Of Sight! (1965) [re-rip]

This LP is the first of two albums that Pat Bowie ever made. It was released on Prestige Records in 1965 and features a mighty line-up of jazz artists including: Seldon Powell on Tenor Sax & Flute; Guitarist Kenny Burrell; Ray Bryant on Piano; Milt Hinton on bass and drummer Osie Johnson. Pat performs a broad and vivid selection of tunes and the players get ample opportunity to showcase their talents whilst supporting her dynamic range of soulful vocalisations. Overall a lovely record; it's such a pity she didn't maintain her momentum and evolve her skills beyond just familiar ballads and standards, who knows how celebrated she could have become. Enjoy!

Prestige Records, PR 7385, 1965

Recorded 23^rd, 26^th & 27^th October, 1964 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Pat Bowie - Vocals

Seldon Powell - Tenor Saxophone, Flute

Kenny Burrell - Guitar

Ray Bryant - Piano

Milt Hinton - Bass

Osie Johnson - Drums

Track Listing:

A1. Get Out Of Town {Cole Porter} (1:59)

A2. Lilac Wine {James H. Shelton} (5:05)

A3. Don't Cha Go 'Way Mad {Al Stillman, Illinois Jacquet, James J. Munday} (2:30)

A4. Will I Find My Love Today {Alex Fogarty, Sydney Shaw} (4:02)

A5. Joey, Joey, Joey {Frank Loesser} (3:05)

B1. Moon And Sand {Alec Wilder, Morty Palitz, William Engvick} (2:29)

B2. The Music That Makes Me Dance {Bob Merrill, Jule Styne} (2:57)

B3. What Is This Thing Called Love {Cole Porter} (3:18)

B4. I'm Afraid The Masquerade Is Over {Allie Wrubel, Herbert Magidson} (4:26)

B5. The Sounds Of The Night {Gerald Fried, Johnny Mercer} (3:08)

B6. I've Got Your Number {Carolyn Leigh, Cy Coleman} (2:46)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Liner Notes - Jack McKinney (Jan. 1965)

LEE WILEY - with BILLY BUTTERFIELD - A TOUCH OF THE BLUES 1957 - VINYL (FLAC)

1957
RCA LSP-1566
My Vinyl Rip
DR Value 14
Front & Back Covers
FLAC

AllMusic Review by Jason Ankeny

The stellar A Touch of the Blues pairs Lee Wiley with an exceptional band led by trumpeter Billy Butterfield, whose warm, beautiful tone proves a sympathetic counterpoint to Al Cohn and Bill Finegan's otherwise dark, melancholy arrangements. While a title like A Touch of the Blues guarantees the listener few surprises, the album consistently avoids the familiar bluesy clichés -- Wiley's sensuality and sophistication suggest emotional depths to make such gestures redundant anyway. And like her more celebrated songbook sessions, the material here is expertly selected, complementing Wiley's inherent strengths while affording her the latitude to stretch out in new directions.

The Tracks:
01 The Memphis Blues / 02 From The Land Of The Sky Blue Water / 03 The Ace In The Hole / 04 Someday You'll Be Sorry /
05 My Melancholy Baby / 06 A Hundred Years From Today / 07 Blues In My Heart / 08 Maybe You'll Be There /
09 Between The Devil And The Deep Blue Sea / 10 I Don't Want To Walk Without You / 11 Make Believe / 12 A Touch Of The Blues

Willis Jackson - Blue Gator (1959,60) [vinyl]

Blue Gator is the third album led by saxophonist Willis Jackson featuring organist Jack McDuff and guitarist Bill Jennings which was recorded in 1959 and 1960 and released on the Prestige label. ~ Wikipedia.

Seminal early work from Willis Jackson. Blue Gator is a massive early Prestige set from tenorist Willis - and just the kind of record that set him firmly in the soul jazz camp for the 60s! By the time of the set, Jackson had already won plenty of fame for his R&B-tinged work - but here, he stretches out a bit more, and really gets creative on his solos - working with a very hip group that includes Jack McDuff on organ and Wild Bill Jennings on guitar - both players making a similar shift in their music at the time. The tracks are lively, recorded with a bold, loud tone, and have lots of those great open-mouthed tones from Jackson - quite possibly a good reason for his "Gator" nickname! Tracks include "Blue Gator", "East Breeze", "The Gator Jumps", and "Try A Little Tenderness". ~ Extract from Dusty Groove Inc.

Prestige Records, PRST 7850, 1972 [Reissue]

Recorded 25^th May (#A3,B3), 1959 at Van Gelder Studio, Hackensack, New Jersey;

9^th November (#B2), 1959; 25^th February (#B1) & 16^th August (#A1,A2), 1960

at Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Jack McDuff - Organ

Bill Jennings - Guitar

Wendell Marshall - Bass (#A1,A2,B2)

Tommy Potter - Bass (#A3,B3)

Milt Hinton - Bass (#B1)

Bill Elliot - Drums (#A1,A2)

Alvin Johnson - Drums (#A3-B3)

Buck Clarke - Congas (#B1)

Tracks:

A1. Blue Gator {Willis Jackson} (9:13)

A2. Try A Little Tenderness {Jimmy Campbell, Reg Connelly, Harry Woods} (5:59)

A3. The Gator Jumps {Willis Jackson} (3:40)

B1. This Nearly Was Mine {Oscar Hammerstein II, Richard Rodgers} (4:32)

B2. East Breeze {Esmond Edwards} (10:02)

B3. She's Funny That Way {Neil Moret, Richard Whiting} (5:12)

Credits:

Supervisor - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Tom Curry (January 1971)

Art Hodes & Milt Hinton - Just The Two Of Us (1981) [vinyl>flac]

Art Hodes, jazz pianist, who played with such greats as Louis Armstrong and Benny Goodman and in the 1940s had his own record label, radio show and magazine. Born in Nikoliev, the Ukraine, Hodes came to Chicago as an infant and spent most of his life performing there. But during the 1940s, he lived in New York, presenting a weekly radio program for WNYC, founding his own record label, JazzRecord, and editing a critically acclaimed magazine of the same title. He also organized and led his own bands. Hodes was host of a television series called "Jazz Alley" in the 1960s, taught at the Lake Forest Conservatory, and throughout his career did much to popularize traditional jazz styles.

"Throughout his long career, Art Hodes was a fighter for traditional jazz, whether through his distinctive piano playing, his writings (which included many articles and liner notes), or his work on radio and educational television. Renowned for the feeling he put into blues, Hodes was particularly effective on up-tempo tunes, where his on-the-beat chordings from his left hand could be quite exciting. Born in Russia, he came to America with his family when he was six months old and grew up in Chicago. Hodes had the opportunity to witness Chicago jazz during its prime years in the 1920s, and he learned from other pianists. In 1928, he made his recording debut with Wingy Manone, but spent most of the 1930s in obscurity in Chicago until he moved to New York in 1938. He played with Joe Marsala and Mezz Mezzrow before forming his own band in 1941. Hodes recorded for Solo Art, his Jazz Record label, Signature, Decca, and Black & White during 1939-1942, but he made more of an impression with his heated Dixieland recordings for Blue Note during 1944-1945 (all of which have been reissued on a Mosaic box set). During 1943-1947, Hodes edited the important magazine the Jazz Record, had a radio show, and became involved in the moldy fig versus bebop wars with Leonard Feather and Barry Ulanov; jazz on a whole lost to the latter. In 1950, he returned to Chicago, where he remained active locally and made occasional records. Hodes hosted a television series, Jazz Alley, for a time in the 1960s, wrote for Downbeat, and was a jazz educator. Art Hodes recorded frequently during the 1970s and '80s, and was widely recognized as one of the last survivors of Chicago jazz. His later recordings were for such labels as Audiophile, Jazzology, Delmark, Storyville, Euphonic, Muse, Parkwood, Candid, and Music & Arts. ~ Scott Yanow"

01 - Willow Weep For Me
02 - Winin'
03 - I Would Do Most Anything
04 - Low Down N' Below
05 - Bye & Bye
06 - Down Home Blues
07 - Randolph Street Blues
08 - Here Comes Cow Cow
09 - Miss Otis Regrets
10 - Milt Jumps

Art Hodes (p) Milt Hinton (b)
The Cabbage Patch, Nyc, August 26, 1981

Coleman Hawkins - Jazz Tones 1954 (24/48 vinyl rip)

A nice, clean 24/48 rip of the Xanadu Gold LP.

"This 1954 studio date by Coleman Hawkins finds the tenor saxophonist in great form, joined by a fine group that includes pianist Billy Taylor, bassist Milt Hinton, drummer Jo Jones, trombonist Eddie Bert, and trumpeter Emmett Berry. Hawkins' boppish take on "Cheek to Cheek" moves at a fast clip, though he never exhausts himself of ideas. The full sextet is heard on a portion of the session, including a lush but brisk take of "Lullaby of Birdland," a snappy run through "Get Happy," and the old swinger "Blue Lou." There are many strong solos by the supporting cast, but it's difficult to eclipse the sound of Hawkins' tenor when he is in top form." AMG

Woody Herman - The Fourth Herd

As some of you may or may not know, I am a collector of the Jazzland label.  I began the project by firstly seeking out the sides which were issued under the labels imprint.  After acquiring the low hanging fruit, I still have a handful of sessions to find.

The Fourth Herd has crossed my path before, but in horrid condition so I was forced to pass.  My patience was rewarded when I found this copy through a local dealer.  The album is just fantastic - Herman at his best.  All of the tunes are hard swingin and uplifting, wonderfully positive vibes.  The featured players all play their asses off, particularily Adderley.

The idea of Woody's Fourth Herd was to have a band within a band.  So when the orchestra pulls back, there is a core octet to pick up the tune - this is where the featured guests really come in.  It worked out quite nicely, and of course when the full band comes in they hit hard.  Super tight, bright and brassy - a huge dynamic punch to the gut!!  The whole album is a winner, filled with excitement and interesting twists and turns.

As far as I know, this album was paired with another for a CD release by Mobile Fidelity Sound Labs (MOFI) and is the only instance of a digital release.  I haven't heard it but we can assume it would be excellent.  Well I would put this transfer against anything that may be out there.  The mono vinyl is minty, ripped at 24bit / 48kHz wav and converted to FLAC.  It's wonderfully dynamic and open... enjoy!!!

This CD is quite a bit different than most audiophile releases for it contains rare rather than famous recordings. 1959's The Fourth Herd (which features an all-star group of studio musicians and Woody Herman alumni along with his octet of the time) was only put out briefly by Jazzland while the music on 1962's The New World of Woody Herman was never available commercially before; both were originally cut for the SESAC Transcribed Library and were available only to selected radio stations on a subscription basis. The earlier session has solo spots for tenors Zoot Sims, Al Cohn and Don Lanphere, trumpeters Nat Adderley and Red Rodney, vibraphonist Eddie Costa and Herman on clarinet, a bit of alto and two vocals; Cohn and pianist Nat Pierce wrote most of the colorful and diverse arrangements. By the later session (which has charts by Pierce, Gene Roland, Phil Wilson and Bill Chase), Woody Herman once again was leading an exciting big band of his own. Trombonist Phil Wilson, Duke Ellington's tenor Paul Gonsalves (filling in for the temporarily absent Sal Nistico) and Herman are the solo stars and (as with the first date) the music swings hard and contains its share of surprises. - Scott Yanow / AMG for CD release of The Fourth Herd & the New World of Woody Herman

Jazzland JLP-17
July 31 & Aug 1, 1959

A1 Panatela
A2 Lament For Linda
A3 Misery, Stay Away From My Door
A4 In A Misty Mood
A5 Catty' Corner
A6 The Thirteenth Instant
B1 The Magpie
B2 Blues For Indian Jim
B3 The Devil And The Stoker
B4 The Swing Machine
B5 Summer Nights
B6 Johnny On The Spot

Bass – Milt Hinton
Clarinet – Woody Herman (tracks: A1, A4, A5, B2, B4, B6)
Cornet – Nat Adderley (tracks: A1, A4, A5, B2, B4, B6)
Drums – Don Lamond
Guitar – Barry Galbraith
Piano – Nat Pierce
Reeds – Al Cohn (tracks: A2, A3, A6, B1, B3, B5), Dick Hafer (tracks: A2, A3, A6, B1, B3, B5), Don Lanphere (tracks: A2, A3, A6, B1, B3, B5), Gene Allen (tracks: A2, A3, A6, B1, B3, B5), Sam Markowitz* (tracks: A2, A3, A6, B1, B3, B5), Zoot Sims (tracks: A2, A3, A6, B1, B3, B5)
Tenor Saxophone – Zoot Sims (tracks: A1, A4, A5, B2, B4, B6)
Trombone – Bob Brookmeyer (tracks: A2, A3, A6, B1, B3, B5), Frank Rehak (tracks: A2, A3, A6, B1, B3, B5), Jim Dahl* (tracks: A2, A3, A6, B1, B3, B5), Jimmy Cleveland (tracks: A2, A3, A6, B1, B3, B5)
Trumpet – Bernie Glow (tracks: A2, A3, A6, B1, B3, B5), Burt Collins (tracks: A2, A3, A6, B1, B3, B5), Ernie Royal (tracks: A2, A3, A6, B1, B3, B5), Irvin Markowitz* (tracks: A2, A3, A6, B1, B3, B5), Red Rodney (tracks: A2, A3, A6, B1, B3, B5), Reunald Jones (tracks: A2, A3, A6, B1, B3, B5)
Vibraphone [Vibes] – Eddie Costa (tracks: A1, A4, A5, B2, B4, B6)