Willis Jackson - Bossa Nova Plus (1963) [re-rip]

Bossa Nova Plus (also released as Shuckin') is an album by saxophonist Willis Jackson which was recorded in 1962 and released on the Prestige label. ~ Wikipedia

On this studio album Jackson is joined with Tommy Flanagan on piano and Kenny Burrell on guitar along with a mighty rhythm section including Roy Haynes on drums, Eddie Calhoun on bass and a large contingent of Latin percussionists especially noted Juan Amalbert and Montego Joe driving a consistent and enthralling conga beat. The album provides enough room for most players to express some fine solos. Essentially it is an album that blends multiple styles and with Jackson great tenor sound to the fore the listener is in for an enjoyable ride. Disregarding the scintillating Latin-influenced tunes there are still some amazing Soul Jazz and Hard Bop drenched tracks for the die-hard Jackson fans. Allmusic awarded the album 4 stars stating "His second great album that year".

Prestige Records, PRST 7260, 1963

Recorded 30^th October, 1962 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Tommy Flanagan - Piano

Kenny Burrell - Guitar

Eddie Calhoun - Bass

Roy Haynes – Drums

Juan Amalbert - Congas

Montego Joe - Congas

Jose Paulo - Congas, Timbales

Tracks:

A1. Cachita {Rafael Hernández} (3:46)

A2. I Left My Heart In San Francisco {George Cory, Douglass Cross} (3:20)

A3. Amor {Ricardo Lopez Mendez, Gabriel Ruíz} (7:47)

B1. Mama Inez {L. Wolfe Gilbert, Eliseo Grenet} (4:53)

B2. What Kind Of Fool Am I? {Leslie Bricusse, Anthony Newley} (5:08)

B3. Shuckin' {Willis "Gator" Jackson} (5:26)

Credits:

Supervisor - Ozzi Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Del Shields (December, 1963) WDAS FM Philadelphia
Design - Don Schlitten

Freddie McCoy - Listen Here (1968) [re-rip]

One of the hardest to find albums by this lost 60s soul jazz vibist - and all of his albums are pretty darn hard to find! The album's also perhaps his best - as Freddie takes a little more straight funky jazz approach, and loses some of the pop feel of his other albums. There's 2 different groups on here - one a bit large, and with Wally Richardson, Bernard Purdie, and Dud Bascomb; the other a groovy quintet with Joanne Brackeen on electric piano and Gene Walker on Varitone. The album includes a great cover of "Listen Here", plus "Stone Wall" and "Short Circuit". ~ Dusty Groove, Inc.

Prestige Records, PRST 7582, 1968

Recorded 10^th June, 1968 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Freddie McCoy - Vibraphone

Wilbur Buscomb, Edward Williams - Trumpet (#A1,B2)

Quentin Jackson, Melba Liston - Trombone (#A1,B2)

Gene Walker - Varitone (#A1,B2)

JoAnne Brackeen - Electric Piano (#A2-A3,B1,B3), Organ (#A1,B2)

Wally Richardson - Guitar (#A1,B2)

Raymond McKinney - Bass (#A2-B1,B3)

Jimmy Lewis - Electric Bass (#A1,B2)

Bernard Purdie - Drums (#A1,B2)

Al Dreares - Drums (#A2-B1,B3)

Montego Joe - Congas (#A1,B2)

Tracks:

A1. Don't Tell Me That {Freddie McCoy} (4:51)

A2. Short Circuit {Freddie McCoy} (6:44)

A3. Love For Sale {Cole Porter} (5:25)

B1. Listen Here {Eddie Harris} (7:24)

B2. MacArthur Park {Jimmy Webb} (7:45)

B3. Stone Wall {Milt Jackson} (3:17)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Dave Blum

Cover Design - Don Schlitten

Cover Art - Jo Schwalbach

Sleeve Notes - Fred Norsworthy

Ray Bryant - In The Cut (1974) [vinyl>flac]

Recorded in 1974, Ray Bryant's In the Cut is the one recording in his career that stands out from all the others - not necessarily because it is the best thing he ever cut, but because it is unlike anything in his vast oeuvre. Bryant and producer Esmond Edwards set out to make a contemporary album while the great pianist was with Cadet. No solo, no trio, no quartet - this time out, Bryant's In the Cut is recorded with a full-on big band playing everything from contemporary soul tunes (such as the Jacksons' "I'll Be There," which opens this remarkable offering) to his own hard bop blues numbers such as "Cool Struttin'" and the title track to tough line-punchers like Herbie Hancock's "Watermelon Man." The entire Cadet house band was involved in this baby, including Charles Stepney, who did all the horn and, yes, string arrangements (and plays some synth, too). Bryant also plays a fair amount of electric piano here, and is accompanied by, among others, guitarists Jimmy Ponder and John Tropea, bassists Stanley Clarke and Ron Carter, drummer Jimmy Johnson, percussionist and conguero Montego Joe, trumpeters Marvin Stamm and Joe Wilder, and George Marge on tenor, flute, and oboe. The sound of In the Cut is literally startling. Bryant's trademark gait on the piano is immediate from the very opening bars of "I'll Be There." When the horns enter full-force, it's a new sound world - disorienting, yes, especially if you can't let yourself get beyond what Bryant's "normal" m.o. is. But the groove - gentle, soulful, and pronounced - is everywhere in these tracks. ~ Extract by Thom Jurek, AMG.

Cadet Records, CA 50052, 1974

Recorded At Sound Exchange Studios and A&R Studios, New York City

Mastered At Sterling Sound, New York City

Musicians:

Ray Bryant - Piano, Electric Piano

Joe Wilder - Trumpet (#A1,A3-B3)

Marvin Stamm - Trumpet (#A1,A3-B3)

George Marge - Flute, Tenor Saxophone, Oboe (#A1,A3-B3)

Charles Stepney - Synthesizer [Moog] (#A1-A3,B1), Arranger [Strings & Horns]

Jimmy Ponder - Guitar [Soloist] (#A2)

John Tropea - Guitar, Acoustic Guitar (#A2)

Margaret Ross - Harp (#A1,A3-B3)

Richard Davis - Bass (#A1)

Ron Carter - Bass (#A2,A4))

Stanley Clarke - Bass (#A3,B1-B3)

Jimmy Johnson - Drums

Montego Joe - Congas

Alfred Brown, Emanuel Vardi, Julian Barber, Selart Clarke, Theodore Israel - Viola (#A1,A3-B3)

Diana Halprin, Emanuel Green, Harry Glickman, Max Polikoff, Paul Gershman - Violin (#A1,A3-B3)

Tracks:

A1. I'll Be There {Bob West, Hal Davis, Willie Hutch, Berry Gordy, Jr.} (4:59)

A2. Andalusan Nights {Esmond Edwards} (4:45)

A3. Stop, Look & Listen To Your Heart/You Are Everything {Thom Bell, Linda Creed} (6:47)

A4. Cool Struttin' {Ray Bryant} (4:44)

B1. Land Of Make Believe {Chuck Mangione} (5:41)

B2. In The Cut {Ray Bryant} (6:16)

B3. Watermelon Man {Herbie Hancock} (4:53)

Credits:

Producer - Esmond Edwards

Production Supervision - Bob Scerbo

Album Co-ordination - Gwen Williams

Engineer - Skip Juried (Sound Exchange Studios, NYC)

Engineer - Don Hahn (A&R Studios, NYC)

Art Direction - Neil Terk

Photography - P.B. Kaplan

Wally Richardson - Soul Guru (1968) [vinyl>flac]

Wally Richardson came out of a rhythm and blues, soul jazz and pop experience. Because of this background and music reading ability, he was very active as an all-around studio guitarist in the late 50's/60's/70's. He recorded a good cult album of psychedelic jazz funk which is now a collector’s item. "Soul Guru" came out in 1969 on Prestige Records in New Jersey.

Guitar driven soul jazz album with a great variety of influences, soul, jazz, east, blues, rock, from sitar-like sounds on Soul Guru to twangy style Surf Side Shuffle, acoustic songs and jazz driven themes. ~ mekkipuur, RateYourMusic.

Prestige Records, PRST 7569, 1968

BGP Records, BGPD 1113, 1988

Recorded 5^th (#A1,A3,B1-B3) & 7^th (#A2,A4,B4) February, 1968

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Wally Richardson - Guitar

Zane Zacharoff - Bass Clarinet (#A1,A3,B1-B3)

Ernest Hayes - Piano (#A2,A4,B4)

Everett Barksdale - 12-String Guitar (#A1,A3,B1-B3)

Richard Davis - Bass (#A1,A3,B1-B3)

Jimmy Lewis - Bass (#A2,A4,B4)

Orville Mason - Fender Bass (#A1,A3,B1-B3)

Bobby Donaldson - Drums

Montego Joe - Percussion (#A1,A3,B1-B3)

Tracks:

A1. Senor Boogaloo {Wally Richardson} (4:11)

A2. Elbow Blues {Wally Richardson} (5:25)

A3. Monday Monday {John Phillips} (3:08)

A4. Surf Side Shuffle {Wally Richardson} (5:43)

B1. Soul Guru {Wally Richardson} (6:02)

B2. Lonely Rider {David Raksin} (2:44)

B3. Khyber Pass Boogaloo {Wally Richardson} (3:50)

B4. Square Heels, White Stockings {Wally Richardson} (4:53)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design, Photography - Don Schlitten

Liner Notes - Chris Albertson (April, 1968)

Willis Jackson - Neapolitan Nights (1962) [re-rip]

Naples (or, if you will, Napoli) is one of the world's most scenic cities, and also the home of the pizza pie. Like all the great cities of Italy, it is full of music; among other accomplishments, Naples gave the world Enrico Caruso. Here it serves as the starting point of a musical tour of Italy, guided by the potent tenor saxophone of Willis Jackson at the helm of a swinging rhythm-section. Some of the tunes are old, others are new, and one (Verdi's Vonce) is the blues - though not very blue. All are melodic and have that special romantic flavor long associated with the popular songs of the homeland of grand opera and bel canto. Willis Jackson handles this material with appropriate gusto and warmth. His big, ripe tone is admirably suited to bring out the flavor of a singable melody, and his jazz conception and innate swing stand him in good stead where the avoidance of excessive sentimentality and bathos is concerned. This is not a schmaltzy album, though Mama - one of the best-loved tearjerkers in the Mediterranean repertoire - is handled with the proper traditional feeling. ~ Excerpt from the Liner Notes by Dan Morgenstern

On this album Jackson is joined with a number of other heavyweights. Gildo Mahones for one sets up some wonderful backing including space to showcase some brilliant piano solos. Equally, Bucky Pizzarelli lays down some marvellous sections of guitar. In essence the rest of the group also command much praise, bassist George Tucker holds things together while drummer Bobby Donaldson and conga expert Montego Joe add their special touches to this broad selection of Italian derived tunes. I have to admit whilst perfecting this rip from a very old well-loved vinyl I have grown much love for this LP. Hopefully you too can share in my delight of this relatively hard to find side from the "Gator".

Prestige Records, PR 7264, 1963

Recorded 19^th December, 1962 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Gildo Mahones - Piano

Bucky Pizzarelli - Guitar

George Tucker - Bass

Bobby Donaldson - Drums

Montego Joe - Congas

Tracks:

A1. Neapolitan Nights {Traditional} (6:58)

A2. Arrivederci Roma {Renato Rascel, Pietro Garinei, Sandro Giovannini} (5:42)

A3. Mama {Cesare Andrea Bixio} (5:14)

B1. Volare {Franco Migliacci, Domenico Modugno} (5:32)

B2. Al Di Là {Carlo Donida, Mogol} (4:38)

B3. Verdi's Vonce {Willis "Gator" Jackson} (7:05)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Dan Morgenstern

Ted Curson - I Heard Mingus (1980) [vinyl>flac]

Here we have rare and dynamic outing by the late great trumpeter Ted Curson. The title certainly informs the casual listener that he indeed spent some time with Charles Mingus. He is best known for his work with Charles Mingus' 1960 quartet (which also included Eric Dolphy, Booker Ervin and Dannie Richmond). An album to appreciate this fertile association is Mingus at Antibes recorded at a live 1960 performance at Juan-les-Pins and released in 1976. For this date Curson teams up with a very solid rhythm section. Mike Richmond really drives the group forward. There is plenty of room for both Ted and McNeely and Kawasaki to solo and develop some most active and energetic exchanges. Indeed the horn players in both Saxton and Morgenstein add to this strong if somewhat more freer performance than would be expected from such a crew. He essentially was an excellent and flexible trumpeter; personally I have always enjoyed Curson’s excursions into freer jazz formats. Pop Wine (1971) and Cattin' Curson (1973) are two such albums where he is joined by the mighty George Arvanitas Trio and Chris Woods. As always Ted can put together a beautiful ballad and a definite highlight is ‘Lost Her’, Enjoy!

Interplay Records, IP-7729, 1980

Recorded on 5^th January, 1980 at Sound Ideas Studios in New York City

Personnel:

Ted Curson - Trumpet, Flugelhorn, Percussion, Piccolo Trumpet

Bill Saxton - Tenor Saxophone

Mike Morgenstien - Baritone Saxophone (#A2,B2)

Jim Mcneely - Piano (#A2,B1,B2)

Ryo Kawasaki - Guitar

Mike Richimond - Bass, Electric Bass

Adam Nussbaum - Drums

Montego Joe - Percussion (#A2,B2)

Track Listing:

A1. I Heard Mingus (9:04)

A2. Please, Please, Please Don't Put The Pigsfoot In The Kreplach Soup (9:18)

B1. Lost Her (9:54)

B2. Lin's Garden (7:54)

All Compositions by Ted Curson; joined by Graham Collier on (#B2)

Credits:

Producer - Toshiya Taenaka

Recording Engineer - David Baker

Graphic Design - Nancy Graham

Photos - Kaz Fujita