Mickey Tucker - Mister Mysterious

Mickey Tucker - Mister Mysterious
Muse 5174, 1978

01 Plagio
02 A Prayer
03 Mr. Mysterious
04 Taurus Lullaby
05 Cecilitis
06 Basic Elements

Mickey Tucker piano, Frank Foster tenor & soprano saxes and flute, Cecil Bridgewater trumpet, Pepper Adams baritone sax, Cecil McBee bass, Eddie Gladden drums, Ray Mantilla percussion, Azeeden Weston congas

"Nothing mysterious here -- but a great little record that stands as one of Mickey Tucker's few bold statements of the 70s! The set's a soaring spiritual soul jazz affair -- featuring Mickey at the helm on acoustic piano, plus Frank Foster on reeds, Cecil Bridgewater on trumpet, Cecil McBee on bass, and Eddie Gladden on drums. (and Pepper Adams on baritone!) Tracks have a dancing joyful feel that's right up there with the best 70s soul jazz on Muse -- like work by The Visitors, or Woody Shaw -- and the numbers are all originals by Tucker, and show him to be as great a writer as he was a player, especially in these larger group settings!" amazon

I share that enthusiasm, a really terrific album! Frank Foster is just lovely in a role where you might expect to see a Carlos Garnett or Carter Jefferson. Cecil B and Pepper have strong contributions and with a foundation like Gladden and McBee the music really sails along. Another one for that 70's spiritual soul jazz category and a surprise heavyweight (maybe cruiserweight).

I got a sealed copy and as you can hear it is flawless --- at least until three minutes into the final track when I heard an horrible POP and the needle clearly skipped a chuck of Pepper's solo. HORRORS! I quickly stopped the rip and pulled the record off the turntable---it still looked pristine, not a mark on it -- I cleaned it with the D4 anyway - no change, put a dime on it - no change - I watched carefully and there was no actual skip -- the flaw was in the mastering of the record itself -- CRAP!! I then remembered that I had an mp3 320 copy that seemed to sourced from a cd so I loaded it next to my copy in Audacity and started trying to match them up to see what I could discover - turned out a BIG chuck of that solo was missing but the other version was fine - I converted the one song to wave, cut out the first part of the solo and pasted it into my rip---I got it right on the second try and it is imperceptible! -- now for some reason my final version is still a few seconds shorter but it sounds fine and complete and is sonically superior to the cd sourced one.

Jack McDuff - Another Real Good'Un (1990)

Another Real Good 'Un is a latter-day Brother Jack McDuff session which finds the organist joined by tenor legend Houston Person, as well as (at various times) alto/tenor saxophonist Ron Bridgewater, trumpeter Cecil Bridgewater, drummers Buddy Williams and Cecil Brooks III, and guitarists Randy Johnston and John Hart. It's one of McDuff's better comeback albums, as he keeps the groove pumping throughout the record, swinging soulfully and interacting nicely with the other soloists. 32 Jazz reissued the session in 1999, Savoy Jazz in 2003. ~ by Steve Huey, AMG. 

Muse Records, MCD 5374, 1990
Recorded 1st March, 1989 & 18th July, 1990
at Van Gelder Studio, Englewood Cliffs, NJ 

Musicians:
Jack McDuff - Organ
Cecil Bridgewater - Trumpet (#3,4,6)
Ron Bridgewater - Alto Sax, Tenor Sax(#3,4,6)
Houston Person - Tenor Saxophone
Randy Johnston - Guitar (#1,5,7)
John Hart - Guitar (#3,4,6)
Cecil Brooks III - Drums (#1,5,7)
Buddy Williams - Drums (#3,4,6) 

Tracks:
1. Another Real Good'Un {Jack McDuff} (7:33)
2. Summertime {George & Ira Gershwin, DuBose Heyward} (8:50)
3. Off The Beaten Path {Cecil Bridgewater} (4:42)
4. Long Day Blues {Jack McDuff} (5:34)
5. Rock Candy {Jack McDuff} (6:59)
6. I Cant Get Started {Vernon Duke, Ira Gershwin} (7:17)
7. I Cover The Waterfront {Johnny Green, Edward Heyman} (5:10) 

Total Time: 46:05 

Credits:
Producer - Houston Person
Engineer - Rudy van Gelder
Cover Photo - Fred Salaff
Graphic Design - Ron Warwell

Woody Shaw - Love Dance (1975) [Jap-CD]

A fantastic album by Woody Shaw - spiritual, soulful, and filled with some nice modal grooving! The group's one of the best he ever worked with on Muse - with Billy Harper on tenor, plus Rene McLean, Steve Turre, Joe Bonner, and Cecil McBee - and the approach reminds us of some of the work on Strata East from the same time. The highlight of the record is the cut "Sunbath", which was done in a more famous jazz dance version by singer Joyce Hurley - but Shaw's version has a very similar groove. Harper makes many of the other tracks shine brilliantly, and titles include "Love Dance", "Obsequious", and Harper's own beautiful composition "Soulfully I Love You". ~ Dusty Groove.

Muse Records, MR 5074, 1976
Sony Records, SRCS 9405, 1998
Recorded November, 1975 at Blue Rock Studio, New York City 

Musicians:
Woody Shaw - Trumpet
Steve Turre - Trombone, Bass Trombone
Rene McLean - Alto & Soprano Saxophones
Billy Harper - Tenor Saxophone
Joe Bonner - Piano, Electric Piano
Cecil McBee - Bass
Victor Lewis - Drums
Guilherme Franco - Percussion
Tony Waters - Congas 

Tracks:
1. Love Dance {Joe Bonner} (12:37)
2. Obsequious {Larry Young} (9:28)
3. Sunbath {Peggy Stern} (6:33)
4. Zoltan {Woody Shaw} (6:48)
5. Soulfully I Love You [Black Spiritual Of Love] {Billy Harper} (8:13) 

Total Time: 43:58 

Credits:
Producer - Michael Cuscuna
Engineer - Eddie Korvin
Mastering - Joe Brescio
Art Direction, Design, Photography - Hal Wilson
Liner Notes - Dan Morgenstern 

Love Dance

Albert Heath - Kwanza (The First), vinyl rip

Well folks...here we are again. Long time friends will recall that this was long one of my Holy Grail's from the Muse catalog. Once I had finally acquired what appeared to be a nice copy I was heartbroken to discover that side one was flawed with a fierce crackle or groove noise that I wasn't able to remove via software nor cleaning. Eventually I tried so many times to clean side 1 of this record that I likely caused new damage. My attempt to re-rip one last time yesterday was too just too flawed to work with, so I went back to my last, best rip and decided to see if the spectral denoising of Isotope RX4 Advanced could finally rid me of the flaw. It took some experimentation and a couple of junked tries, but I managed to sweep the vast majority of the noise away without messing with the music! The wonders of modern editing software!

So this is still the 16/48 rip from last year, but it is very clearly cleaner and a better listen. I recommend that you upgrade!

    Bass – Percy Heath
    Drums, Timpani [Tympani], Chimes – Albert Heath
    Electric Piano, Piano – Kenny Barron
    Flute, Soprano Saxophone, Tenor Saxophone – Jimmy Heath
    Guitar – Ted Dunbar
    Trombone – Curtis Fuller
 Recorded By – Paul Goodman
    Liner Notes – Gary Giddins
    Producer – Don Schlitten, Design, Photography By – Don Schlitten



Preceding the Strata East 1975 release "Marchin' On" by two years, this could be considered the first Heath Brothers release. A lovely set of spiritual modal jazz that has that 70's feel I can't resist. All the compositions are originals, written either collectively or individually by the brothers; each one a new gem. For me this one is a classic of the genre.

Various Artists - Jazz For When You're Alone (1999)

The 32 Jazz label, under the leadership of Joel Dorn, continues to release compilations designed to fit a particular mood or state of being. Thus, there have been albums as Jazz for a Rainy Afternoon, Groove Jammy, and Songs That Made the Phone Light Up. Now we have an album dedicated to being alone, not loneliness as Dorn explains his liner notes. But with this play list, the line between the two gets really blurred. Whatever, this is a comprehensive collection of tracks by the top jazz luminaries for albums they cut for the now defunct Muse label and all of them are outstanding regardless of the mood you're in. The Sonny Stitt performance of "Sweet and Lovely" is one of the album's highlights as his sax works in, out, under, and through the piano of Duke Jordan and Sam Jones' bass. The credits list Stitt playing a soprano, but it's the alto he has in his hands for introspective blowing of this classic standard. Wallace Roney is the ostensible leader on "Lost." But his Miles Davis-like trumpet is subordinated to the classical oriented piano of Jacky Terrasson who penned this song. Donald Byrd, sounding even more like Miles than Roney, is united with Joe Henderson for a ruminative rendering of his "That's all There Is to Love." A memorable track is Houston Person's "Everything Happens to Me." Not only does Person's Ben Webster influenced tenor fit nicely with the tune's theme, but there's major soloing by Cecil Bridgewater's muted trumpet and the under recorded Stan Hope piano. The quintessential "alone" song, Thelonious Monk's "'Round Midnight," has been assigned to major electric guitar improviser Larry Coryell who gets considerable assistance along the way from Stanley Cowell's piano. Phil Woods creates a vision of a summer ending with "The Summer Knows" as his engages in musical discussion with bass player Richard Davis. Woods, and all the other artists on this album, are in fine fettle resulting in another superior compilation from jazz impresario Dorn's 32Jazz label. 

32 Jazz, 32106, 1999 

Personnel:
See included Tracks [Personnel].txt for further details. 

Tracks:
01. Willis Jackson, Pat Martino - Blue Velvet (7:41)
02. Red Garland - The Second Time Around (3:15)
03. Houston Person - Everything Happens To Me (6:06)
04. Les McCann - Sunny (8:09)
05. Larry Coryell - 'Round Midnight (4:39)
06. Sonny Stitt - Sweet And Lovely (7:09)
07. Wallace Roney - Lost (3:50)
08. Vincent Herring - Stars Fell On Alabama (6:25)
09. Donald Byrd - That's All There Is To Love (5:47)
10. Phil Woods - The Summer Knows (6:25)
11. Pat Martino - You Don't Know What Love Is (4:46)

Total Time: 64:17 

Credits:
Compilation Producer - Adam Dorn
Producer [Series] - Joel Dorn

Buster Williams - Heartbeat (1978) [re-rip]

This is a great acoustic-jazz album by bassist Buster Williams, released in 1979 on Muse Records. Players include Buster Williams on bass, Kenny Barron Pianist on four tunes, Jimmy Rowles on another, Suzanne Klewan vocalist on "Pygmy Lullabye", Ben Riley and Billy Hart share drums, plus a small string section with Gayle Dixon on violin and Pat Dixon on cello. All players get a chance to synchronise beautifully with William's majestic bass. Kenny Barron in particular excels alongside Buster. The addition of Klewan's vocals and Rowle's piano on "Pygmy Lullabye" sets a wonderfully serene atmosphere to Williams's strumming. Equally intoxicating is the sequencing of both cello and violin on both "Shadows" and "Pygmy Lullabye". Not to overlook Bill Hart and Ben Riley's contribution on drums. Overall this a very delightful album.

Muse Records, MR 5171, 1979

Recorded 28^th, 30^th, March and 3^rd April, 1978 At Generation Sound Studio, NYC

Personnel:

Buster Williams - Bass

Kenny Barron - Piano (#A1-A3,B2)

Jimmy Rowles - Piano (#B1)

Pat Dixon - Cello (#A3,B1)

Gayle Dixon - Violin (#A3,B1)

Ben Riley - Drums (#A1,A2)

Billy Hart - Drums (#A3,B1,B2)

Suzanne Klewan - Vocals (#B1)

Tracks:

A1. I Fall In Love Too Easily {Julie Styne, Sam Cahn} (5:11)

A2. Toku-Do {Buster Williams} (5:25)

A3. Shadows {Buster Williams} (9:42)

B1. Pygmy Lullabye {Jimmy Rowles} (6:54)

B2. Ruby P'Gonia {Buster Williams} (8:23)

B3. Veronica {Buster Williams} (2:33)

Credits:

Producer - Elliot Meadow

Recording Engineer - Tony May

Engineer [Assistant] - Franklin Fletcher

Arranger [Strings] - Buster Williams (#A3,B1)

Album Design, Photography [Cover] - Hal Wilson

Richard Davis - Fancy Free & Way Out West (1977) [vinyl>flac]

Review by Scott Yanow

Recorded with the same musicians and during the same two days as the Galaxy release Fancy Free, this LP covers a wide area. Bassist Richard Davis is heard in an unaccompanied solo on the brief "A Peace for Richard," on a duet with tenor saxophonist Joe Henderson for "On the Trail" (one of the session's highpoints), heading a trio with pianist Stanley Cowell and drummer Billy Cobham on "I'm Old Fashioned" and otherwise playing with a quintet that also includes Henderson, Cowell (who doubles on a dated sounding electric piano), Cobham and trumpeter Eddie Henderson; three songs have vocals by the obscure Dolly Hirota. Ranging from straightahead to some funky pop, this is an interesting if not essential release from the masterful bassist.

01 - A Peace For Richard
02 - Elephant Boy
03 - Do A Dog A Favor
04 - On The Trail
05 - I'm Old Fashioned
06 - Sienna Waiting For The Moment
07 - Warm Canto
08 - Song Of Gratitude
09 - Don't Worry Bout A Thing

Eddie Henderson (tp, flh) Joe Henderson (ts) Stanley Cowell (p, el-p) Richard Davis (b) Billy Cobham (d) Dolly Hirota (vo) Bill Lee (arr)
Fantasy Studios, Berkeley, CA, June 30, July 1, 1977

Another Galaxy that doesn't seem to have made it to CD

Extract from review by Chris Sheridan, Jazz Journal, November, 1978
“Professor Davis … what an impressive bassist he is… listen to the way he shadows and jostles Cowell on Nardis, giving the performance tremendous lift. It shows that he has no betters, only peers. Here he has brought together a brawny quintet, including three men who are better-established within the Fusion Music scene. Eddie Henderson came to the fore with Herbie Hancock, but shows here that he is capable of more profound things. Joe's talents have been submerged beneath mountains of wattage on recent Milestone releases, but here he plays with a lighter and more inventive touch. Cobham is, perhaps, a little fidgety, but after so much rock that is only to be expected. Hirota sounds like a cross between Diana Ross and Rose Murphy.”

Review by Scott Yanow
"It seems odd that this Galaxy LP was recorded at the same time as Way Out West for the rival Muse label. Bassist Richard Davis teams up with trumpeter Eddie Henderson, tenor saxophonist Joe Henderson, keyboardist Stanley Cowell and drummer Billy Cobham for five selections that are highlighted by "Silver's Serenade," "Nardis" and a rare cover version of Donald Byrd's "Fancy Free"; singer Dolly Hirota is featured on "I Still Love You, Baby." Overall this is the stronger of the sets recorded during the two-day period in 1977, an advanced and mostly straightahead effort."

1. The Wine Of May
2. Silver's Serenade
3. Emily
4. Nardis
5. I Still Love You, Baby
6. Fancy Free

Eddie Henderson (tp, flh) Joe Henderson (ts) Stanley Cowell (p, el-p) Richard Davis (b) Billy Cobham (d) Dolly Hirota (vo -5) Bill Lee (arr)
Fantasy Studios, Berkeley, CA, June 30, July 1, 1977

Lou Donaldson - Back Street

OKAY, ONE LAST TIME!
I re-ripped this a couple weeks ago!

A special share from our Brazilian buddy Alvinho who actually bought the LP and had it shipped to me! This album is a wonderful surprise. All Killer!

Back Street catches Lou Donaldson live in Paris with his playing partner of 30+ years, Herman Foster and their regular working band of the time. Sweet Lou is burning it up, leaving no doubt he still has plenty in the tank. The real stars of this set, however, are the excellent and imaginative rhythm section. Herman Foster is some marvelous blend of Monk and Jamal and himself that makes for some very exciting, percussive solos!

A lovely late career surprise from Sweet Poppa Lou!

Lou Donaldson - Back Street
Muse 5292, 1982
All compositions by Lou Donaldson except as indicated

01 "Be My Love"
02 "Cheer Cheer"
03 "Now's the Time"
04 "Exactly Like You" (Dorothy Fields, Jimmy McHugh)
05 "Back Street"
06 "Confirmation" (Charlie Parker)

Recorded in Paris, France in 1982.

Lou Donaldson - alto saxophone, vocals
Herman Foster - piano
Geoff Fuller - bass
Victor Jones - drums

Harold Ousley - Sweet Double Hipness (1980) [vinyl>flac]

Released in 1980, Sweet Double Hipness is a compilation of two of Ousley’s previous recordings from the early 1970s. The music is as good as the cover beginning with the bass get down on Uncle Funky. Come Get It, I Got It is just as funky with its drum heavy intro and organ playing. It’s a definite head nodder. Also, worth a listen is the title track with its female vocals singing the harmony to Ousley’s sax line mixed with some traditional Bop interludes, and some background percussion. Prodigal Son isn’t a bad Soul-Jazz piece either.”  ~ Soul Strut.

Muse Records, MR 5141, 1980

Recorded 28^th March, 1972 At Sound Ideas, New York City

Musicians:

Harold Ousley - Tenor Saxophone

Norman Simmons - Piano (#A1,B1,B3)

Neal Creque - Piano (#A2,A3,B2)

Bob Rose Guitar (#A2,A3,B2)

Victor Sproles - Bass (#A1,B1,B3)

Jay Leonhart - Bass (#A2,A3,B2)

Steve Butler - Drums (#A1,B1,B3)

Jim Young - Drums (#A2,A3,B2)

Ralph Dorsey - Congas (#A1,B1,B3)

Steve Kroon - Percussion (#A1,B1,B3)

Danny Barrajanos - Percussion (#A2,A3,B2)

Holly Hamilton, Edna Holt - Vocals (#A1,B1,B3)

Tracks:

A1. Uncle Funky {Harold Ousley} (7:08)

A2. The Prodical Son {Harold Ousley} (5:51)

A3. One For The Masses {Harold Ousley} (8:16)

B1. Sweet Double Hipness {Harold Ousley} (5:38)

B2. Come Get It, I Got It {Harold Ousley} (5:12)

B3. Feel Like Makin' Love {Gene McDaniels} (7:20)

Credits:

Producer - Harold Ousley, Frederick Seibert, Bob Rose

Engineer - George Klabin

Cover Photo - Hugh Bell

Cover Design - Ron Warwell

Liner Notes - Arnold Jay Smith

This is a compilation of his albums as a leader: bubbly, energetic and romantic, with a pleasant mixture of funk, soul, blues and bop.

Harold Ousley - The People's Groove (1977) [vinyl>flac]

Communication, a much-abused word in the world of music has special relevance in the case of saxophonist Harold Ousley. His basic goal is "to develop the ability to give people a complete musical experience that inspires, consoles and nourishes." In pursuit of that goal, Harold's activities have fanned out to include several separate yet interrelated directions. Harold's big vibrant sound and rhythmic finesse immediately evoke waves of tapping toes, popping fingers and undulating bodies. He makes everyone feel good. This album will help bring Harold Ousley's music to a wider audience. That is good because Ousley's musical humanism does indeed have the capacity to inspire console and heal. ~ Extract from Liner Notes by Chuck Berg (Downbeat).

Muse Records, MR 5107, 1977

Recorded Live and in Studio throughout 1972 approximate dates not listed.

Musicians:

Harold Ousley - Tenor Sax (#A1-B1,B3), Alto Sax (#B1,B2)

Gary Chandler - Trumpet (#A1)

Bobby Forrester - Organ (#A2,B2)

Neal Creque - Piano (#A3,B3)

Norman Simmons - Piano (#A4,B1)

Bob Rose - Guitar (#A3,B3)

Nate Stokes - Guitar (#A1-A2)

Ray McKinny - Bass (#A1)

Jay Leonhart - Bass (#A3,B3)

Victor Sproles - Bass (#A4,B1)

Al Dreares - Drums (#A1)

Steve Butler - Drums (#A2,A4,B1-B2)

Jim Young - Drums (#A3,B3)

Ralph Dorsey - Congas (#A2,A4,B1)

Danny Barrajanos - Percussion (#A3,B3)

Steve Kroon - Percussion (#A2,A4,B1)

Edna Holt - Vocals (#A2,A4,B1)

Holly Hamilton - Vocals (#A4,B1)

Tracks:

A1. The People's Groove {Harold Ousley} (3:19)

A2. Little Virgo {Harold Ousley} (6:40)

A3. Me & Bobby McGhee {Kris Kristofferson} (7:45)

A4. Positivity {Harold Ousley} (7:48)

B1. El Exi-Hente {Harold Ousley} (4:38)

B2. Why Did I Choose You? {Harold Ousley} (10:30)

B3. The Kid {Harold Ousley} (5:47)

Credits:

Producer - Fred Seibert, Harold Ousley

Photography [Cover], Album Design - Ron Warwell

Liner Notes - Chuck Berg (Downbeat)

In 1977, the Chicago-born saxophonist Harold Ousley put out the album "The People's Groove". In essence it is a Soul Jazz/Jazz Funk masterpiece. Some of tunes are taken from a live context and as a result are full of energy. With "Little Virgo" the listener is treated to a great piece of jazz funk. Another definite highlight is the Samba-Fused recording "El Exi-Hente" with its thrilling high-speed electric piano intertwined with nicely delivered scat vocals. The rest of the compositions are of equal merit, in fact there are no disappointments. Ousley as a producer has chosen some of the great jazz luminaries of the time together with an impressive rhythm section of players noted within the black music movement. Overall, the album is very entertaining whereby Ousley gets to showcase his skills on both tenor and alto.

Charles Earland - In The Pocket (1982) [vinyl]

The final in a long string of Muse albums stretching back to 1977, this is a fairly typical Charles Earland set. The organist, who is joined by tenorman Houston Person, guitarist Melvin Sparks and drummer Idris Muhammad, performs five group originals, and the music swings and grooves predictably but with spirit. ~ by Scott Yanow, AMG.

Kicks ass! Like all of Earland's albums for Muse, this one's a deceptively simple record that you might pass up because of the date and the cover – but it's a full-fire burner that shows Earland playing better organ than he did for any other label after leaving Prestige. The tracks are long, with a very spare stripped down feel that lets Charlie go to town on the Hammond – and with backing by Houston Person, Melvin Sparks, and Idris Muhammad, he's in very nice company. © Dusty Groove America, Inc.

Earland has a sizable stack of albums to his credit, and they're taken many shapes. In the early 70's one was titled "Leaving This Planet", and the subsequent "Odyssey" suggests some further voyaging. More recently, Earland has placed his music in a "Jam" for another label. But "In The Pocket" - like other Muse LPs such as "Mama Roots" (MR 5156) and "Pleasant Afternoon" (MR 5201) - is about first impressions, the stuff that brought Earland into music in the first place, the sort of unpretentious cookery he handles so splendidly, the heart of his music. Those first impressions are the ones that last. ~ Neil Tesser, Liner Notes.

Muse Records, MR 5240, 1982

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ

Houston Person - Tenor Saxophone

Melvin Sparks - Guitar

Idris Muhammad - Drums

Tracks:

A1. Tackhead {Charles Earland} (9:46)

A2. In The Alley {Willis Jackson} (8:08)

B1. Grant's Groove {Melvin Sparks} (4:54)

B2. A Good Date {Charles Earland} (5:05)

B3. Ballad For Mom {Charles Earland} (6:52)

Credits:

Producer - Houston Person
Recording & Mastering Engineer - Rudy van Gelder
Cover Photo - Hugh Bell
Art Direction - W. Dale Cramer
Liner Notes - Neil Tesser

Charles Earland - Infant Eyes (1979) [re-rip]

Who says you can't go back and do traditional jazz in '79? For those who digressed from the 70's fused and funky side of jazz should heed to this release. And for all you jazz guitar purists should surely enjoy the first couple of tracks. Brilliant just brilliant manic guitar playing by Jimmy Ponder. I also really love the laid-back title track. The flute by Frank Wess makes it all worthwhile. ~ SomaWaxDollarBin

As of this writing, I've been straying away from the majority of classic/traditional jazz (but not all) and find my liking geared towards the 60's & 70's input, especially with jazz-funk, soul-jazz and jazz-fusion. However, there are some really good grooves (not funk) on this LP and it's just jazz, really good jazz and not jazz-funk, jazz-fusion, etc. Man, I just listened to the last track ("Is It Necessary") and love that drumming and Earland's Hammond. Do I recommend this album? Oh yeah, no doubts. ~ RateYourMusic.com

A solid set from some cats I would list as soft-spot personal favorites...Charlie Earland, Melvin Sparks and Jimmy Ponder trading tracks on guitar... The great Frank Wess and Mack Goldsbury on tenor saxes, Bill Hardman on trumpet, and Lawrence Killian on "percussion." Can't go wrong with some Charles Earland. ~ DestinationFunk

Muse Records, MR 5181, 1979

Recorded At Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Musicians:

Charles Earland - Hammond Organ

Bill Hardman - Trumpet

Frank Wess - Tenor Saxophone, Flute

Mack Goldsbury  - Tenor Saxophone (#A2)

Jimmy Ponder - Guitar (#A1,A2)

Melvin Sparks - Guitar (#B1-B3)

Grady Tate - Drums

Lawrence Killian - Percussion

Tracks:

A1. We Are Not Alone {Charles Earland} (5:04)

A2. Blues For Rudy {Charles Earland} (11:43)

B1. The Thang {Charles Earland} (7:11)

B2. Infant Eyes {Wayne Shorter} (6:17)

B3. Is It Necessary? {Charles Earland} (4:56)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Cover Design - Ron Warwell

Cover Photograph - Clarence Eastmond

Liner Notes - Michael Rozek

Charles Earland - Mama Roots (1978) [re-rip]

Amazing late 70s work from Charles Earland – quite different material than his contemporaneous sets for Mercury and Columbia, and much more the rootsy soul jazz he first cut at Prestige! The tracks are long, and filled with rhythms – that undeniable Earland groove, which is laid out here beautifully on the Hammond – in a real no-nonsense sort of style that holds up wonderfully over the years. Players are great throughout – and include Dave Schnitter and George Coleman on tenor, Jimmy Ponder on guitar, and Walter Perkins on drums. Titles include "Undecided", "The Dozens", "Mama Roots", "Red Green & Black Blues", "Old Folks", and "Bluesette". ~ Dusty Groove Inc.,

Organist Charles Earland recorded nine albums for the Muse label between 1977 and 1995. None stand out particularly, but each had its share of solid, organ-combo swing and programs of mostly blues and ballads. This music was all recorded between Earland's more commercial (and less memorable) outings on Mercury and Columbia and catch the organ grinder in a kind of Jimmy Smith bag (reinforced even more when paired with Wes-like guitarist Jimmy Ponder). While the funk and the fire in Earland's playing had been missing since at least his last Prestige record (1974), there's an insistently melodic and appealing groove throughout this set. Another advantage is that the majority of the tunes here are Earland originals: slow burners that really let the organist cook nicely on a low flame. There are several nice features for George Coleman on tenor sax. A surprisingly cohesive set with an enjoyable after-hours feel. ~ by Douglas Payne.

Muse Records, MR 5156, 1978

Recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ

Dave Schnitter - Tenor Saxophone (#A1)

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Walter Perkins - Drums (#A1,A2,B1,B2)

Bobby Durham - Drums (#A3,B3)

Tracks:

A1. Undecided {Charlie Shavers} (7:45)

A2. The Dozens {Charles Earland} (3:46)

A3. Red, Green & Black Blues {Charles Earland} (4:54)

B1. Mama Roots {Charles Earland} (6:34)

B2. Old Folks {Willard Robison} (5:27)

B3. Bluesette {Toots Thielemans, Norman Gimbel} (6:38)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Cover Design - Ron Warwell

Cover Photography - Clarence Eastmond

Liner Notes - Tony Outhwaite

Charles Earland - Pleasant Afternoon (1978) [re-rip]

With Houston Person on tenor sax, Bill Hardman on trumpet, and Melvin Sparks on guitar, not to overlook the master of the Hammond B3 himself, Charles Earland nothing can go wrong. All tunes, penned by Earland, are masterfully crafted into a wonderfully sonorous soul jazz excursion. Earland's Hammond licks add a dynamic unique to this genre, something that modern day players have not been able equal. The music is as vitalising as it was back in the late seventies.  Of course it goes without saying that all players set this album on fire.

Yes this is the one with the monster jazz dance banger "Murilley" on it-enough said!!! ~ Orgy In Rhythm

Thanks for another Mighty Burner album, his Muse sessions was a kind of "back to the roots" after all those Mercury disco/fusion oriented LPs. ~ Sergio

"Murilley" is great and fun, but I like the other tracks even more, especially "Organic Blues". The playing throughout this album is so raw and direct, not perfect, but soulful. ~ instagib

His sound & groove is so POWERFUL. ~ Pekis

Muse Records, MR 5201, 1981

Recorded 19th April, 1978 at Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ [Hammond B3], Vocals (#A1)

Houston Person - Tenor Saxophone

Bill Hardman - Trumpet

Melvin Sparks - Guitar

Grady Tate - Drums

Ralph Dorsey - Percussion, Conga

Tracks:

A1. Murilley {Charles Earland} (6:35)

A2. A Prayer {Charles Earland} (3:47)

A3. Organic Blues {Charles Earland} (7:25)

B1. Pleasant Afternoon {Charles Earland} (11:00)

B2. Three Blind Mice {Charles Earland} (6:16)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Liner Notes - Michael Rozek

Charlie Earland - Smokin' (1977) [re-rip]

Fine mid-'70s sextet set featuring Earland's customary soul-jazz, blues, and funk, with uptempo and ballad originals. Tenor saxophonists David Schnitter and George Coleman excel, as does guitarist Jimmy Ponder. ~ by Ron Wynn, AMG.

Killer work by Charles Earland – a back to basics set of grooving tunes that are cut in the best soul jazz mode of earlier years! Earland heads a great group that includes Jimmy Ponder on guitar, George Coleman on tenor, and Walter Perkins on drums – and the set swings high, wide, and mightily with that tight groove that Charles always has on these straight soul jazz sets. With a very hot version of "Milestones", plus "Penn Relays", "Soon It's Gonna Rain", and an excellent uptempo take on "Strangers In The Night". © Dusty Groove, Inc.

Muse Records, MR 5126, 1977

Recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Musicians:

Charles Earland - Organ [Hammond B-3]

Dave Schnitter - Tenor Saxophone

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Bobby Durham - Drums (#A1,A2), Keyboards (#A2)

Walter Perkins - Drums (#A3,B1,B2)

Herb Fisher - Percussion

Tracks:

A1. Penn Relays {Charles Earland} (5:48)

A2. Danny Boy's Blues {Dave Paul} (3:53)

A3. Milestones #2 {Miles Davis} (8:25)

B1. Soon It's Gonna Rain {Tom Jones, Harvey Schmidt} (9:38)

B2. Strangers In The Night {Bert Kaempfert} (4:58)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Design [Cover], Photography - Hal Wilson

Liner Notes - Frederick I Douglass

Sonny Phillips - I Concentrate On You (1978) [re-rip]

This is the second LP by organist Sonny Phillips on Muse Records from 1977. Phillips is heard playing a range of keyboard instruments, predominately the organ but at times and in particular on the album's title track he lays down some masterful piano work. He is joined by quite a stellar array of players including Virgil Jones on trumpet, Eddie McFadden on guitar, Lawrence Killian on congas and percussion, Charlie Persip on drums, Mervin Bronson on bass and John Stubblefield on tenor saxophone. The tunes chosen for the album range from a number of jazz standards and some more contemporary compositions; included are two of Phillips' own compositions. Phillips although considered a junior amongst his fellow organists clearly displays his own manner and style of playing, which in many ways cannot be aligned to any major influence. His ability to write and play piano sets him outside the core of the modern jazz organists that maintained popularity throughout the 60's and 70's. Overall the music comes across as very melodic and all players harmonise and interact seamlessly. This is enhanced by Houston Person as producer and the resulting tracks are captured by the masterful skills of Rudy van Gelder as the engineer. Recommended.

Muse Records, MR 5157, 1978

Recorded 9^th November, 1977 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Sonny Phillips - Keyboards

Virgil Jones - Trumpet

John Stubblefield - Tenor Saxophone

Eddie McFadden - Guitar

Mervin Bronson - Bass

Charlie Persip - Drums

Lawrence Killian - Congas, Percussion

Tracks:

A1. Free Like The Wind {Sonny Phillips} (6:28)

A2. The Greatest Love Of All {Michael Masser, Linda Creed} (2:53)

A3. Falling In Love With Love {Lorenz Hart, Richard Rodgers} (7:28)

B1. Hard Times {Paul Mitchell, George V. Johnson, Jr.} (7:02)

B2. Day By Day {Axel Stordahl, Paul Weston, Sammy Cahn} (5:51)

B3. I Concentrate On You {Cole Porter} (5:06)

Credits:

Producer - Houston Person

Engineer - Rudy van Gelder

Cover Design & Photograph - Ron Warwell

Liner Notes - Tony Outhwaite

Willis Jackson - Bar Wars (1978) [Bonus]

Willis Jackson, aka "The Gator", produced some of the finest examples of the "soul jazz" genre. This type of music was very popular in the late 50's, 60's and 70's but now seems to be forgotten. What’s a shame: If you dig jazz that has a heavy blues vibe, then Gator is your man. This disc is a stellar example, with the always solid Charles Earland on organ, as well as Jackson's most famous sideman, Pat Martino, by this time a legend in the jazz guitar world. While all the tracks feature stellar playing, the title track, and "The Goose is Loose" are especially noteworthy, with all three soloists giving you breathtaking work. Jackson in particular, takes chorus after fiery chorus, with each one building in intensity. There were few if any saxophonists who could hang with the Gator on an up-tempo blues. And as much as many fans wax poetically about Kenny Burrell being the master at combining blues with jazz guitar, for my money no one can touch the work Martino did with Jackson not only on this disc, but also on "Headed and Gutted" and "Single Action". Simply Superb!

Willis Jackson, a veteran of the jazz-oriented R&B music of the late '40s, was a powerful tenor in the tradition of Gene Ammons. This is a particularly exciting release with Charles Earland pumping away at the organ, guitarist Pat Martino offering a contrasting solo voice and Jackson in top form, wailing away on the uptempo pieces. The CD reissue of the original LP adds two alternate takes to the program. The chord changes might be fairly basic but Willis Jackson plays with such enthusiasm and exuberance that it almost sounds as if he had discovered the joy of playing music. ~ Scott Yanow, AMG.

Muse Records, MR 5162, 1978

32 Jazz, 32018, 1997

Recorded 21^st December, 1977 at Van Gelder Studio, Englewood, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Pat Martino - Guitar

Charles Earland - Organ

Idris Muhammad - Drums

Buddy Caldwell - Conga

Tracks:

A1. Later {Tiny Bradshaw, Sil Austin, Henry Glover} (5:53)

A2. Blue & Sentimental {Count Basie, Jerry Livingston, Mack David} (3:02)

A3. Bar Wars {Willis "Gator" Jackson} (7:00)

B1. The Breeze And I {Ernesto Lecuona, Al Stillman} (4:54)

B2. The Goose Is Loose {Willis "Gator" Jackson} (5:03)

B3. It's All Right With Me {Cole Porter} (7:11)

Bonus Tracks [32 Jazz]

07. The Breeze And I [Alternate] {Lecuona, Stillman} (5:11)

08. It's All Right With Me [Alternate] {Cole Porter} (7:02)

Credits:

Producer, Liner Notes - Joel Dorn

Executive Producer - Joe Fields

Production Coordination - Michael Weiner

Recording Engineer - Rudy van Gelder

Mastering Engineer - Gene Paul

Art Direction, Photography - Hal Wilson

Design - Nancy Dwyer, Page Simon

Illustrations - Oliver Wasow

Liner Notes - W.A. Brower

Steve Kuhn - Raindrops [Live In New York] (1972) [vinyl>flac]

This album captures a live performance of another underrated pianist. Steve Kuhn is joined by a dynamic rhythm section. Bruce Ditmas in particular adds a definite and stunning beat to some of Kuhn's own intrinsic compositions. The sounds emanating from the electric piano are very compelling listening. As with bands of this same period there is a tendency for the players to drift into freer deliveries touching on fusion. Kuhn's use of the electric piano is quite unique. He has tended to stick to acoustic in recent years. Listening to "Ida Lupino" there are similarities to the sounds Paul Bley was exchanging through his various groups over that same period. In this regard take the opportunity to be encapsulated by a great period quartet.

Cobblestone Records, CST 9020, 1972

Muse Records, MR 5106, 1976

Recorded in 1972 at Folk City, New York

Musicians:

Steve Kuhn - Acoustic & Electric Pianos, Vocals

George Mraz - Bass

Bruce Ditmas - Drums

Sue Evans - Percussion

Tracks:

A1. Gloria's Theme {Bronislaw Kaper} (5:11)

A2. The Child Is Gone {Steve Kuhn} (3:03)

A3. The Real Guitarist [In The House] {Steve Kuhn} (6:31)

A4. The Saga Of Harrison Crabfeathers {Steve Kuhn} (5:20)

B1. Chicken Feathers {Steve Kuhn} (6:43)

B2. Ida Lupino {Carla Bley} (4:12)

B3. Raindrops, Raindrops {Steve Kuhn} (4:30)

B4. Thoughts Of A Gentleman {Steve Kuhn} (3:09)

Credits:

Producer - Helen Keane

Art Direction, Design, Photography - Hal Wilson

Notes:

Applause edited from original rip retained only in introduction.

Also released on Happy Bird B/90082, Germany, 1976

and Jazz & Blues History, Vol. 60 - Tobacco Road B/2560

Houston Person - Suspicions (1980) [re-rip]

Here we have another solid outing by Houston Person. He is joined with the mastery of some other fine musicians, including to name a few; Virgil Jones, Melvin Sparks, Horace Ott, Sonny Phillips and Idris Muhammad. The title tune “Suspicions” gets it all started with a funky soul jazz beat. On the rest of the album he turns his tenor to a challenging mixture of tunes from the popular “If” and the more intrinsic “Blue Monk” and a classic standard “This Bitter Earth”, not to mention a funky composition by Sonny Phillips “Me and Me Brudder”, but as always, his interpretation and musicianship excels across anything he producers. Another highlight is the two compositions on offer by Horace Ott; “Pieces” and “Let’s Love Again”. By and large the listener will find something that gets the Soul A-Movin’.

Muse Records, MR 5199, 1980
Recorded 24^th April, 1980 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Virgil Jones - Trumpet

Melvin Sparks - Guitar

Jack Cavari - Guitar

Sonny Phillips - Keyboards

Horace Ott - Keyboards

Ernie Hayes - Keyboards

"Bad" Wilbur Bascomb - Bass

Idris Muhammad - Drums

Ralph Dorsey - Percussion

Tracks:

A1. Suspicions {Eddie Rabbitt, Randy McCormick, David Malloye, Even Stevens} (5:22)

A2. If {David Gates} (3:56)

A3. Me & Me Brudder {Sonny Phillips} (3:25)

A4. Pieces {Horace Ott} (5:02)

B1. Blue Monk {Thelonious Monk} (8:43)

B2. This Bitter Earth {Clyde Otis} (4:44)

B3. Let's Love Again {Horace Ott} (4:58)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Arranger - Horace Ott (#A1,A4,B3)

Art Direction & Design - Mark Larson

Cover Photo - Charles Redly

Liner Notes - Maxine S. Harvard

Houston Person - Stolen Sweets (1977) [vinyl>flac]

Person is a master of moving, luxuriant melody, of sweeping, tuneful saxophone lines. Much of his best work--in person and on record--is devoted to attractively structured pop songs--and this collection is no exception. On "At Last" and "Skylark", Person conjures up his richest, warmest ballad sound. "If Ever I Would Leave You" finds Houston fluent and exhilarating at a faster tempo. On "Stolen Sweets", one hears echoes of Jug's brusque tone and soulful emotion. Finally, on "T-Bone Steak", finds Person riding an earthy, instrumental blues and getting excellent support from organist Sonny Phillips and guitarist Jimmy Ponder. "Stolen Sweets" is unabashedly recommended. I think you'll agree that Houston Person and his band play my kind and your kind of jazz--music that is mellow, relaxed, warm, tasty and inventive. In startling contrast to the tenseness and turbulence fashionable in some jazz quarters, Houston Person offers a joyful, soulful musical experience, ~ Excerpts by Jon Lissner, New York Times; from Liner Notes.

Muse Records, MR 5110, 1977

Recorded 29^th April, 1976 at Blue Rock Studio, New York City

Musicians:

Houston Person - Tenor Saxophone

Jimmy Ponder - Guitar

Sonny Phillips - Organ

Frankie Jones - Drums

Buddy Caldwell - Congas

Tracks:

A1. If Ever I Would Leave You {Alan Jay Lerner, Frederick Loewe} (10:38)

A2. At Last {Harry Warren, Mack Gordon} (7:42)

B1. Stolen Sweets {Wild Bill Davis} (5:35)

B2. Skylark {Hoagy Carmichael, Johnny Mercer} (7:31)

B3. T-Bone Steak {Jimmy Smith} (6:32)

Credits:

Producer - Michael Cuscuna

Recording Engineer - Eddie Korvin

Art Direction, Design, Photography - Hal Wilson

Liner Notes - John Lissner, New York Times

This is album could easily be rated as one of Houston Person's best on Muse, if not definitely to be noted as a great sounding Soul Jazz LP from the classic 70's. Person is in excellent form producing some fantastic up-tempo and plenty of robust tenor sounds. The assortment of tunes allows him to display his masterful skills as a very talented ballad player to just breaking out into some juicy funk number. He is joined by a mighty crew; with Jimmy Ponder on guitar given many opportunities to perform some riveting solos; and along with Sonny Phillips' magnificent swirling organ the listener is taken on one hell of a Soul-Jazz-Funky ride. Backing these great men are two percussion and rhythmic experts in Frankie Jones and Buddy Caldwell. Right throughout the album their driving beats assist the soloists to hold it perfectly together. The only real fault is that its joyful ride ends so quickly. There's one thing to do just spin it again.