Red Holloway - In The Red (1997)

Red Holloway is joined by a set of veteran jazz performers for a no-nonsense, down-to-earth blowing session recalling those magnificent Prestige and Blue Note recordings of the 1950s and '60s by Johnny Griffin, Dexter Gordon, Gene Ammons, Sonny Stitt, and others. The first cut, "The Chase," was the vehicle for the seminal Dexter Gordon/Wardell Gray tenor sax battle recorded in 1947, which set the ground rules for all such battles to come. On this cut, Holloway shows he has lost little, if any, of the fingering dexterity that characterized his playing in earlier days with such notables as "Brother" Jack McDuff, Bill Doggett, and Lloyd Price. Holloway continues to be equally adroit on alto as he is on tenor, bringing out the smaller sax on "The Gypsy" and "A Tear in My Heart" (the latter a composition by piano player Norman Simmons). A highlight of the album is the very poignant rendition of Duke Ellington's "In My Solitude," played in soulful, long musical lines. HighNote Records, the successor to the old Muse label, became a home for several veteran saxophonists. In addition to Holloway, the stable includes Houston Person and Teddy Edwards. HighNote deserves considerable kudos for providing a forum for this hard driving saxophone playing, done with soul, which otherwise might be lost. ~ by Dave Nathan, AMG.

HighNote Records, HCD 7022, 1998

Recorded 27^th November, 1997 At Van Gelder Studios, Englewood Cliffs, New Jersey

Personnel:

Red Holloway - Tenor Sax, Alto Sax (#4,7)

Norman Simmons - Piano

Peter Washington - Bass

Kenny Washington - Drums

Tracks:

1. The Chase {Dexter Gordon} (4:36)

2. In My Solitude {Eddie DeLange, Duke Ellington, Irving Mills} (7:33)

3. Snu-Fu {Norman Simmons} (7:36)

4. The Gypsy {Billy Reid} (8:58)

5. Claudia {Red Holloway} (6:05)

6. Watermelon Man {Herbie Hancock} (6:49)

7. A Tear In My Heart {Norman Simmons} (5:48)

8. Rapture {Harold Land} (8:30)

Total Time: 55:35

Credits:

Producer - Houston Person

Engineer - Rudy van Gelder

Cover Photo - Ken Franckling

Tray Card Photo - J. Flint

Art Direction - Dick Smith

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.

Teri Thornton - Devil May Care

Is poppachubby a spoiled sport?!?  Hell nah!!

I have to work 12 hours today.  Can't enjoy my usual dose of Chitlins gospel - no church.  But that doesn't mean that I won't take the time to ensure my Crypt people don't have a stellar Sunday!!

Just quickly folks, this album is gonna blow you away.  Miss Thornton's voice is on par with the usual suspects of female jazz vocals.  She is backed by a small group chock full of stars...

...what more do you need?!?

This is the first (of three) long out of print recordings by Teri Thornton, finally available to the general public. It would not be a stretch to say she is perhaps the most talented, distinctive, clean, out-of-sight singer listeners have never heard....until now. Thornton's powerful, almost chilling voice compares favorably to the pristine tones and vibrato of Sarah Vaughan, the blues sassiness of Dinah Washington, and some of the more soulful refrains of Abbey Lincoln. Simply put, you have to hear her once to believe her. Whether on doleful ballads or raucous swingers, Thornton is totally confident and in control -- of her emotions and yours. From the best version of the Bob Dorough-written title track you are likely to hear, to the regretful ballad "My Old Flame" or the ultimate heart-melter "Left Alone," to an interesting arrangement on a pleading "What's Your Story, Morning Glory?," Thornton charges through the bar lines. Check her forcefulness on "Dancing in the Dark" and "I Feel a Song Coming On." Sometimes she purposefully staggers behind measures to grand effect. Every track is a showstopper, thanks to her uniquely soulful, drama-laden approach. Potent, unobtrusive horn charts feature legends like trumpeter Clark Terry, trombonist Britt Woodman, and saxophonists Earle Warren and Seldon Powell. The rhythm section of guitarist Freddie Green (half the tracks, Sam Herman on the others), pianist Wynton Kelly, bassist Sam Jones, and drummer Jimmy Cobb can do no wrong. Arranger par excellence Norman Simmons provided the perfect charts. This is an important document of a truly great jazz singer, and is essential in the collection of every serious aficionado. The only one regret is that it can't be given several handfuls of *****. ~ Michael G. Nastos

Riverside RLP 352
1961

New York, NY (12/23/1960/01/10/1961); Plaza Sound Studios,
New York, NY (12/23/1960/01/10/1961).

Teri Thornton (vocals); Norman Simmons (conductor, arranger);  Freddie Green, Sam Herman (guitar); Seldon Powell (saxophone); Earle Warren (alto saxophone); Clark Terry (trumpet, flugelhorn); Britt Woodman (trombone); Wynton Kelly (piano); Jimmy Cobb (drums)