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

Don Patterson - The Best Of Don Patterson & The Jazz Giants (1969)

The term "jazz giants" is no overstatement for this selection of choice tracks from the brilliant organist's output for Prestige between 1964 and 1969. The various lineups on the LP's six tracks are made up of players who excel in playing Patterson's brand of smart, hard-bopping soul jazz: Sonny Stitt, Pat Martino, Charles McPherson, George Coleman, Blue Mitchell, Junior Cook among others. Cohesive pacing and sound put this release a few notches above most all-star/best-of sets. There's no awkward shoehorning guests in for celebrity cameos, rather the players all sound like members of tight, working units. It helps to have Patterson stalwarts guitarist Martino and drummer Billy James on board for most of the music, as they share the artist's ability to generate exciting, hard-driving music with their great blues feeling and outstanding chops. The three tracks with Martino are the high points: Stitt's "Ratio and Proportion," Billy James' "Little Shannon," and Charlie Parker's "Donna Lee." As he consistently does in his work with Patterson, Martino impresses with his stunning rhythm work, in addition to his more widely recognized role as a killer soloist. The version of "Donna Lee" here is also significant for the presence of veteran bebopper Howard McGhee, who is in excellent form on this feature for his trumpet. The mark of a strong best-of package is one that stands on its own as a coherent presentation of the artist's work, as well as one that prompts the listener to seek out the complete sessions that were drawn on for the compilation. On both these accounts, this survey of Patterson's work is a complete success. ~ by Jim Todd, AMG.

Prestige Records, PRST 7772, 1969

Recorded 24^th September, 1968 (#A1) in New York City

Recorded 2^nd June, 1969 (#A2) At Van Gelder Studio, Englewood Cliffs, New Jersey

Recorded 22^nd February, 1968 (#A3) in New York City

Recorded 10^th May, 1967 (#B1) At Van Gelder Studio, Englewood Cliffs, New Jersey

Recorded 19^th March, 1964 (#B2) At Van Gelder Studio, Englewood Cliffs, New Jersey

Recorded 5^th June, 1968 (#B3) in New York City

Personnel:

Don Patterson - Organ

Virgil Jones - Trumpet (#A2)

Howard McGhee - Trumpet (#A3)

Blue Mitchell - Trumpet (#B3)

Charles McPherson - Tenor Saxophone (#A1)

Sonny Stitt - Tenor Saxophone (#A1,B2)

George Coleman - Tenor Saxophone (#A2)

Houston Person - Tenor Saxophone (#A2)

David "Fathead" Newman - Tenor Saxophone (#B1)

Junior Cook - Tenor Saxophone (#B3)

Pat Martino - Guitar (#A1-A3,B3)

Billy James - Drums (#A1,A3,B1,B2)

Frankie Jones - Drums (#A2)

Tracks:

A1. Ratio And Proportion {Sonny Stitt} (5:09)

A2. Perdido {Ervin Drake, Hans Lengsfelder, Juan Tizol} (8:50)

A3. Donna Lee {Charlie Parker} (6:16)

B1. Mellow Soul {Don Patterson} (6:35)

B2. Please Don't Talk About Me When I'm Gone {Sidney Clare, Sam H. Stept} (5:42)

B3. Little Shannon {Billy James} (6:56)

Total Time: 39:28

See Session Info [Personnel].txt for further details

Eric Kloss - Consciousness! (1970) [re-rip]

Consciousness! is the tenth album by saxophonist Eric Kloss which was recorded in January 1970 and released on the Prestige label. The album sounds a lot more intense than To Hear Is To See! mainly because Pat Martino, who joins the band on guitar, is an fiery presence. A great album from Eric that again teams him with the Miles Davis rhythm section of the late 60's early 70's in addition Pat Martino, who was also entering much freer side to his playing. Overall, the LP is a showcase of soulful electric and funkier grooves a lot different to Kloss' earlier albums and his less tight formations in later years. All tunes are extensive with fine versions of "Sunshine Superman" and "Songs To Aging Children", plus the pieces "Consciousness" and "Outward Wisdom", highly recommended!

Prestige Records, PRST 7793, 1970

Recorded 6^th January, 1970 At RCA Recording Studios, New York City

Personnel:

Eric Kloss - Alto (#A1,B2, B3), Tenor (#A2,B1) Saxophones

Pat Martino - 6 String (#A2,B2), 12 String (#A1,B1,B3) Guitars

Chick Corea - Piano (#A2,B2), Electric Piano (#A1,B1,B3)

Dave Holland - Bass, Electric Bass

Jack DeJohnette - Drums

Tracks:

A1. Sunshine Superman {Donovan Philips Leitch} (10:36)

A2. Kay {Eric Kloss} (10:01)

B1. Outward Wisdom {Pat Martino} (6:05)

B2. Songs To Aging Children {Joni Mitchell} (6:59)

B3. Consciousness {Eric Kloss, Danny DePaola} (8:38)

Total Time: 42:19

Credits:

Producer, Design, Photo - Don Schlitten

Engineer - Paul Goodman (RCA)

Liner Notes - Greg Hall (June 1970)

Don Patterson - Four Dimensions (1967) [vinyl]

Sweet soulful work from the legendary Don Patterson – a great Prestige set that has tenorist Houston Person joining the organist's hip trio with Pat Martino on guitar and Billy James on drums! The tunes have that loping soul jazz sound you'd find in Person's best early work at the time – a groove that's got plenty of bottom, but also a nice dose of lyricism as well – and the use of Houston's horn here seems to bring out a different approach from Patterson than you'll hear on his sessions with Booker Ervin. There's a very slight hardbop element at times - and titles include "Sandu", "Freddie Tooks Jr", "Red Top", and "Last Train From Overbrook". © Dusty Groove America, Inc.

Prestige Records, PRST 7533, 1968

Recorded 25^th August, 1967 in New York City

Musicians:

Don Patterson - Organ

Houston Person - Tenor Saxophone

Pat Martino - Guitar

Billy James - Drums

Tracks:

A1. Sandu {Clifford Brown} (4:45)

A2. Freddie Tooks Jr. {Don Patterson} (5:41)

B1. Embraceable You {George Gershwin, Ira Gershwin} (9:23)

B2. Red Top {Gene Ammons} (10:16)

B3. Last Train From Overbrook {James Moody} (3:57)

Total Time: 34:02

Credits:

Supervisor, Design - Don Schlitten

Engineer - Richard Alderson

Notes - Bob Porter (Jan. 1968)

Richard "Groove" Holmes - Get Up & Get It! (1967) [re-rip]

The organ trio format is so ensconced in the minds of soul-jazz fans that hearing this album, which puts Richard "Groove" Holmes' funky Hammond B3 in the context of a larger group, sounds odd and over-produced at first. Putting Holmes' bottom-heavy instrument against a guitar-bass-drums trio and then adding Teddy Edwards' tenor saxophone on top to take most of the melody lines sounds on paper like it should be a thick, muddy mess, but thankfully, Holmes' sidemen are up to the task at hand and steer clear of over-playing. The great Paul Chambers, one of the best bassists of the post-bop generation, mostly leaves the bottom to Holmes' left hand, leaving himself free to add intriguing little accents and filigrees to the rhythm, and guitarist Pat Martino wisely avoids the temptation to do much more than comp unobtrusively and take the occasional brief solo. Billy Higgins, of course, is one of the great drummers of his time and plays solidly throughout. The original "Groove's Blue Groove" is a particular highlight, but the entire album is worthy. ~ by Stewart Mason, AMG.

Prestige Records, PRST 7514, 1967

Recorded 29^th May, 1967 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Richard "Groove" Holmes - Organ [Hammond B3]

Teddy Edwards - Tenor Saxophone

Pat Martino - Guitar

Paul Chambers - Bass

Billy Higgins - Drums

Tracks:

A1. Get Up And Get It {Teddy Edwards} (5:41)

A2. Lee-Ann {Teddy Edwards} (5:08)

A3. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (9:20)

B1. Broadway {Billy Bird, Teddy McRae, Sir Henry Joseph Wood} (5:24)

B2. Groove's Blues Groove {Richard "Groove" Holmes} (8:02)

B3. Pennies From Heaven {Johnny Burke, Arthur Johnston} (6:26)

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Rudy van Gelder

Liner Notes - Bob Porter (July 1967)

Eric Kloss - Introducing Eric Kloss (1965) [re-rip]

Eric Kloss' great first jazz outing, recorded back when he was a teenage virtuoso attending the Western Pennsylvania School for Blind Children. Recorded with Don Patterson's trio, with Pat Martino on guitar, and very (and surprisingly) groovy all the way through. The tracks are mostly standards, but Kloss plays with a lot of imagination and fire, and really wails along with Patterson's organ. © Dusty Groove, Inc.

And what an introduction. The 16-year-old Eric Kloss joins forces with organist Don Patterson in what is a top-flight date for both of them. Patterson always had premier players with him who were attuned to his unique blend of hard-bopping soul jazz. In his debut recording, Kloss is equal to any of them. Regular Patterson collaborators -- guitarist Pat Martino and drummer Billy James -- are also on board. Martino is superb in his rhythm and solo work, his extraordinary technique and natural way with the blues always a sure bet on a Don Patterson date. Similarly, James' progressive style and command of the blues are key to this group's sound. The titular star sticks to his tenor, except for a modern, swinging treatment of "Embraceable You," where he switches to alto. Kloss favors the higher end of the tenor's register, plays with little or no vibrato, and makes little use of the tenor's trademark honks and barks. Although he is not unorthodox in his approach, Kloss, while still a teenager, does not sound overtly like anyone else, except, perhaps, for an inevitable John Coltrane influence. For this session, the program comprises standards, originals, and blues, including a version of Miles Davis's "All Blues," which gets a slightly more low-down treatment than usual, without sacrificing the tune's innate sophistication and cool. Kloss went on to record many fine sessions in the ensuing years, including dates with members of the rhythm section on Miles Davis' Bitches Brew, but since the early '80s, he has been absent from the jazz scene. When he arrived with this introduction, though, Kloss combined with the others in this quartet to produce a hard bop, organ jazz session that stands with the best. ~ by Jim Todd.

Prestige Records, PR 7442, 1965

Recorded 1^st September, 1965 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Eric Kloss - Alto & Tenor Saxophones

Don Patterson - Organ

Pat Martino - Guitar

Billy James - Drums

Tracks:

A1. Close Your Eyes {Bernice Petkere} (6:51)

A2. Old Folks {Dedette Lee Hill, Willard Robison} (5:47)

A3. 'S 'Bout Time {Don Patterson} (8:09)

B1. That's The Way It Is {Jimmy Giuffre, Eric Kloss} (5:29)

B2. All Blues {Miles Davis} (5:42)

B3. Embraceable You {George Gershwin, Ira Gershwin} (4:31)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten
Liner Notes - Jack Yard (Nov. 1965)

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

Don Patterson - The Best Of Don Patterson (1969) [vinyl]

A fine compilation of tracks from Don Patterson albums released on Prestige Records stretching from 1964-1967. He is joined by a solid cast of players including: Houston Person, David “Fathead” Newman, Sonny Stitt, Booker Ervin, Jerry Byrd, Pat Martino, Vinnie Corrao, Billy James on broad selection of soul jazz tunes, Enjoy!

Prestige Records, PRST 7704, 1969

See Session Info text file for Dates & Personnel

==============================

Tracks:

A1. 42639 {Sonny Stitt} (5:21)

A2. Satisfaction {Richard Carpenter} (3:21)

A3. Up In Betty's Room {Don Patterson} (5:12)

A4. Last Train From Overbrook {James Moody} (3:57)

B1. Humpa Snapa Blues {Don Patterson} (5:01)

B2. Up Tight {Don Patterson} (3:13)

B3. Big C's Rock {Don Patterson} (3:12)

B4. Sister Ruth {Don Patterson} (4:56)

Recording Engineer - Rudy van Gelder

=========================================================

42639 was originally released on:

Don Patterson - Patterson's People (1965)

PR7381

Satisfaction was originally released on:

Don Patterson - Satisfaction! (1965)

PRST 7430

Up In Betty's Room was originally released on:

Don Patterson - The Exciting New Organ Of Don Patterson (1964)

PRST 7331

Last Train from Overbrook was originally released on:

Don Patterson - Four Dimensions (1967)

PRST 7533

Humpa Snapa Blues was originally released on:

Don Patterson - Mellow Soul (1967)

PRST 7510

Up Tight was originally released on:

Don Patterson - Soul Happening (1967)

PRST 7484

Big C's Rock was originally released on:

Don Patterson - The Boss Men (1965)

PRST 7466

Sister Ruth was originally released on:

Don Patterson - Hip Cake Walk (1964)

PRST 7349

Willis Jackson - Nothing Butt... (1980) [vinyl>flac]

Tenor saxophonist Willis Jackson got into a routine on his Muse albums, but never lost his enthusiasm and creativity within the genre. This album features Jackson on a current hit ("Just the Way You Are"), a couple of ballads, and three romps ("Nothing Butt," "Hittin' and Missin'," and "Move"). Guitarist Pat Martino is heard in excellent form just before a serious illness; organist Charles Earland is up to his usual groovin' form, and drummer Grady Tate and percussionist Buddy Caldwell keep the music moving. An excellent effort full of enjoyable and fairly accessible music. ~ by Scott Yanow, AMG.

Here we have another exciting album by Willis Jackson. He is joined by a veteran team of musicians well versed in the “Soul Jazz” groove. Both Charles Earland and Pat Martino have worked alongside Jackson on previous outings and this adds to the dynamics. As usual Jackson chooses a diversity of tunes, mostly of his own doing that showcases effectively his skills and that of the other soloists. Pat Martino in particular takes the groove to greater heights. Similarly, Charles Earland’s organ licks undeniably meshes the tunes together. Willis’ strong tenor sound is at heart of all the compositions, especially on those penned by him. However, the listener is also presented with some wonderful interpretations of both newer and older ballad style compositions. In the end the album is definitely a keeper in that with continual playing it always delivers an enjoyable an uplifting mood. In some regards the title indicates “Nothing Butt…” the best from Jackson and his team.

Muse Records, MR 5294, 1983

Recorded 20^th June, 1980 at Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Pat Martino - Guitar

Charlie Earland - Organ

Grady Tate - Drums

Buddy Caldwell - Percussion

Tracks:

A1. Just The Way You Are {Billy Joel} (7:03)

A2. Nuages {Willis Jackson} (4:50)

A3. Nothing Butt {Willis Jackson} (4:43)

B1. Hittin' And Missin' {Willis Jackson} (7:55)

B2. Autumn Leaves {Joseph Kosma, Johnny Mercer, Jacques Prevert} (4:28)

B3. Move {Willis Jackson} (4:04)

Credits:

Producer - Bob Porter

Recording & Mastering Engineer - Rudy van Gelder

Art Direction - W. Dale Cramer

Cover Photo - Hugh Bell

Liner Notes - Cliff Tinder

Willis Jackson - Headed And Gutted (1974) [vinyl>flac]

Willis "Gator" Jackson's series of albums for Muse during the 1970s helped keep alive the soulful, tough tenor tradition of Illinois Jacquet, Gene Ammons, and (later on) Houston Person. For this particular set, the participation of guitarist Pat Martino made the date more notable than it might have been. With Mickey Tucker on keyboards, electric bassist Bob Cranshaw, drummer Freddie Waits, and Richard Landrum and Sonny Morgan on percussion, Jackson still sounds very much in his prime, particularly on the exciting "Gator Whale." The other selections tend to emphasize ballads "My One and Only Love" and funky jazz "The Way We Were". ~ Scott Yanow, AMG.

Headed And Gutted is basically a one-tracker. That comes in the form of the title track that is a real nice, mid-tempo funky Jazz piece. It has a driving rhythm and Jackson’s soloing over the top. The rest of the album is more straight-ahead Jazz splitting between the slow and mellow Blue Velvet and The Way We Were, and the more upbeat Miss Ann and Gator Whale. ~ Soulstrut.com.

Muse Records, MR 5048, 1974

Recorded 16^th May, 1974

Musicians:

Willis Jackson - Tenor Saxophone

Mickey Tucker - Piano, Electric Piano, Organ

Pat Martino - Guitar

Bob Cranshaw - Bass

Freddie Waits - Drums

Sonny Morgan - Percussion

Richard Landrum - Congas

Tracks:

A1. Headed And Gutted {Sonny Phillips} (5:21)

A2. Blue Velvet {Bernie Wayne, Lee Morris} (8:16)

A3. Miss Ann [Willis' Wife] {Willis Jackson} (6:28)

B1. The Way We Were {Marvin Hamlisch} (6:49)

B2. Gator Whale {Sonny Phillips} (6:06)

B3. My One And Only Love {Guy Wood, Robert Mellin} (5:44)

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Paul Goodman [RCA]

Liner Notes - Ralph Berton

Willis Jackson - The Good Life (1963) [re-rip]

A sweet soul jazz burner from Willis Jackson - one that features his combo with Pat Martino on guitar and Carl Wilson on organ, as well as some great trumpet lines form Frank Robinson - shimmering nicely over the top of the tunes! The style here is a bit more laidback and late nite than some of Jackson's other cookers from the time - but there's still a really strong tenor/organ approach on the whole set, one that transforms familiar tunes wonderfully! Titles include "As Long As She Needs Me", "Troubled Times", "Fly Me To The Moon", and "Days Of Wine & Roses". © Dusty Groove America, Inc.

Cut at the same May 1963 session as Jackson's LP Grease 'n' Gravy, this too features an 18-year-old Pat Martino on guitar and Carl Wilson (not the Beach Boys guitarist) on organ. It's pleasing, if unsurprising, early-'60s organ soul-jazz with a good balance between brass, organ, and guitar, perhaps more useful as club groove music than home listening. They verge on cooking when the rhythm gets choked on "Troubled Times," the sole original, and the version of "Fly Me to the Moon" has some lively exuberance (and a Latin rhythm) not matched by the other tracks. Indeed, "Days of Wine and Roses" and "Walk Right In" are kinda hokey choices for the organ soul-jazz repertoire. If you have to choose between Grease 'n' Gravy and The Good Life, The Good Life is at a disadvantage, due to its greater reliance on covers of pop standards. ~ by Richie Unterberger, AMG.

I don’t necessarily agree that this is ordinary. Young Pat Martino’s solos are wonderful and both organ and trumpet blend beautifully. Overall a mixture of great Soul Jazz tunes. Enjoy!

Prestige Records, PRST 7296, 1963

Recorded 23rd (#A1-B1) & 24th (#B2,B3) May, 1963
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Frank Robinson - Trumpet

Carl Wilson - Organ

Pat Martino - Guitar

Leonard Gaskin - Bass (#B2,B3)

Joe Hadrick - Drums

Track Listing:

A1. The Good Life {Sacha Distel, Jack Reardon} (5:03)

A2. Days Of Wine And Roses {Henry Mancini, Johnny Mercer} (4:03)

A3. As Long As She Needs Me {Lionel Bart} (3:42)

A4. Fly Me To The Moon {Bart Howard} (2:55)

B1. Angel Eyes {Earl Brent, Matt Dennis} (4:13)

B2. Troubled Times {Willis Jackson, Wade Marcus, William "Mickey" Stevenson} (4:51)

B3. Walk Right In {Gus Cannon, Hosea Woods} (6:06)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Cover Photo - Lawrence N. Shustak

Liner Notes - H. G. MacGill

Bobby Pierce - The Muse Albums [24/48 vinyl rips]

repost by request:

While 'Piercing' follows 'New York' in the Muse discography, it was actually recorded two years earlier (1972) and originally issued on Cobblestone as 'Introducing Bobby Pierce'.

A very hip record from Bobby Pierce – a mixture of jazz and soul, with a laidback feeling that makes the set groove like a late night session at some little New Jersey lounge at the end of the soul jazz era. Players are all great – and include Frank Strozier, Billy Mitchell, Ted Dunbar, and Freddie Waits – but the real star of the set is Pierce, who plays organ, electric piano, and celeste – and also vocalizes on about half the album's tracks, singing in a roughly jazz style that really fits the mood of the set. Titles include "New York", "Children Are The Creator's Messengers", "Hooray For The Children", "Too High", and "Sleep Baby".  © 1996-2014, Dusty Groove, Inc.

Sonny Stitt - Night Letter (1969) [vinyl>true flac]

A more soulful date, particularly on the gorgeous ballads When It's Sleepy Time Down South and Pretend. ~ Jazzwax.com

Fine, although a bit routine, soul jazz, blues, ballads, and standards session from saxophonist Sonny Stitt. He plays with the usual surging intensity, but the album doesn't have as much excitement as similar dates done before and after it. ~ by Ron Wynn, AMG.

The group may initially sound routine but on closer inspection with Pat Martino onboard the group excels; he puts in a fine performance. In the end the listener must conclude Stitt’s ability to deliver a rich ballad. A prestige classic that is much recommended.

Prestige Records, PR 7759, 1969

Recorded 27th October, 1969 at Rudy van Gelder Studio, Englewood Cliffs, New Jersey

Track Listing:

A1. Night Letter {Sonny Stitt} (5:14)

A2. When It's Sleepy Time Down South {Clarence Muse, Otis Rene, Leon René} (4:06)

A3. Stringin' The Jug {Gene Ammons, Sonny Stitt, Richard Carpenter} (5:23)

A4. Pretend {Dan Belloc, Lew Douglas, Cliff Parman, Frank LaVere} (3:49)

B1. Blue String {Sonny Stitt} (6:21)

B2. You'll Never Know {Harry Warren, Mack Gordon} (4:03)

B3. Loose Walk [Stitts Tune] {Johnny Richards, Sonny Stitt} (5:58)

Personnel:

Sonny Stitt - Tenor Saxophone, Varitone

Gene Ludwig - Organ

Pat Martino - Guitar

Randy Gelispie - Drums

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Liner Notes - Ralph Berton

Eric Kloss - Life Force (1967) [vinyl>flac]

Much of this music is unconventional, avant-garde by the standards of anyone reared in the structural tradition of 12-bar blues, 16- and 32-bar pop standards, and infinite variations thereon. Here, other structures and idioms are freely borrowed and explored, and the listener can never be sure what avenue the boys will ramble down next. But experiment, free experiment, has ever been the soul of jazz (as of the Life Force itself, according to its admirers). At 18, Eric Kloss is a worthy representative of both conceptions, and a welcome newcomer to the ranks of those select pros who can usually be counted on for something fresh and exciting in almost any vein they choose. ~ Extract from Liner Notes by Ralph Berton.

Prestige Records, PRST 7535, 1968

Recorded 18^th September, 1967

Musicians:

Eric Kloss - Alto Sax (#A2,B1,B3), Tenor Sax (#A1,A3,B2)

Jimmy Owens - Trumpet, Flugelhorn (except #B1)

Pat Martino - Guitar

Ben Tucker - Bass

Alan Dawson - Drums

Tracks:

A1. Soul Daddy {Charles Austin} (3:55)

A2. You're Turning My Dreams Around {Eric Kloss} (4:54)

A3. Life Force {Eric Kloss} (11:23)

B1. Nocturno {Bud Shank} (6:37)

B2. St. Thomas {Sonny Rollins} (5:23)

B3. My Heart Is In The Highlands {Eric Kloss} (8:28)

Credits:

Producer - Don Schlitten

Recording Engineer - Richard Alderson

Design - Don Schlitten

Artwork - Irving Riggs

Liner Notes - Ralph Berton (Jan. 1968)

Eric Kloss - Essence [new 24/48 vinyl rip]

Even better than the last and in 24/48 Flac too!

 Eric Kloss - Essence
Muse 5038, 1974

A1 Love Will Take You There 15:38
A2 Affinity 8:57
B1 Essence 16:36
B2 Descent 3:40

Alto Saxophone, Tenor Saxophone – Eric Kloss
Bass – Buster Williams
Drums – Ron Krasinski

Piano, Electric Piano – Mickey Tucker
Trumpet – Marvin 'Hannibal' Peterson

 I have always really adored this one and personally I think the new rip sounds audibly better. Kloss plays tenor on side one, alto on side two. The more I examine Eric's work, the more I've come to believe that tenor was his strongest axe; his alto work is more Cannonball influenced and as such less original, while his tenor work seems to express his personal voice more convincingly. The rhythm section is exceptional, Buster and Mickey both shine. I remember that at the time, for me, the revelation of this album was Marvin 'Hannibal' Peterson who sparkles throughout this modal post-bop romp.

John Handy - New View! The New John Handy Quintet

Well the holiday season is in full swing (no pun intended), and hopefully I can bring some cheer over the next few weeks.  I have posted the last of my 16 bit albums so starting with this post, everything going forward will be in 24 bit/ 48kbps.

John Handy belongs to a circle of jazz artists whom have, for the most part, been grossly overlooked by even the jazz buying community at large.  A musician's musician, he is joined by other sax players like Booker Ervin, Bunky Green, Nathan Davis & Curtis Amy (to name a few) who also belong to this tribe.

It turns out that I couldn't have picked a better recording for the nuanced detail of a higher resolution transfer.  New View! is a gorgeous offering from Handy, combining several styles to create an overall vibe of tremendous space and feeling.  With only three tunes, we are treated to what can only be described as a musical adventure.  Handy pulls the listener in gently, and before you know it, he has strapped you to your seat for a bumpy ride.

His style is best described as inside/outside but I feel that this album goes beyond just Handy himself.  The entire quintet create an atmosphere which is all at once soulful, melodic and at times, tense.  It's this tension and suspended moments of intensity which help set up Handy's voice and ultimately, his message. Wonderful and inspired soloing from all, but particularily Handy who is clearly motivated to get his message across.

This LP is infact a live recording, done at the infamous Village Gate.  The crowd are completely subdued and it's easy to forget the location and circumstances of the recording.  But the fact is, these musicians are truly in the moment and we are getting the best that jazz has to offer - the epitome of the craft.  My record is in great condition and cleaned up really nicely.  That combined with the wonderful fidelity of the recording itself makes for a fantastic listening experience.  The soundstage is surprisingly cavernous which really helps to convey that live atmosphere.  Ripped at 24bit/48kbps and converted to FLAC, this gift is ready for the most scrutinizing of ears... enjoy!!!!

Altoist John Handy's 1967 quintet included vibraphonist Bobby Hutcherson, the up and coming guitarist Pat Martino, bassist Albert Stinson and drummer Doug Sides. They really stretch out on three pieces (John Coltrane's "Naima" and an original), and New View is highlighted by Handy's emotional and episodic "Tears of Ole Miss (Anatomy of a Riot)," which clocks in at 23:45. The inside/outside music is quite picturesque, emotional, and ultimately logical. It is a pity that John Handy did not make more of an impact on the mainstream of jazz, but his three Columbia studio albums still sound fresh decades later. - Scott Yanow / AMG

Columbia CS9497
Recorded live at the Village Gate, New York City, June 28, 1967.

Alto Saxophone – John Handy
Bass – Albert Stinson
Drums – Doug Sides
Guitar – Pat Martino
Vibraphone – Bobby Hutcherson

1. Naima (In Memory Of John Coltrane)  9:34

2. A Little Quiet  13:29

3. Tears Of Ole Miss (Anatomy Of A Riot)  31:00

Don Patterson - These Are Soulful Days (1973) [re-rip]

On this 1973 date, organist Don Patterson and guitarist Pat Martino again show themselves to be equally at home with gritty, organ combo sounds and the more refined vocabulary of hard bop. Brothers Jimmy Heath (tenor sax) and Albert Heath (drums) round out the band. They are bop-oriented players who also have an affinity for the Patterson and Martino blend of brains and barbecue sauce. The quartet comes together nicely on all five tracks, beginning with the long, melodic line of Cal Massey's mid-tempo title track and winding up with the slow-cooking, 18-minute "Muse Blues." As for the group's cover of "Whistle While You Work," Patterson, Martino, and the Heaths transform the Disney ditty into a solid, straight-ahead, swinger, with intelligent solo work and without a speck of corn. Patterson's pianistic approach and sparing use of bass pedals creates lots of space for his bandmates. Martino, who is known for his fleet, single-note solo work spends considerable time playing behind the soloists on this set, demonstrating what a staggeringly accomplished accompanist he can be. Heath draws on his history with Dizzy Gillespie, Milt Jackson, and Art Farmer, and as a leader in his own right, to build tenor solos that have force, logic, and passion. These Are Soulful Days is easily recommendable to fans of classic organ, guitar, sax combos, as well as to listeners who simply enjoy the playing of top-flight jazz musicians who have a healthy respect for the music's blues roots. ~ by Jim Todd, Allmusic.com.

Muse Records, MR 5032, 1973

Recorded 17th September, 1973

Personnel:

Don Patterson - Organ

Pat Martino - Guitar

Jimmy Heath - Tenor Saxophone

Albert Heath - Drums

Track Listing:

A1. These Are Soulful Days {Cal Massey} (8:19)

A2. Whistle While You Work {Frank Churchill, Larry Morey} (7:33)

A3. Skylark {Hoagy Carmichael, Johnny Mercer} (9:13)

B1. Blue 'N' Boogie {Dizzy Gillespie, Frank Paparelli} (4:11)

B2. Muse Blues {Don Patterson} (17:54)

Credits:

Producer - Don Schlitten

Engineer - Paul Goodman

“These Are Soulful Days” is a very rewarding set; it catches Don Patterson at his very best. It features Don in a fine quartet which includes Jimmy Heath on tenor sax, Pat Martino on guitar and Albert Heath on drums. Right from the start the quartet presents an exhilarating interpretation of Cal Massey's and the album's title tune. This is followed by two standards ”Skylark” and an unusual but rewarding version of “Whistle While You Work”; and finally two blues compositions “Blue 'N' Boogie” by Dizzy Gillespie and Patterson's own lengthy “Muse Blues”. All players have opportunities to solo; Patterson in particular shows great sensitivity. Jimmy Heath excels on “Whistle While You Work” and “Blue 'N' Boogie” and indeed Pat Martino has no trouble blending seamlessly with Patterson on all tunes adding some amazing solos, especially heard on the slower tracks. However he really comes into his own and truly expresses his expertise on the faster numbers.

According to Douglas Payne this is Patterson’s ‘best recorded work and offers proof that this melodic bop organist is a neglected talent that, even a decade after his death, remains deserving of wider recognition.'

Pat Martino - The early Muse albums

Pat Martino - The Visit (Footprints)
Cobblestone  1972/Muse 1974

1. The Visit
2. What Are You Doing The Rest Of Your Life?
3. Road Song
4. Footprints
5. How Insensitive
6. Alone Together

Pat Martino, Bobby Rose guitars, Richard Davis bass, Billy Higgins drums

 Pat Martino - Live
Muse 5026, 1973

Tracks:
1. Special Door
2. The Great Stream
3. Sunny

Personnel: Pat Martino (electric guitar); Ron Thomas (Fender Rhodes); Tyrone Brown (electric bass); Sherman Ferguson (drums).

An absolute beast of a live set that made a loud statement about Pat's place in the guitar world in 1972.

Pat Martino - Consciousness
Muse 5039 1974

1 Impressions
2 Consciousness
3 Passata on Guitar
4 Along Came Betty
5 Willow
6 On the Stairs
7 Both Sides Now
8 Along Came Betty (Alt.)

Personnel: Pat Martino (guitar); Eddie Green (electric piano, percussion); Tyrone Brown (electric upright bass); Sherman Ferguson (drums, percussion).


 Pat Martino - We'll Be Together Again
Muse 5090, 1976 

 A1 Open Road: Olee/Variations And Song/Open Road     15:56   
A2 Lament     4:58   
B1 We'll Be Together Again     5:01   
B2 You Don't Know What Love Is     4:42   
B3 Dreamsville     4:58   
B4 Send In The Clowns     3:41   
B5 Willow Weep For Me     5:22

Pat Martino guitar, Gil Goldstein keyboards




Pat Martino - Exit
Muse 5075 1976
1. Exit ... Pat Martino  (9:23)
2. Come Sunday Duke Ellington (7:30)
3. Three Base Hit ... Pat Martino (4:30)
4. Days of Wine and Roses Henry Mancini, Johnny Mercer (4:47)
5. Blue Bossa ... Kenny Dorham (4:57)
6. I Remember Clifford Benny Golson  (7:48)

Personnel: Pat Martino (electric guitar), Gil Goldstein (keyboards), Richard Davis (acoustic bass), Billy Hart (drums).