Tony Fruscella - On Stage In New York (1953-59)

The music contained within this digital download is a compilation of tracks gleaned predominantly from a number of recorded sessions in New York by Tony Fruscella with the final two from a date in New Jersey. Essentially, very few recordings of this lyrical but tragic trumpeter exist and this collection is a great place to start to appreciate his expertise. Overall, this collection is an inspiring insight into one of America’s great lost trumpeters, enjoy! 

The Jazz Factory, 1999
Recorded 3rd August, 1959 (#1);
23rd January, 1955 (#2) at Birdland, New York City;
mid 1953 (#3,5-9) at The Open Door Club, Greenwich Village, New York City;
7th November, 1955 (#4) at Pithyan Temple, New York City;
November, 1959 (#10,11) at Ridgewood High School, New Jersey 

Personnel: 

#1:
Tony Fruscella - Trumpet
Bill Keck - Guitar
3rd August, 1955 or 1959 

#2:
Tony Fruscella - Trumpet
Stan Getz - Tenor Saxophone
Johnny Williams - Piano
Bill Anthony - Bass
Frank Isola - Drums
23rd January, 1955 at Birdland, New York City 

#3,5-9:
Tony Fruscella - Trumpet
Bill Triglia - Piano
Teddy Kotick - Bass
Art Mardigan - Drumsmid 1953 at The Open Door Club, Greenwich Village, New York City 

#4:
Tony Fruscella - Trumpet
Hank Jones - Piano
Wendell Marshall - Bass
Shadow Wilson - Drums
7th November, 1955 at Pithyan Temple, New York City 

#10,11:
Tony Fruscella - Trumpet
Stan Getz - Alto Saxophone
Bill Triglia - Piano
Bill Keck - Guitar
Paul Chambers - Bass
Roy Hall - Drums
November, 1955 or 1959 at Ridgewood High School, New Jersey 

Tracks:
01. Lover Man {Jimmy Davis, Roger "Ram" Ramirez, Jimmy Sherman} (3:27)
02. Pernod {Stan Getz} (4:38)
03. Imagination {Johnny Burke, Jimmy Van Heusen} (5:31)
04. Tony's Blues {Tony Fruscella} (5:13)
05. Donna {Jackie McLean} (5:18)
06. A Night In Tunisia {Dizzy Gillespie, Frank Paparelli} (8:35)
07. Bernie's Tune {Bernard Miller, Jerry Lieber, Mike Stoller} (8:58)
08. Sometimes I'm Happy {Vincent Youmans, Irving Caesar} (9:34)
09. Hachensack {Thelonious Monk} (10:19)
10. Night Train {Jimmy Forrest, Lewis Simpkins, Oscar Washington} (11:24)
11. Scrapple From The Apple {Charlie Parker} (13:12) 

Total Time: 01:26:09

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)

John Coltrane - Black Pearls (1958)

As is often the case with an artist as prolific as John Coltrane, not every release can be considered as essential. Black Pearls seems a bit ambiguous when placed in a more historical context. It was only three days later that Coltrane participated not as a leader, but rather a member, of the Miles Davis Sextet that recorded "Stella By Starlight" and "On Green Dolphin Street." There is an obvious disparity between these three mostly improvised and lengthy jams and the Davis session. This is in no way to insinuate that Coltrane's performance is anything less than par. Black Pearls indeed captures Coltrane at the height of perfecting the intense volley that would garner the name "sheets of sound." Featuring Donald Byrd (trumpet) and the Red Garland Trio - Garland (piano), Paul Chambers (bass), and Art Taylor (drums) - this is the same quintet that had mightily contributed to Lush Life and The Believers, as well as The Last Trane. This session would be their last together. The title track is a mid-tempo bop number that quite frankly fails to make a great melodic impact. It's not until Coltrane's indomitable solo that a direction is found and, for a short while, remains focused. Once the reins are passed to Byrd, Garland, Chambers, and to a lesser extent Taylor, the song meanders through some fairly vapid changes. Fortunately, the soloing from Byrd is more direct and is able to build and support Coltrane's equally impressive display. The difference is immeasurable as no holds are barred from Garland or Taylor - who is arguably at his prime. All told, this performance is well worth the price of admission. At 18-plus minutes, "Sweet Sapphire Blues" (penned by Prestige Records owner Robert Weinstock) is the longest track on Black Pearls. It is in essence a 12-bar blues jam. Coltrane's double- and triple-time solo is primal within this setting. The overemphatic backbeat allows for more group interaction, yielding a full and well-rounded union among the musicians that was sadly absent from the opening track. ~ by Lindsay Planer, AMG.

Prestige Records, PR 7316, 1964

JVC Records, JVCXR-0017-2, 1989

Recorded 23^rd May, 1958 in Hackensack, New Jersey

Musicians:

John Coltrane - Tenor Saxophone

Donald Byrd - Trumpet

Red Garland - Piano

Paul Chambers - Bass

Arthur Taylor - Drums

Tracks:

1. Black Pearls {Unknown} (13:14)

2. Lover Come Back To Me {Sigmund Romberg, Oscar Hammerstein II} (7:28)

3. Sweet Sapphire Blues {Robert Weinstock} (18:14)

Total Time: 38:57

Credits:

Supervision - Bob Weinstock

Recording Engineer - Rudy van Gelder

Remastering - Phil De Lancie, 1989 (Fantasy Studios, Berkeley)

Design - Don Schlitten

Photo - Joe Alper

Sonny Rollins - Sonny's Time (1957)

A great compilation of Sonny’s work heralding from 1957 and his time with Riverside. He surrounds himself with an exciting array of players all well-known contemporaries of equal status. An LP full of jazz standards and two of his own tunes. The majority of the tracks come from his album ‘The Sound Of Sonny’ and two from ‘Jazz Contrasts’ led by Kenny Dorham.

Jazzland Records, JLP 972, 1962

Recorded 19^th June, 1957 (#A1-A3); 12^th June 1957 (#A4,B1);

27^th May, 1957 (#B2) & 21^st May, 1957 (#B3)

At Reeves Sound Studios, New York City

Musicians:

Sonny Rollins - Tenor Saxophone

Kenny Dorham - Trumpet (#B2,B3)

Betty Glamann - Harp (#B2)

Sonny Clark - Piano (#A1,A3-B1)

Hank Jones - Piano (#B2,B3)

Paul Chambers - Bass (#A1-A3)

Percy Heath - Bass (#A4,B1)

Oscar Pettiford - Bass (#B2,B3)

Roy Haynes - Drums (#A1-B1)

Max Roach - Drums (#B2,B3)

Tracks:

A1. Funky Blues Hotel {Sonny Rollins} (6:00)

A2. The Last Time I Saw Paris {Oscar Hammerstein II, Jerome Kern} (2:55)

A3. What Is There To Say? {E.Y. Harburg, Vernon Duke} (4:54)

A4. Cutie {Sonny Rollins} (5:52)

B1. Mangoes {Sid Wayne, Dee Libbey} (5:32)

B2. My Old Flame {Sam Coslow, Arthur Johnston} (5:22)

B3. La Villa {Kenny Dorham} (7:01)

Credits:

Producer - Orrin Keepnews

Recording & Remastering Engineer - Jack Higgins

Album Design - Ken Deardoff

Liner Notes - Joe Goldberg

Notes:

Compilation of tracks from Riverside albums:

Various - Blues For Tomorrow [RLP-243]

Sonny Rollins - The Sound Of Sonny [RLP-241]

Kenny Dorham - Jazz Contrasts [RLP-239]

Various Artists - Blues For Tomorrow (1957) [vinyl>flac]

The success of this project will make listeners wish jazz of this ilk had been more frequently released in nifty compilations such as this. It is like some kind of heat-and-serve DJ set, complete with a cover that looks like a hand-colored landscape shot from a '50s science fiction movie, perhaps "Invasion of the Bluesy Snatchers." A key part of the success of any compilation is to avoid the issue of quality through careful programming or some other inexplicable mojo. Since it is impossible for every track to have the same equal value, a compilation relies on charades, presenting an image of the epic and universal appeal of music as pure enjoyment, song to song, whether it is a genius leading the band or...well, Herbie Mann. It is surely no question of fame, since the latter artist was at least for a time the commercial equal if not the better of tenor saxophone genius Sonny Rollins, whose "Funky Hotel Blues" is the ultimate performance here. In terms of quality, comparing his improvisations with the flute wheezing of Mann is like comparing Chateaubriand with "hot 'em" burgers. Yet few listeners will probably bail out of the flutist's "A Sad Thing," possibly because there is a kind of intense happiness that comes from knowing it is the sole track by this Mann in the collection, but also because it is actually an effective, moody instrumental, and not the only one to be hampered not by the lack of a really good jazz soloist. Guitarist Mundell Lowe, who could always use some more recognition, becomes a champion by suggesting to his quintet "Let's Blow Some Blues." His playing is so strong that one imagines that if this performance had actually followed that of Rollins on a stage, nobody in the audience would have complained. There are many classic jazz players lurking in the wings as this collection of tracks unfolds. The first 13 and a half minutes would make a tremendous first act in a play, a loose jam on a tune by Gigi Gryce that is full of the marvelously happy spirit of hard bop. ~ by Eugene Chadbourne, AMG.

Riverside Records, RLP-12-243, 1957

Original Jazz Classics, OJC-030, 1982

Recorded (#A1,B1-B3) At Reeves Sound Studios, New York

(#A2) At Capitol Tower, Los Angeles, California in 1957

Tracklist:

A1. East Coast All-Stars - Blues For Tomorrow {Gigi Gryce} (13:32)

Ray Copeland - Trumpet

Gigi Gryce - Alto Saxophone

John Coltrane - Tenor Saxophone

Coleman Hawkins - Tenor Saxophone

Wilbur Ware - Bass

Art Blakey - Drums

A2. Herbie Mann's Californians - A Sad Thing {Herbie Mann} (5:04)

Herbie Mann - Bass Clarinet

Jack Sheldon - Trumpet

Jimmy Rowles - Piano

Buddy Clark - Bass

Mel Lewis - Drums

B1. Sonny Rollins Quartet - Funky Hotel Blues {Sonny Rollins} (6:00)

Sonny Rollins - Tenor Saxophone

Sonny Clark - Piano

Paul Chambers - Bass

Roy Haynes - Drums

B2. Mundell Lowe Quintet - Let's Blow Some Blues {Mundell Lowe} (7:53)

Mundell Lowe - Guitar

Gene Quill - Alto Saxophone

Billy Taylor - Piano

Les Grinage - Bass

Ed Thigpen - Drums

B3. Bobby Jaspar Quartet - The Fuzz {Bobby Jaspar} (6:13)

Bobby Jaspar - Tenor Saxophone

George Wallington - Piano

Wilbur Little - Bass

Elvin Jones - Drums

Credits:

Producer, Liner Notes - Orrin Keepnews

Recording Engineer - Jack Higgins

Design - Paul Bacon

Cover Photo - Rapho Guillumette Pictures

FRANK WESS - with KENNY BURRELL - STEAMIN' - 1963 - WAVE

1963

Prestige PR 7278

MY Vinyl Rip

Front & Back Covers

WAVE

One of Frank Wess' strongest albums from the time – a harder-than-usual burner recorded with Kenny Burrell on guitar, plus Thad Jones trumpet, Mal Waldron piano, and rhythm by Paul Chambers and Art Taylor. Tracks are long and very jamming – almost in the mode of the Prestige blowing sessions of a few years hence, especially when Wess is playing tenor. Titles include "Count One", "Empty Street", "Steamin", and "Blue Jelly".

01 Steamin'

02 Blue Jelly

03 Count One

04 Empty Street

Jackie McLean - Makin' The Changes (1957) [vinyl>flac]

I prepared this post for the RVG blog. Another contributor posted a CD rip, so rather than wasting my efforts I decided to offer it at the Crypt. This is a marvellous early album by Jackie McLean. It was recorded over two dates one consisting of a Quartet and the other as a Sextet; by the masterful Rudy van Gelder. These variants do detract from the album's flow, but taken individually the music is excellent and well played. The listener can easily discern the dynamics offered by Mal Waldron, Paul Chambers and Curtis Fuller to highlight a few of the great musicians on show here. Overall the album is an opportunity to experience some great hard bop that sounds fresh even in today’s diverse jazz world. Enjoy!

Makin' the Changes features altoist Jackie McLean in two different settings. On three selections -- a rollicking "Bean and the Boys," an up-tempo "I Never Knew" and "I Hear a Rhapsody" -- McLean teams up with pianist Mal Waldron in a quartet with bassist Arthur Phipps and drummer Art Taylor. The other three numbers ("What's New," " "Chasin' the Bird" and McLean's original "Jackie's Ghost") have more of a jam session feel, and feature McLean in a sextet with trumpeter Webster Young, trombonist Curtis Fuller, pianist Gil Coggins, bassist Paul Chambers and drummer Louis Hayes. In general, the hard bop music is swinging and fairly advanced, a step above the usual jam sessions of the time. ~ by Scott Yanow, AMG.

New Jazz, NJLP 8231, 1960

Recorded 15^th February, 1957 (#A1,A3,B1) in Hackensack, New Jersey

Recorded 30^th August, 1957 (#A2,B2,B3) in Hackensack, New Jersey

Track Listing:

A1. Bean And The Boys {Coleman Hawkins} (8:32)

A2. What's New {Bob Haggart, Johnny Burke} (7:08)

A3. I Never Knew {Gus Kahn, Ted Fiorito} (2:58)

B1. I Hear A Rhapsody {Dick Gasparre, George Fragos, Jack Baker, Richard Bard} (5:07)

B2. Jackie's Ghost {Ray Draper} (5:26)

B3. Chasin' The Bird {Charlie Parker} (6:35)

Personnel:

Jackie McLean - Alto Saxophone

Curtis Fuller - Trombone (#A2,B2,B3)

Webster Young - Trumpet (#A2,B2,B3)

Mal Waldron - Piano (#A1,A3,B1)

Gil Coggins - Piano (#A2,B2,B3)

Arthur Phipps - Bass (#A1,A3,B1)

Paul Chambers - Bass (#A2,B2,B3)

Arthur Taylor - Drums (#A1, A3, B1)

Louis Hayes - Drums (#A2,B2,B3)

Credits:

Supervision - Bob Weinstock

Recording Engineer - Rudy Van Gelder

Cover Artwork - Esmond Edwards

Liner Notes - Nat Hentoff

David "Fathead" Newman - Straight Ahead (1961) [vinyl>flac]

The title of this 1961 release best sums up this quartet album. There is nothing particularly innovative about this recording, but the level of expertise and musical maturity displayed here is truly astonishing. This is simply straight-ahead hard bop performed by some of the finest musicians in 1960s jazz, including saxophonist David "Fathead" Newman and pianist Wynton Kelly.

Newman's playing is not only confident, it is unbelievably inspired. He rips through all six selections here, employing the great bebop vernacular developed by Charlie Parker and Dizzy Gillespie. Newman plays tenor, alto, and flute on STRAIGHT AHEAD, providing some variation to this set. Newman's flute work on his composition "Night of Nisan" is particularly energetic, as is his alto solo on his bluesy "Congo Chant." The highlight of the record, however, is the smoking, Caribbean-flavored opening track, "Batista's Groove." ~ by Rovi, allmusic.com

Atlantic Records, SD 1366, 1961

Track Listing:

A1. Batista's Groove {Marcus Belgrave} (7:24)

A2. Skylark {Hoagy Carmichael, Johnny Mercer} (4:37)

A3. Night Of Nisan {David "Fathead" Newman} (7:56)

B1. Cousin Slim {David "Fathead" Newman} (7:05)

B2. Summertime {George & Ira Gershwin, DuBose Heyward} (6:33)

B3. Congo Chant {David "Fathead" Newman} (4:20)

Personnel:

David "Fathead" Newman - Tenor Sax (#A1,B1), Alto Sax (#A2,B3), Flute (#A3,B2)

Wynton Kelly - Piano

Paul Chambers - Bass

Charlie Persip - Drums

Recorded 21st December, 1960

If you enjoy this make sure you check the previous post:
Davis “Fathead” Newman - House of David (1967)