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.

Pepper Adams - Julian (1975)

Recorded five days before Julian "Cannonball" Adderley's death, the title cut of this album was retitled and dedicated to the late altoist. The powerful baritonist Pepper Adams is well showcased with a quartet comprised of pianist Walter Norris, bassist George Mraz and drummer Makaya Ntshoko on three of his originals, one by Norris and two ("Three And One" and "'Tis") by Thad Jones. Adams is in typically excellent form, playing intense solos that push but stay within the boundaries of hard bop. AMG

01 - Jirge
02 - Julian
03 - Spacemaker
04 - Ad Astra
05 - Three and One
06 - Tis
07 - Time on My Hand
08 - Lady Luck

Pepper Adams (bs) Walter Norris (p) George Mraz (b) Makaya Ntshoko (d)
Live at The Domicile, Munich, Germany. August 13, 1975

Recorded on the German Enja label and unavailable for some time, this is a from a limited edition Japanese CD.

Bill Harris - The Soul Of Jazz (1958) [re-rip]

This a rare and dynamic session, recorded by Rudy van Gelder in 1958, features an amazing All Stars cast. Essentially it showcases Bill Harris playing alongside Joe Wilder, Bobby Jaspar, Pepper Adams, Eddie Costa, George Duvivier and Art Taylor. These musicians truly display the essence of jazz and hence the album’s title is so very appropriate. The sound even though ripped from a well-loved old vinyl still comes across ‘alive and fresh’ even by today’s standards. The concept of this LP is masterminded by the arrangements and conducting skills of Billy Ver Plank. The choices of tunes are very complimentary and blend well, all the while giving the players plenty of room to solo. Well Recommended.

Generally speaking the men on the date fall into either a late swing or neo-modern period, as to their particular improvisatory allegiances. Yes, all bear the same "pure" approach to their performance of jazz. Bill Harris, veteran trombone star of the 1940's and the Woody Herman band has been a "preaching" jazzman of great fame for many years. Joe wilder, the early modern trumpet star, sparkles here with his growls, his various muses, and that unbelievably pure bell-tone while blowing a modern cascade of notes. Bobby Jaspar, Belgian import who has come to fame with J.J. Johnson and other combos on both tenor and flute, he is a "wailer" who plays in the Coltrane-Sims tradition these days. Pepper Adams, deserving of his nickname, bursts fierily throughout the proceedings. He is a Detroit export who rose to fame with Kenton, and has recently led his own combo in New York City. Eddie Costa, vibist and pianist once again proves his prowess as a tasty and ever-swinging keyboard man. George Duvivier can only be described as a "Rock" in a rhythm section ... with both beat, intonation, and "life" that are impeccable. Art Taylor, a usually intrepid bopper, illustrates his more quiet moods here, lapsing into the more normal "popping" style he has become noted for on two tracks. Basically, the tunes are simple harmonic changes, with tried harmony, open voiced for the horns, and usually ending with the traditional "Amen" chord resolution. The solo-work, in almost every case stays fairly close to the simple diatonic harmonies, yet conveying a combined "preaching" and "funky blues" feel. ~ Extract from Liner Notes by H. Alan Stein.

World Wide, MGS 20002, 1958

Recorded 5^th May, 1958, Hackensack, New Jersey

Personnel:

Bill Harris - Trombone

Joe Wilder - Trumpet

Bobby Jaspar - Tenor Saxophone

Pepper Adams - Baritone Saxophone

Eddie Costa - Piano

George Duvivier - Bass

Art Taylor - Drums

Tracks:

A1. You Gotta Be A Good Man {David} (8:41)

A2. Each Side Of The River {David} (4:48)

A3. Where Ya Gonna Run To? {David} (5:08)

B1. I Can't Believe It {David, Cadena} (6:33)

B2. What Should I Do? {David} (3:57)

B3. Royal Garden Blues {Williams} (6:27)

Total Time: 35:34

Credits:

Supervisor - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Billy Ver Planck

Cover Photo - Hank Schneider

Liner Notes - H. Alan Stein

Ray Bryant - MCMLXX (1970)

 Despite some commercial tendencies, this 1970 LP (not yet reissued on CD) is better than it looks. Pianist Ray Bryant uplifts such pop material as "Let It Be," "Bridge Over Troubled Waters," "Hey Jude," and "Spinning Wheel." Four selections find Bryant's trio (with electric bassist Chuck Rainey and drummer Jimmy Johnson) augmented by either horns (on "Let It Be") or by strings effectively arranged by Eumir Deodata. The colorful results are not essential but are less dated than one might think. ~ by Scott Yanow, AMG.

Timeless

=======

Long overdue, this is the album that propelled Ray Bryant onto the jazz radio charts for weeks (if not months) in 1971, by virtue of the remarkable interpretation of "Unchained Melody". Considering the popularity of the album, and the airplay, it is puzzling that this album has not been reissued before now (as the album title suggests, original -- and only previous -- release was 1970). Recommended to Ray Bryant fans and to piano jazz lovers equally. ~ Geezosaur, Amazon.com.

Atlantic Records, SD 1564, 1970

Rhino Records, WPCR-27092, 2012

Recorded At Atlantic Recording Studios, New York, NY

Musicians:

Ray Bryant - Piano

Joe Newman - Trumpet (#2)

Garnett Brown - Trombone (#2)

George Dorsey - Alto Saxophone (#2)

Joe Gentle - Tenor Saxophone (#1,3,4)

King Curtis - Tenor Saxophone (#2)

Pepper Adams - Baritone Saxophone (#2)

Leon Cohen - Bass Clarinet (#1,3,4)

Ron Carter - Acoustic Bass (#1,3,4)

Chuck Rainey - Electric Bass

Charles McCracken - Cello (#1,3,4)

Jimmy Johnson - Drums

Emanuel Green, Gene Orloff, Joseph Malignaggi, Julien Barber, Matthew Raimondi,

Noel Dacosta, Paul Gershman, Selwart Clarke, Winston Collymore - Violin (#1,3,4)

Arranger - Arif Mardin (#A2), Eumir Deodato (#1,3,4)

Tracks:

1. Stick With It {Ray Bryant} (5:54)

2. Let It Be {John Lennon, Paul McCartney} (4:02)

3. Bridge Over Troubled Water {Paul Simon, Art Garfunkel} (3:18)

4. Hey Jude {John Lennon, Paul McCartney} (4:53)

5. Shake-A-Lady {Ray Bryant} (2:40)

6. Unchained Melody {Alex North, Hy Zaret} (4:48)

7. My Cherie Amour {Henry Cosby, Sylvia Moy, Stevie Wonder} (4:59)

8. Spinning Wheel {David Clayton-Thomas} (3:39)

Credits:

Producer - Joel Dorn

Recording Engineer - Gene Paul

Recording & Re-Mix Engineer - Lewis Hahn

Photography - Joel Brodsky

Cover, Design - Haig Adishian

Total Time: 34:13

Hank Crawford - Double Cross (1968) [re-rip]

Here we have another classic early album by Hank Crawford on Atlantic Records from 1968. Similar to his other recordings on that label Hank puts together a powerful soulful collection of tunes. Four are penned by him; the others an engaging selection of notable standards. He is joined by a stellar array of players including: David "Fathead" Newman, Pepper Adams, Joe Newman, Jack McDuff, Carl Lynch & Bruno Carr to nominate a few. On one tune Hank plays piano, but it’s his alto playing that is truly sensational. There is not much more to add other than just give it a spin!

Atlantic Records, SC 1503, 1968

Recorded in 1968 at Atlantic Studios, New York

Personnel:

Hank Crawford - Alto Saxophone, Piano (#B3)
Joe Newman, Melvin Lastie - Trumpet (#A1-B2)
John Hunt, Fielder Floyd - Trumpet (#B3,B4)
Tony Studd - Trombone (#A1-B2)

David "Fathead" Newman - Tenor Saxophone (#A1-B2)

Wendell Harrison - Tenor Saxophone (#B3,B4)
Pepper Adams - Baritone Saxophone (#A1-B2)

Alenzo C. Shaw - Baritone Saxophone (#B3,B4)

Jack McDuff - Piano (#B1)

Carl Lynch - Guitar (#A1-B2)

Jimmy Tyrell - Fender Bass (#A1-B2)

Charles Green - Bass (#B3, B4)

Bruno Carr - Drums (#A1-B2)

Wilbert Hogan - Drums (#B3,B4)

Tracks:

A1. Double Cross {Hank Crawford} (3:18)

A2. Jimmy Mack {Eddie Holland, Lamont Dozier, Brian Holland} (2:36)

A3. Glue Fingers {Hank Crawford} (3:27)

A4. I Can't Stand It {Hank Crawford} (4:46)

B1. In The Heat Of The Night {Alan Bergman, Marilyn Bergman, Quincy Jones} (4:01)

B2. The Second Time Around {Jimmy van Heusen, Sammy Cahn} (3:52)

B3. Mud Island Blues {Hank Crawford} (5:59)

B4. Someday [You'll Want Me To Want You] {Jimmie Hodges} (3:52)

Credits:

Producer - Arif Mardin, Joel Dorn

Recording Engineer - Bruce Tergesen, Phil Iehle

Cover [Illustration & Design] - Stanislaw Zagorski

Liner Notes - Burt Burdeen, WSDM, Chicago

Grover Washington, Jr. - All The King's Horses (1972) [vinyl]

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kudu imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well - especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous - and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington - who could inject pure soul into even the dullest music of Lawrence Welk - is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions. ~ by Thom Jurek, AMG.

Kudu Records, KU-07, 1972

Recorded 19^th May-June, 1972 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Grover Washington, Jr. - Alto Saxophone, Tenor Saxophone

Alan Rubin, Ernie Royal, Snooky Young, John Frosk, Marky Markowitz, Marvin Stamm - Trumpet, Flugelhorn

Paul Faulise, Tony Studd, Wayne Andre - Trombone

Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge - French Horn

George Marge - Alto Saxophone, Flute, English Horn, Oboe, Recorder

Pepper Adams - Baritone Saxophone

Arthur Clarke - Baritone Saxophone, Flute

Bob James - Electric Piano, Harpsichord

Richard Tee - Organ

Cornell Dupree, David Spinozza, Eric Gale - Guitar (#A1-B1,B3)

Gene Bertoncini - Guitar

Ron Carter - Bass

Gordon Edwards - Bass (#A1)

Bernard Purdie - Drums

Billy Cobham - Drums (#A4,B2,B3)

Ralph MacDonald - Congas

Airto Moreira - Percussion

Strings:

Margaret Ross - Harp

Charles McCracken, George Ricci - Cello

Emanuel Vardi, Richard Dickler - Viola

Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff,
Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle,
Max Ellen, Paul Gershman - Violin

Tracks:

A1. No Tears, In The End {Ralph MacDonald, William Salter} (3:49)

A2. All The King's Horses {Aretha Franklin} (3:48)

A3. Where Is The Love {Ralph MacDonald, William Salter} (5:07)

A4. Body And Soul [Montage] {Heyman, Sour, Eyton, Green} (3:02)

B1. Lean On Me {Bill Withers} (4:25)

B2. Lover Man {Jimmy Davis, Jimmy Sherman, Roger Ramirez}

      Interlude #2 {Bob James} (7:01)

B3. Love Song 1700 {Adapted ex Henry Purcell, Arr. Bob James} (4:51)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bob James

Design [Album] - Bob Ciano

Photography [Album] - Pete Turner

The Prestige All Stars - Roots 1957 [24/48 Vinyl Rip]

 While doing my Prestige comps, I came upon this relatively obscure album with a pair of baritone forward sessions. I had never heard it and there didn't seem to be any evidence of it on blogs or torrents, so when I saw a reasonable copy on Discogs, I grabbed it. The copy wasn't quite as good as advertised, but some repeated cleaning and help from Isoptope RX yielded a decent rip.

Side one is a 27 minute jam featuring Pepper Adams, Bill Evans, Idrees Sulieman, and little known trombonist Frank Rehack. The tune has it's high points and some lows as well, but overall it is well worth the time.

Side two is only half as long and features Cecil Payne, Tommy Flanagan, Jimmy Cleveland and Sulieman. These two tracks benefit from being more tightly arranged and more focused solos. Both are Gospel adaptions that make one wish that they were part of a fully realized project; they will come in handy when doing a jazz gospel compilation!

Hank Crawford - Don't You Worry 'Bout A Thing (1974) [vinyl>flac]

"Don't You Worry 'Bout A Thing" by Hank Crawford was released in 1974 on Kudu Records, a subsidiary of the CTI label. On this his fourth Kudu release, Crawford showcases three original compositions alongside two Stevie Wonder tunes; "Don’t You Worry 'Bout A Thing" and “All In Love Is Fair.” Bob James handles the string arrangements and also shares electric keyboards with Richard Tee. James' arrangements don't smother Hank but instead instill a light touch of classiness, perfectly blending Crawford’s rhythm & blues phrasing. Joining him on this date is quite an impressive array of soul-jazz and modern jazz performers, including Pepper Adams, Randy Brecker, Ron Carter, Idris Muhammad, Joe Farrell, Jon Faddis, Bernard Purdie, and Hugh McCracken. As usual it is beautifully engineered by van Gelder; another significant slice of Hank’s discography to immerse even the most discerning jazz aficionado, Enjoy!

Sweet soulful jazz from reedman Hank Crawford - one of his killer Kudu sessions from the 70s - all of which really helped Hank redefine his sound! The setting here is large and full - put together beautifully by Bob James, with that sense of space for the soloist that makes his CTI/Kudu arrangements so crucial - and light years ahead of what other arrangers were doing at the time. The tracks are longish, but never overdone - and the record has all the soulful alto sounds of Crawford's 60s work at Atlantic, but with a definite 70s bent overall. James plays Fender Rhodes, Arp, and clavinet - and other players include Joe Farrell on tenor and flute, Idris Muhammad and Bernard Purdie on drums, and Richard Tee on additional keyboards. Titles include "Jana", "Sho Is Funky", "Don't You Worry 'Bout A Thing", "Groove Junction", and "All In Love Is Fair". ~ Dusty Groove, Inc.

Kudu Records, KU 19 S1, 1974

Recorded June, 1974 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Hank Crawford - Alto Saxophone

Alan Rubin, Jon Faddis, Randy Brecker - Trumpet, Flugelhorn

Pepper Adams, Romeo Penque - Baritone Saxophone

Jerry Dodgion, Joe Farrell - Flute, Tenor Saxophone

Dave Taylor - Bass Trombone

Bob James, Richard Tee - Keyboards

Hugh McCracken - Electric Guitar

Gary King - Bass (#A1-A3,B1)

Ron Carter - Bass (#B2)

Bernard Purdie - Drums (#A1,A3)

Idris Muhammad - Drums (#A2,B1,B2)

Ralph MacDonald - Percussion

Strings:

Lewis Eley, Max Ellen, Alexander Cores, Paul Gershman, Emanuel Green,
Matthew Raimondi, Charles Libove, Harry Lookofsky, David Nadien - Violin

Charles McCracken, George Ricci - Cello

Al Brown, Manny Vardi - Viola

Track Listing:

A1. Don't You Worry 'Bout A Thing {Stevie Wonder} (8:49)

A2. Jana {Hank Crawford} (5:08)

A3. All In Love Is Fair {Stevie Wonder} (4:46)

B1. Sho Is Funky {Hank Crawford, Bob James} (12:41)

B2. Groove Junction {Hank Crawford} (3:32)

Credits:

Producer - Creed Taylor

Arranger - Bob James

Recording Engineer - Rudy van Gelder

Design - Bob Ciano

Illustration - Pierre Le-Tan

Hank Crawford - Help Me Make It Through The Night (1972) [vinyl>flac]

Help Me Make It Through the Night is one of those Hank Crawford albums: large band, many horns, funky chunky Hammond B-3, strings, and polyrhythms dropping all over the arrangements by Don Sebesky and company. This 1972 set by Crawford is an exemplary portrait of his movin' and groovin' style. With the help of Sebesky and Pee Wee Ellis, Crawford provides the deep groove side of his work without reservation. Jazz takes a back seat as the R&B pours forth all sweaty, greasy, and dripping with a raw, honeylike sweetness. With cats like Airto, Eric Gale, Cornell Dupree, Grover Washington, Jr., Pepper Adams, Snooky Young, and Richard Tee in the house, a masterful groove session was to be expected. Listeners get their money's worth after the opener, which is the title track. With the Junior Walker stinging alto countered by the Hammond, the mess is loose and the vibe is pure downtown. Other cuts such as "Imagine," "Go Away Little Girl," "Brian's Song" -- perfect string arrangement by Sebesky -- and "In the Wee Small Hours of the Morning" make this a date of some of the most stellar covers Crawford ever cut. There are no extra notes, but there are plenty of extra beats; the improvisation is red hot, but the strings and supporting rhythm section are out of this world. Help Me Make It Through the Night is indeed one of those Crawford records. ~ Thom Jurek, Rovi

Kudu Records, KU-06, 1972

Recorded January 1972, except #B3 August 1971 at Van Gelder Studios, Englewood Cliff, New Jersey

Personnel:

Hank Crawford - Alto Saxophone, Tenor Saxophone (#B3)

Grover Washington, Jr. - Tenor Saxophone (#B3)

Pepper Adams - Baritone Saxophone (#B3)

Al DeRisi, Eugene "Snooky" Young - Trumpet (#B3)

Wayne Andre - Trombone (#B3)

Richard Tee - Organ (#A1,A4,B3,B4), Piano (#A2,A3), El-Piano (#B1,B2)

Phil Kraus - Vibraphone (#A1,A4,B1)

Cornell Dupree - Electric Guitar

Eric Gale - Electric Guitar (#B3)

Ron Carter - Bass (#A2-A4,B1,B2,B4), Electric Bass (#A1,B3)

Bernard Purdie - Drums

Idris Muhammad - Drums (#B3)

Airto Moreira - Percussion (#B3)

Strings Section [All Tracks, except #B3]:

Bernard Eichen, Felix Giglio, Emanuel Green,
Harold Kohon, Harry Lookofsky, Joe Malin,

Gene Orloff, Max Polikoff, Elliot Rosoff - Violin

Alfred Brown, Theodore Israel, Emanuel Vardi - Viola

Charles McCracken, George Ricci - Cello

Margaret Ross - Harp

Track Listing:

A1. Help Me Make It Through The Night {Kris Kristofferson} (5:53)

A2. Brian's Song {Michel Legrand} (3:24)

A3. Uncle Funky {Hank Crawford} (5:36)

A4. In The Wee Small Hours Of The Morning {Bob Hilliard, Redd Evans} (2:51)

B1. Go Away Little Girl {Gerry Goffin, Carole King} (4:21)

B2. Imagine {John Lennon} (4:07)

B3: Ham {Alfred Ellis} (3:09)

B4. The Sun Died {Ann Grégory, Hubert Giraud, Pierre Delanoë, Ray Charles} (4:09)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger - Don Sebesky, Pee Wee Ellis (#B3)

Album Design - Bob Ciano

Photography - William Cadge

Baritone Madness - The Nick Brignola Sextet featuring Pepper Adams

A repost by request.

An exciting Bee Hive contribution from Wid - this has been on a private site in flac but here is a different LP rip for The Crypt that is the first public lossless offering.

Nick Brignola Sextet featuring Pepper Adams - Baritone Madness
Bee Hive Records, 1977

01 - Donna Lee 9:40
02 - Billie's Bounce 11:21
03 - Marmeduke 11:36
04 - Body And Soul 7:07
05 - Alone Together 7:05

Nick Brignola - Baritone Sax
Pepper Adams - Baritone Sax
Ted Curson - Trumpet, Flugelhorn
Derek Smith - Piano
Dave Holland - Acoustic Bass
Roy Haynes - Drums

Recorded December 22, 1977 at Blue Rock Studio, New York City.

This album lives up to its title. Nick Brignola is matched up with fellow baritone great Pepper Adams in a sextet also including trumpeter Ted Curson, pianist Derek Smith, bassist Dave Holland and drummer Roy Haynes. The personnel differs throughout the program, with the full group being heard on "Billie's Bounce" and "Marmaduke," Curson sitting out on "Donna Lee," "Body and Soul" being a feature for Brignola, and "Alone Together" showcasing the rhythm section. It is obvious from the song titles that this is very much a bebop jam session date, and quite a few sparks do fly.

(sic) Clean, open, 'live' sound. Highly detailed instruments with 'air' and presence performing in an intimate environment. Very natural sounding. Excellent Bass, Brass with plenty of 'bite' and an open, airy treble. A 3-D soundstage with strong imaging. Wid

KC note: The very first album issued on Bee Hive.

Thad Jones & Mel Lewis - Live At The Village Vanguard

This was the second album from the Jones/Lewis Orchestra.  While it's not their greatest, it certainly is excellent - a document of their progress.  Along with big bands like the Clarke/Boland, Jones and Lewis were changing the landscape and sound of large jazz orchestras.

The music is always swingin, but the leaders took advantage of their highly skilled players.  The themes and ensemble work are modern and forward thinking.  Bob Brookmeyer and Garnett Brown also contribute arrangements.

Check out the Thad Jones original Little Pixie, one of his greatest compositions.  Overall this is a sonic treat from an ultra minty, mono original.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC...enjoy!!!



Solid State SM 17016
Recorded April 1967

1. Little Pixie
2. 'A' That's Freedom
3. Bacha Feeling
4. Don't Git Sassy
5. Willow Tree
6. Samba Con Getchu

Arrangers: Thad Jones; Bob Brookmeyer; Garnett Brown

Thad Jones (trumpet, cornet, flugelhorn);  Mel Lewis (drums);
Richard Williams (trumpet);
Richard Davis (double bass);
Sam Herman (guitar, shaker);
Jerome Richardson (flute, clarinet, soprano/alto saxophone);
Jerry Dodgion (flute, alto saxophone);
Joe Farrell (flute, tenor saxophone);
Eddie Daniels (clarinet, tenor saxophone);
Pepper Adams (clarinet, baritone saxophone);
Marvin Stamm, Snooky Young, Bill Berry, Jimmy Nottingham (trumpet); Garnett Brown, Tom McIntosh, Bob Brookmeyer (trombone);
Cliff Heather (bass trombone);
Roland Hanna (piano).