Hubert Laws - Wild Flower (1972) [vinyl]

Wild Flower by Hubert Laws is praised for its sophisticated arrangements, which feature a blend of jazz improvisation with a string section, and a highly-talented studio ensemble. Reviewers note Laws' masterful flute playing, but also highlight the album's compositional depth, with arrangements by John Murtaugh and impressive performances from studio musicians like Chick Corea, Ron Carter, and Richard Davis. It is considered a classic and highly-rated album. AI Overview. 

A nice date from an earlier Laws period with a harder tone and more traditional jazz direction. ~ by Ron Wynn, AMG. 

Atlantic Records, SD 1624, 1972
Recorded 22nd October (#A2,A3) & 23rd November (#A1,B1,B2), 1971
and 27th January, 1972 (#B3) at Atlantic Recording Studios. New York 

Musicians:
Hubert Laws - Flute, Alto Flute, Piccolo, Flute [Amplified]
Ron Carter - Bass
Richard Davis - Bass (#A1-B2)
Chick Corea - Piano (#B3)
Gary Burton - Vibraphone (#B3)
Bernard Purdie - Drums (#B3)
Ramon "Mongo" Santamaría - Congas (#B3)
Joe Chambers, Airto Moreira, Warren Smith - Percussion (#B3) 

Strings:
Bernard Eichen, David Nadien, Harry Lookofsky,
Matthew Raimondi, Paul Gershman - Violin (#A1-B2)
Aaron Rosand, Gene Orloff - Violin (#A2,A3)
Guy Lumia, John Pintavalle - Violin (#A1,B1,B2)
Harold Coletta, Harry Zaratzian, Richard Dickler - Viola (#A1-B2)
Julian Barber - Viola (#A2,A3)
Selwart Clarke - Viola (#A1,B1,B2)
\George Ricci, Richard Bock - Cello (#A1-B2)
Alan Shulman, Seymour Barab - Cello (#A2,A3)
Charles McCracken, Harvey Shapiro - Cello (#A1,B1,B2)
John Murtaugh - Arranger, Conductor 

Tracks:
A1. Wildflower {John Murtaugh} (3:10)
A2. Pensativa {Clare Fischer} (4:02)
A3. Equinox {John Coltrane} (6:21)
B1. Ashanti {John Murtaugh} (5:27)
B2. Motherless Child {Traditional; Arr. John Murtaugh} (5:30)
B3. Yoruba {John Murtaugh} (6:04) 

Total Time: 30:34 

Credits:
Producer - Joel Dorn
Recording Engineer - Lew Hahn
Remixing Engineer - Neal Ceppos
Contractor [Musical] - Hal Grant
Cover - Robert Andrew Parker
Art Direction, Design - Richard Mantel
Lacquer Cut - GP

LINK

Pensativa

Shirley Scott - Roll 'Em: Shirley Scott Plays The Big Bands (1966) [CD]

Shirley Scott’s Roll ‘Em is interesting on several levels, the first being that you are no doubt already keenly aware of the songs Shirley is laying down here with her seventeen-piece big band, so it’s a hoot to simply sit back and listen to the tunes without the due consideration jazz-listening often requires. Secondly, there’s nothing unexpected delivered on this record, everything … the enunciation, the chords, the notes, the take, it’s all been done before, leaving Roll ’Em to simply be a breezy foray into the musical insights and sounds that are created here. Though when "Stompin' At The Savoy" washed across my listen space, I was raptured with the flanking path Scott’s organ took this song. Oddly enough, when one considers women in jazz, the first names that come to mind are usually the singers, Ella Fitzgerald or Billie Holiday, perhaps because singers are easier to spot and identify. Shirley was a lush beautiful petite and very powerful for her size and time, so it sparked my imagination that she might be taking on these songs purposely, numbers that seemed rather too large or expansive for a woman to embrace, where Scott shows the world that she’s more than capable of helming a big band, charting its course, and coming out the other side proving that she can stand toe to toe with anyone when it comes to music that is easily compared. So, while I don’t want to dismiss this outing as uninventive or not being challenging enough, it is impressive to hear Shirley create perfect flawless circles, that while not bold or majestic, hit at the heart of all that’s pure, and dare I suggest innocent, when it comes to the purest elements of sophistication. After all, a simple black dress with an understated string of pearls speaks volumes, without the need for showiness or exuberance. ~ by Jenell Kesler, discogs.com. 

Impulse! Records, AS-9119, 1972
GRP Records, GRD-147, 1994
Recorded 15th (#7-10) & 19th (#1-6) April, 1966 at Van Gelder Studio, Englewood Cliffs, NJ 

Personnel:
========
#1-4:
Shirley Scott - Organ
Thad Jones, Joe Newman, Jimmy Nottingham, Ernie Royal, Clark Terry - Trumpet
Paul Faulise, Quentin Jackson, Melba Liston - Trombone
Tom McIntosh - Trombones
Phil Woods, Jerry Dodgion - Alto Saxophone
Bob Ashton, Jerome Richardson - Tenor Saxophone
Danny Bank - Baritone Saxophones
Attila Zoller - Guitar
George Duvivier - Bass
Grady Tate - Drums
Oliver Nelson - Conductor, Arranger 

#5-6:
Shirley Scott - Organ, Arranger (#5)
George Duvivier - Bass
Grady Tate - Drums 

#7-10:
Shirley Scott - Organ
Richard Davis - Bass
Ed Shaughnessy - Drums 

Tracks:
01. Roll 'Em {Mary Lou Williams} (4:08)
02. For Dancers Only {Don Raye, Sy Oliver, Vic Schoen} (3:43)
03. Sophisticated Swing {Mitchell Parish, Will Hudson} (2:50)
04. Sometimes I'm Happy {Grey, Caesar, Youmans} (3:53)
05. Little Brown Jug {Joseph Eastburn Winner; Arr. Shirley Scott} (3:57)
06. Stompin' At The Savoy {Razaf, Goodman, Webb, Sampson} (3:58)
07. Ain't Misbehavin' {Andy Razaf, Harry Brooks, Fats Waller} (3:31)
08. A Tisket A Tasket {Ella Fitzgerald, Van Alexander} (3:55)
09. Things Ain't What They Used To Be {Duke Ellington, Ted Persons} (5:19)
10. Tippin' In {Bobby Smith, Marty Symes} (4:33) 

Total Time: 39:54 

Credits:
Producer - Bob Thiele
Recording Engineer - Rudy van Gelder
Reissue Producer - Michael Cuscuna
Executive Producer - Dave Grusin, Larry Rosen 

Organist Shirley Scott focuses on swing-era tunes throughout this enjoyable album. Four songs showcase her organ accompanied by a 17-piece big band arranged by Oliver Nelson while the remaining six numbers find her jamming with a trio that also includes either George Duvivier or Richard Davis on bass and Grady Tate or Ed Shaughnessy on drums. Although nothing all that unexpected occurs, it is fun to hear an organ performing such numbers as "For Dancers Only," "Little Brown Jug" and "Stompin' At The Savoy." ~ Scott Yanow, AMG

Sometimes I'm Happy

Andrew Hill - Nefertiti (1976)

One of the most mindless quirks of some jazz listeners is major label prejudice. Take for example those vaguely familiar with pianist Andrew Hill's albums 'Blue Black' and 'Nefertiti', both recorded for the semi-obscure East Wind label, an imprint only in existence from 1974-77. If you have most of Hill's Blue Note albums and some of his more recent output and feel that is most of what is worth hearing, are you ever wrong. These albums are stunning. They can almost be considered companion pieces, each different enough in its own right to justify owning the pair. Nefertiti is a trio done two years later after 'Blue Black'. It has Roger Blank (drums) and Hill's most frequent bassist, Richard Davis. It starts out with the song "Blue Black", oddly enough nothing to do with the title cut of the other disc, Hill starting with a simple figure based on a scale. After about six and a half minutes, just when you think he's wrung all he can out of it, the rhythm section comes in, hard. On this and every other piece, the band plays together with stunning creativity and empathy. Hill has great energy throughout and a beautifully fat, full tone. Other high points include Davis' gorgeously imaginative arco work on the title cut and Blank's anomalous drum pattern on "Mudflower. This album is not only highly entertaining, but continue to fascinate with repeated listenings. ~ Extract by Kevin Ray, AAJ. 

East Wind, EW-8032, 1976
Inner City Records, IC 6022, 1979
East Wind, UCCJ-9162, 2015
Recorded 25th January, 1976 at Vanguard's 23rd Street Studios, New York 

Musicians:
Andrew Hill - Piano
Richard Davis - Bass
Roger Blank - Drums 

Tracks:
1. Blue Black (14:10)
2. Relativity (5:29)
3. Nefertiti (8:08)
4. Hattie (3:47)
5. Mudflower (7:32)
6. Unnatural Man (3:23) 

All Compositions by Andrew Hill 

Total Time: 42:31 

Credits:
Producer - David Baker
Executive-Producer [1976] - Toshinari Koinuma
Executive-Producer [2002] - Hirotoshi Nabetani
Supervisor - Kiyoshi Itoh, Yasohachi Itoh
Mastering - Hideaki Nishimura
Mastering Supervisor - Kikuo Niikura
Photography [Back] - Tadayuki Naitoh
Photography [Front] - Shinya Fujiwara
Design - Eiko Ishioka, Motoko Naruse
Liner Notes - Kazunori Harada 

Nefertiti

Eric Dolphy - Giants Of Jazz (1958-61)

This CD contains a selection of some of Eric Dolphy’s prime cuts. It spans the years from 1958 when he spent time with Chico Hamilton through to the classic 1961 tracks taken from the infamous Five Spot date. In addition, the listener will be treated to further tunes taken from his association with Booker Little, Charles Mingus etc., to name a few of the notorieties he interfaced with during his condensed career, like Booker cut short by an untimely death. Any jazz lover should know his work, but this compilation will certainly serve to enhance his following. So, sit back and marvel at Eric’s musicianship, and no doubt many newcomers to jazz will be won over, Enjoy!

Giants Of Jazz, CD 53164, 1995

Recorded 30^th December, 1958 - 16^th July, 1961

#1 from Eric Dolphy At The Five Spot, Volume 1 (1961)

#2,3 Eric Dolphy - Here And There (1960)

#4-6 Booker Little - Out Front (1961)

#7 Charles Mingus - Mingus (1960)

# 8-10 - Chico Hamilton - Gongs East! (1958)

Personnel:

Eric Dolphy - Alto Sax (#2-10) Flute (#2,4-6,8-10), Bass Clarinet (#1,2,8-10)

Booker Little - Trumpet (#1,4-6)

Freddie Hubbard - Trumpet (#3)

Ted Curson - Trumpet (#7)

Julian Priester - Trombone (#4)

Mal Waldron - Piano (#1)

Jaki Byard - Piano (#2,3)

Don Friedman - Piano (#4-6)

Dennis Budimir - Guitar (#8-9)

Richard Davis - Bass (#1)

George Tucker - Bass (#2,3)

Art Davis - Bass (#4)

Ron Carter - Bass (#5,6)

Charles Mingus - Bass (#7)

Wyatt Ruther - Bass (#8-10)

Nate Gershman - Cello (#8-10)

Ed Blackwell - Drums (#1)

Roy Haynes - Drums (#2,3)

Max Roach - Drums, Percussion (#4-6)

Dannie Richmond - Drums (#7)

Chico Hamilton - Drums (#8-10)

Tracks:

01. Bee Vamp {Booker Little} (12:19)

02. April Fool {Eric Dolphy} (4:04)

03. G.W. {Eric Dolphy} (7:57)

04. Quiet, Please {Booker Little} (8:02)

05. Moods In Free Time {Booker Little} (5:37)

06. Hazy Hues {Booker Little} (5:29)

07. Stormy Weather {Harold Arlen, Ted Koehler} (13:15)

08. Where I Live {Gerald Wilson} (2:58)

09. Gongs East {Chico Hamilton} (5:03)

10. Beyond The Blue Horizon {Leo Robin, Richard A. Whiting} (3:04)

Total Time: 67:48

Eric Kloss - In The Land Of The Giants (1969) [vinyl]

This set from 1969, finds the emerging Kloss in full flight, whether the setting is post-bop or modal, standard or balladic. At this juncture, Kloss shows maturity, outstanding technical chops and depth while the now famous supporting cast were obviously motivated and geared up for this session. The personnel here consists of Kloss; Alto Sax, Booker Ervin; Tenor Sax; Jaki Byard; Piano; Alan Dawson; Drums and Richard Davis; Bass. Highlights are, an absolutely stunning, up-tempo version of Miles Davis’ “So What” featuring the towering and vigorous tenor saxophone work of the late Booker Ervin. Here, Kloss and Ervin take turns reaching for the stars via soaring and electrifying lead soloing!........Not a cutting contest yet these esteemed gentlemen perform with conviction as if they were possessed by spirits... Kloss' sweet alto sax tone and sumptuous phrasing is evident on "When Two Lovers Touch". On the Ellington classic, "Things Ain't What They Used To Be" Kloss' expressionism and emotive lyricism displays mature sensibilities and expertise for such a young lad. ~ by Glenn Astarita.

Prestige Records, PRST 7627, 1989

Recorded 2^nd January, 1969 in New York City

Musicians:

Eric Kloss - Alto Saxophone

Booker Ervin - Tenor Saxophone

Jaki Byard - Piano

Richard Davis - Bass

Alan Dawson - Drums

Tracks:

A1. Summertime {George Gershwin, Ira Gershwin, DuBose Heyward} (7:30)

A2. So What {Miles Davis} (11:00)

B1. Sock It To Me Socrates {Eric Kloss} (5:17)

B2. When Two Lovers Touch {Eric Kloss} (5:34)

B3. Things Ain't What They Used To Be {Duke Ellington, Ted Persons} (5:48)

Total Time: 35:09

Credits:

Producer, Design - Don Schlitten

Recording Engineer - Dave Jones

Notes - Don Lass (May 1969)

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

Shirley Scott - Mystical Lady (1971) [vinyl]

An overlooked early 70's LP by the 'Queen Of The Organ'. The first of three albums she would cut for Cadet Records. At the age of 37 Shirley seeing the threat of the rock world started to turn her hand to a funkier soul jazz vibe. Her mastery on the organ is increasingly evident on this LP. She surrounds herself with a proven core of fine players, all of whom embrace and express the soul jazz style to the full on their own releases. For this album Shirley presents a number of covers of popular songs leaving space for only one her own co-written tunes. Overall the sound is dynamic and truly reflects how jazz musicians were trying to move with the times. This is a great sounding rip [DR 14] taken from an original LP, which is yet to surface as a CD. Enjoy!

Cadet Records, CA 50009, 1971

Recorded 1971 At Sound Exchange, New York, New York

Musicians:

Shirley Scott - Organ, Vocals (#A2)

George Patterson - Alto Saxophone (#B1)

Danny Turner - Tenor Saxophone (#A1,A2,B1,B2)

Pee Wee Ellis - Tenor Saxophone (#A3,B3)

Wally Richardson - Guitar (#A1,A2,B1,B2)

George Freeman - Guitar (#A3,B3)

Ron Carter - Bass (#A1,A2,B1,B2)

Richard Davis - Bass (#A3,B3)

Bobby Durham - Drums (#A1,A2,B1,B2)

Freddie Watts - Drums (#A3,B3)

Tracks:

A1. Mystical Lady {Esmond Edwards} (7:54)

A2. Your Song {Elton John, Bernie Taupin} (5:52)

A3. Hall Of Jazz {Shirley Scott, Gregg Hall} (6:17)

B1. Proud Mary {John C. Fogerty} (6:39)

B2. Love Dreams {George Patterson} (5:00)

B3. Let It Be {John Lennon, Paul McCartney} (7:14)

Credits:

Producer - Esmond Edwards

Recording Engineer - Steve Katz

Arranger - George Patterson (#A3)

Album Design - Maurer Productions

Richard Davis - With Understanding (1975) [vinyl>flac]

Pure brilliance from the brief flowering of Richard Davis as a leader - that great time when he was stepping out of his role as a sideman in the 60s, and making some really wonderful 70s albums for Muse! This album's got a really well-crafted feel - a spiritual, somewhat mellow approach that's laidback, and nicely understated - drawing strongly on Richard's work with other great players over the years, yet never pushing its own presence too strongly. The group features Chick Corea on piano, Sam Brown on guitar, Sonny Brown on drums, Frankie Dunlop on percussion and Bill Lee as a second bassist. Corea's piano is nicely restrained, and he gives the set a good mellow edge, but the real highlight is the writing - as Bill Lee contributed an entire set of beautiful compositions that stand among his best work from the 70s. Tracks include "The Rabbi", "Oh My God", "Juan Valdez", "Baby Sweets", and "Monica". ~ Dusty Groove, Inc.

This album runs in a similar vein to that of "Dealin'" and "Harvest", whereby Davis continues to explore the use of bowing an arco bass across an assortment of compositions. According to one reviewer: "But the preponderance of arco bass makes the music a bit too bottom-heavy. The same can be said of the selections from “With Understanding”. The band is better, however. It includes Chick Corea, at a time when the pianist wasn't playing a great deal of acoustic music. Unfortunately, the piano is not recorded very well. Sam Brown's acoustic guitar adds a nice dimension, and Bill Lee again plays second bass but is utilized with more subtlety. Lee's three originals, "Monica," "The Rabbi," and "Baby Sweets," are varied and rewarding." ~ David R. Adler [cduniverse.com].

Muse Records, MR 5083, 1975

Recorded November, 1971, New York City

Musicians:

Richard Davis - Bass

Chick Corea - Piano

Sam Brown - Guitar

Bill Lee - Bass

Sonny Brown - Drums

Frankie Dunlop - Percussion

Tracks:

A1. Dear Old Stockholm {Traditional} (5:36)

A2. Monica {Bill Lee} (4:05)

A3. Oh My God {Nadi Koma} (9:31)

B1. The Rabbi {Bill Lee} (7:17)

B2. Baby Sweets {Bill Lee} (6:14)

B3. Juan Valdez {Bill Lee} (5:04)

Credits:

Producer - Larry Fallon

Executive Producer - Joe Fields

Engineer - B. Arthur

Liner Notes - Doug Ramsey

Art Direction, Photography -  Hal Wilson

Richard Davis - Dealin' (1974) [vinyl>flac]

This album was released on Muse in 1974. The first side is made up of a couple of funky jazz groovers while the second side is on a more mellow tip. The session is led by bassist Richard Davis, who also wrote the tunes. Marvin Peterson is on trumpet, Clifford Jordan on saxophone, Paul Griffin plays Piano, Rhodes, Organ and Clavinet, David Spinozza plays guitar and Freddie Waits is on drums.

“After Scott LaFaro, Richard Davis is the most important of the young bassists who helped extend the role of their instrument during the early Sixties. He influenced every important bassist of his generation. Like many brilliant sidemen, Davis doesn’t score so well as a leader. There is a general lack of focus that few of his LP’s have overcome.” ~ Steve Futterman. ~ Listening to this album years later brings a different perspective and in a lot ways the reviewer’s comment may seem a bit over stated.

Muse Records, MR 5027, 1974

Recorded 14^th September, 1973

Musicians:

Richard Davis - Bass, Vocals (#A3)

Marvin Peterson - Trumpet, Tambourine, Cow Bell

Clifford Jordan - Tenor Saxophone, Soprano Saxophone, Cow Bell

Paul Griffin - Piano, Organ, Rhodes Piano, Clavinet

David Spinozza - Guitar

Freddie Waits - Drums

Tracks:

A1. What'd You Say (6:17)

A2. Dealin' (5:59)

A3. Julie's Rag Doll (5:33)

B1. Sweet'n (3:49)

B2. Sorta (3:10)

B3. Blues For Now (10:50)

All Compositions by Richard Davis

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Paul Goodman [RCA]

Liner Notes - Dan Morgenstern

Richard Davis - Harvest (1977) [vinyl>flac]

A very nice record that bassist Davis did for Muse in the late 70s. As with previous recordings he works closely with fellow bass player Bill Lee. Lee plays on the record, co-produced and arranged the album and shares songwriting credit with Davis on a couple of the tracks. Davis is joined by Ted Dunbar on guitar, Consuela Moore on piano, Freddie Waits on drums, James Spaulding on flute and alto sax and Marvin 'Hannibal' Peterson on trumpet, among others. Tracks include the two Davis/Lee originals "Half Pass" and "A Third Away" plus in conjunction with the title, there are several songs with flowers in the titles such as "Windflower", "Forest Flower", and "Passion Flower". He also throws in some familiar tunes like "Take The “A” Train". ~ Dusty Groove, Inc.

Muse Records, MR 5115, 1979

Recorded on May 3^rd & 16^th, 1977 at CI Recording, New York City

Personnel:

Richard Davis - Bass

Marvin Hannibal Peterson - Trumpet (#B1,B3,B4)

James Spaulding - Flute (#B1), Alto Saxophone (#B1,B3,B4)

Consuela Moore - Piano (#A1-B2,B5)

Ted Dunbar - Guitar (#A1-A3,B1-B2)

Bill Lee - Bass (#A1-B2,B4)

Billy Hart - Drums (#B1,B3,B4)

Freddie Waits - Drums (#A1-A3,B2), Percussion (#B1)

Tracks:

A1. Forest Flower {Charles Lloyd} (4:55)

A2. This Masquerade {Leon Russell} (6:33)

A3. Half Pass {Bill Lee, Richard Davis} (4:12)

A4. Three Flowers {McCoy Tyner} (1:51)

B1. Windflower {Sara Casey} (7:13)

B2. Passion Flower {Billy Strayhorn} (4:15)

B3. A Third Away {Bill Lee, Richard Davis} (4:25)

B4. Take The 'A' Train {Billy Strayhorn, Milt Raskin} (3:08)

B5. Forest Flower [Reprise] {Charles Lloyd} (1:55)

Credits:

Producer - Frederick Seibert

Co-Producer, Arranger - Bill Lee

Engineer - Elvin Campbell

Cover Photo - Pat Davis

Cover Design - Ron Warwell

Liner Notes - Richard Davis

Ray Bryant - In The Cut (1974) [vinyl>flac]

Recorded in 1974, Ray Bryant's In the Cut is the one recording in his career that stands out from all the others - not necessarily because it is the best thing he ever cut, but because it is unlike anything in his vast oeuvre. Bryant and producer Esmond Edwards set out to make a contemporary album while the great pianist was with Cadet. No solo, no trio, no quartet - this time out, Bryant's In the Cut is recorded with a full-on big band playing everything from contemporary soul tunes (such as the Jacksons' "I'll Be There," which opens this remarkable offering) to his own hard bop blues numbers such as "Cool Struttin'" and the title track to tough line-punchers like Herbie Hancock's "Watermelon Man." The entire Cadet house band was involved in this baby, including Charles Stepney, who did all the horn and, yes, string arrangements (and plays some synth, too). Bryant also plays a fair amount of electric piano here, and is accompanied by, among others, guitarists Jimmy Ponder and John Tropea, bassists Stanley Clarke and Ron Carter, drummer Jimmy Johnson, percussionist and conguero Montego Joe, trumpeters Marvin Stamm and Joe Wilder, and George Marge on tenor, flute, and oboe. The sound of In the Cut is literally startling. Bryant's trademark gait on the piano is immediate from the very opening bars of "I'll Be There." When the horns enter full-force, it's a new sound world - disorienting, yes, especially if you can't let yourself get beyond what Bryant's "normal" m.o. is. But the groove - gentle, soulful, and pronounced - is everywhere in these tracks. ~ Extract by Thom Jurek, AMG.

Cadet Records, CA 50052, 1974

Recorded At Sound Exchange Studios and A&R Studios, New York City

Mastered At Sterling Sound, New York City

Musicians:

Ray Bryant - Piano, Electric Piano

Joe Wilder - Trumpet (#A1,A3-B3)

Marvin Stamm - Trumpet (#A1,A3-B3)

George Marge - Flute, Tenor Saxophone, Oboe (#A1,A3-B3)

Charles Stepney - Synthesizer [Moog] (#A1-A3,B1), Arranger [Strings & Horns]

Jimmy Ponder - Guitar [Soloist] (#A2)

John Tropea - Guitar, Acoustic Guitar (#A2)

Margaret Ross - Harp (#A1,A3-B3)

Richard Davis - Bass (#A1)

Ron Carter - Bass (#A2,A4))

Stanley Clarke - Bass (#A3,B1-B3)

Jimmy Johnson - Drums

Montego Joe - Congas

Alfred Brown, Emanuel Vardi, Julian Barber, Selart Clarke, Theodore Israel - Viola (#A1,A3-B3)

Diana Halprin, Emanuel Green, Harry Glickman, Max Polikoff, Paul Gershman - Violin (#A1,A3-B3)

Tracks:

A1. I'll Be There {Bob West, Hal Davis, Willie Hutch, Berry Gordy, Jr.} (4:59)

A2. Andalusan Nights {Esmond Edwards} (4:45)

A3. Stop, Look & Listen To Your Heart/You Are Everything {Thom Bell, Linda Creed} (6:47)

A4. Cool Struttin' {Ray Bryant} (4:44)

B1. Land Of Make Believe {Chuck Mangione} (5:41)

B2. In The Cut {Ray Bryant} (6:16)

B3. Watermelon Man {Herbie Hancock} (4:53)

Credits:

Producer - Esmond Edwards

Production Supervision - Bob Scerbo

Album Co-ordination - Gwen Williams

Engineer - Skip Juried (Sound Exchange Studios, NYC)

Engineer - Don Hahn (A&R Studios, NYC)

Art Direction - Neil Terk

Photography - P.B. Kaplan

Budd Johnson with Joe Newman - Off The Wall (1964) [vinyl>flac]

A great little album from tenor legend Budd Johnson - and a record that nicely updates his sound by pairing him with a hip 60s-styled group! The album's got a jaunty feel that's like the best soul jazz sessions on Impulse at the time - taking Budd's tenor and placing it next to trumpet by Joe Newman, piano by Albert Dailey, bass from Richard Davis, and drums by Grady Tate. Upbeat tracks bounce along in a swinging take on mainstream soul jazz - and the mellower cuts feature some really wonderful blowing from Budd - done with a raspy tone that's got a nice earthy quality! Includes the jazz dancer "Off The Wall", the samba-styled "Strange Music", a snapping take on "Baubles Bangles & Beads", and the syncopated groover "Playin' My Hunch". ~ The Jazz Cooperative

Personally, alongside Ya! Ya! this one of my favourite Budd LPs. Having Joe Newman on board really opens up the music. Budd alone plays beautifully right-throughout; Newman’s solos are sharp and exhilarating. As for Albert Dailey his piano work it is par excellence. Not to overlook the rhythm men, some haunting bass lines and unswerving drumming, all add to this album’s appeal. One complaint is that it’s not long enough, but always pure pleasure with additional spins, enjoy you’ll be jumping 'Off The Wall".

Argo Records, LPS-748, 1965

Recorded 3^rd December, 1964 At RCA Recording Studios, New York City

Musicians:

Budd Johnson - Tenor Saxophone

Joe Newman - Trumpet

Al Dailey, Jr. - Piano

Richard Davis - Bass (#A1,A2,B3,B4)

George Duvivier - Bass (#A3,B1,B2)

Grady Tate - Drums

Tracks:

1. Off The Wall {Budd Johnson} (4:55)

2. The Folks Who Live On The Hill {Jerome Kern, Oscar Hammerstein II} (5:09)

3. Love Is The Sweetest Thing {Ray Noble} (7:14)

4. Strange Music {Robert Wright, George Forrest} (3:47)

5. Baubles, Bangles, And Beads {George Forrest, Robert Wright} (5:50)

6. Ill Wind {Harold Arlen, Ted Koehler} (4:51)

7. Playin' My Hunch {Budd Johnson} (4:58)

Credits:

Producer, Cover Photo - Esmond Edwards

Engineer - Ray Hall

Cover Design - Don Bronstein

Liner Notes - Joe Segal

David "Fathead" Newman - The Many Facets Of David Newman (1969) [re-rip]

This set along with "Bigger & Better" from 1968 'are among tenor-saxophonist David "Fathead" Newman's more commercial efforts. The Many Facets of David Newman is less poppish and more blues-oriented with the lengthy "Children of Abraham" showing some passion.' According to Mr. Yanow he states that 'overall the material is rather weak and has not aged very well. Skip this set in favor of Newman's more recent efforts.' However, I am not sure he truly listened to this album. Even though he did make mention of "Children of Abraham" there is still some great playing and artistry going down across many other tunes found on this LP. Listen with an open mind and judge for yourselves. Enjoy!

Atlantic Records, SD 1524, 1969

Recorded 7/03/68 (#A2,B2,B3); 2/12/68 (#A1,B1); 3/12/68 (#A3);
4/12/68 (#B4) and 11/2/69 (#A4) in New York City

Personnel:

David "Fathead" Newman - Alto, Tenor & Soprano Saxophones, Flute

Seldon Powell - Tenor Saxophone

Haywood Henry, Jerome Richardson - Baritone Saxophone

Melvin Lastie, Joe Newman, Jimmy Owens, Ernie Royal - Trumpet

Bennie Powell - Trombone

Paul Ingram, Julius Watkins - French Horn

Jack Knitzer - Oboe

Gene Orloff, Emanuel Green, Leo Kruczek, Richard Elias, Leo Kahn - Violin

Selwart Clarke, Alfred Brown - Viola

Kermit Moore - Cello

Joe Zawinul, George Stubbs - Piano

Billy Butler, Eric Gale - Guitar

Richard Davis, Ron Carter - Acoustic Bass

Chuck Rainey - Electric Bass

Bernard Purdie, Bruno Carr - Drums

Omar Clay - Percussion

Tracks:

A1. Shiloh {David "Fathead" Newman} (4:29)

A2. We're A Winner {Curtis Mayfield} (3:06)

A3. Children Of Abraham {William Fischer} (10:06)

A4. Headstart {David "Fathead" Newman} (2:53)

B1. Chained No More {David "Fathead" Newman} (6:23)

B2. The Funky Way To Treat Somebody {Calvin Arnold} (3:05)

B3. Sylvia {Henry Cosby, Stevie Wonder, Sylvia Moy} (3:17)

B4. That's All {Alan Brandt, Bob Haymes} (6:11)

Credits:

Producer - Joel Dorn

Recording Engineer - Adrian Barber, Bruce Tergesen, William Arlt

Arranger - Arif Mardin (#A2,B2,B3), David "Fathead" Newman (#A1,A4), William Fischer (#A3,B1,B4)

Wally Richardson - Soul Guru (1968) [vinyl>flac]

Wally Richardson came out of a rhythm and blues, soul jazz and pop experience. Because of this background and music reading ability, he was very active as an all-around studio guitarist in the late 50's/60's/70's. He recorded a good cult album of psychedelic jazz funk which is now a collector’s item. "Soul Guru" came out in 1969 on Prestige Records in New Jersey.

Guitar driven soul jazz album with a great variety of influences, soul, jazz, east, blues, rock, from sitar-like sounds on Soul Guru to twangy style Surf Side Shuffle, acoustic songs and jazz driven themes. ~ mekkipuur, RateYourMusic.

Prestige Records, PRST 7569, 1968

BGP Records, BGPD 1113, 1988

Recorded 5^th (#A1,A3,B1-B3) & 7^th (#A2,A4,B4) February, 1968

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Wally Richardson - Guitar

Zane Zacharoff - Bass Clarinet (#A1,A3,B1-B3)

Ernest Hayes - Piano (#A2,A4,B4)

Everett Barksdale - 12-String Guitar (#A1,A3,B1-B3)

Richard Davis - Bass (#A1,A3,B1-B3)

Jimmy Lewis - Bass (#A2,A4,B4)

Orville Mason - Fender Bass (#A1,A3,B1-B3)

Bobby Donaldson - Drums

Montego Joe - Percussion (#A1,A3,B1-B3)

Tracks:

A1. Senor Boogaloo {Wally Richardson} (4:11)

A2. Elbow Blues {Wally Richardson} (5:25)

A3. Monday Monday {John Phillips} (3:08)

A4. Surf Side Shuffle {Wally Richardson} (5:43)

B1. Soul Guru {Wally Richardson} (6:02)

B2. Lonely Rider {David Raksin} (2:44)

B3. Khyber Pass Boogaloo {Wally Richardson} (3:50)

B4. Square Heels, White Stockings {Wally Richardson} (4:53)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design, Photography - Don Schlitten

Liner Notes - Chris Albertson (April, 1968)

Eric Dolphy - Here And There (1961) + BONUS

Sort of a "house cleaning" album, one in which Prestige collected together a number of unissued Dolphy tracks after his death - but still a strong one, and in a way, the record features music that's even a bit more far-reaching than some of the studio albums on Prestige. Dolphy plays a solo bass clarinet version of "God Bless The Child"; he plays with Booker Little and Mal Waldron on "Status Seeking"; he's on flute in a quartet with Jaki Byard on "April Fool"; and he plays with a pickup Danish rhythm section on an alternate take of "Don't Blame Me". © Dusty Groove, Inc.

Prestige Records, PR 7382, 1966

Recorded 16^th July, 1961 (#A1,A2) At The Five Spot Café, New York City;

1^st April, 1960 (#B1) At Van Gelder Studio, Englewood Cliffs and

6^th September, 1961 (#B2) in Berlingske Has, Copenhagen, Denmark

Musicians:

Eric Dolphy - Alto Sax (#A1), Bass Clarinet (#A2), Flute (#B1,B2)

Booker Little - Trumpet (#A1)

Mal Waldron - Piano (#A1)

Jaki Byard - Piano (#B1)

Bent Axen - Piano (#B2)

Richard Davis - Bass (#A1)

George Tucker - Bass (#B1)

Erik Moseholm - Bass (#B2)

Eddie Blackwell - Drums (#A1)

Ed Blackwell - Drums (#A1)

Roy Haynes - Drums (#B1)

Jorn Elniff - Drums (#B2)

Tracks:

A1. Status Seeking {Mal Waldron} (13:13)

A2. God Bless The Child {Arthur Herzog, Jr., Billie Holiday} (5:18)

B1. April Fool {Eric Dolphy} (4:05)

B2. Don't Blame Me [Take 2] {Dorothy Fields, Jimmy McHugh} (12:59)

Credits:

Producer - Esmond Edwards

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Liner Notes - Mack Thomas (Dec. 1965)

Note:

Bonus Track included on CD [OJC Records - OJCCD-673-2, 1991]

G.W. [Take 1] {Eric Dolphy} (12:09)

Taken from 'Outward Bound' session

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

Eric Dolphy - Alto Saxophone

Freddie Hubbard - Trumpet

Jaki Byard - Piano

George Tucker - Bass

Roy Haynes - Drums

Recorded 1^st April, 1960 at Van Gelder Studio, Englewood Cliffs, New Jersey