Barry Harris Quintet - Newer Than New (1961)

A quick listen to the lively bop on Newer Than New may enlist a perplexing question: Was this music really recorded 40 years ago? Apparently so, but the music still sounds fresh and exciting. If pianist Harris set out to show bop was still a vital force in 1961, he accomplished his task. Of course, he didn't do this alone. Trumpeter Lonnie Hillyer, alto Charles McPherson, bassist Ernie Farrow, and drummer Clifford Jarvis join him on eight tunes that would've made Parker and Gillespie proud. The influence of bop pioneers is evident on tunes like "The Last One" and "Anthropology," both giving the horns lots of room to soar against the backdrop of dynamic rhythm. "Mucho Dinero," one of several Harris originals, has an exuberant Latin feel. After the horns set the piece in motion, Harris takes the first solo, creating colorful textures with his keen sense of harmony. Newer Than New also places special emphasis on the young horn players, providing McPherson and Hillyer lots of room to show what they've got. Both echo Parker and Gillespie without copying them. Hillyer displays a fat rich tone on numbers like "Easy to Love," while McPherson's resonant pitch, no matter how quickly he's playing, always comes across. Farrow and Jarvis keep the shifting rhythms heavy in the mix, pushing each soloist to create something vital. The title Newer Than New perhaps mocks the obsession with the latest thing, as opposed to opting for the timelessness of high-octane improvising. Jazz styles, like all styles, come and go, but great music like Newer than New transcends styles. It's also fun (and illustrative) to listen to an album like this back-to-back with the latest retro jazz. Barry Harris and his colleagues make great jazz without the least bit of self-consciousness. ~ by Ronnie D. Lankford, Jr., AMG. 

Riverside Records, RLP-9413, 1961
OJC Records, OJCCD-1062-2, 2001
Recorded 28th September, 1961 at Plaza Sound Studios, New York 

Musicians:
Barry Harris - Piano
Lonnie Hillyer - Trumpet
Charles McPherson - Alto Saxophone
Ernie Farrow - Bass
Clifford Jarvis - Drums 

Tracks:
1. Mucho Dinero {Barry Harris} (3:44)
2. Easy To Love {Cole Porter} (4:50)
3. Burgundy {Barry Harris} (7:01)
4. The Last One {Barry Harris} (4:57)
5. Anthropology {Dizzy Gillespie, Charlie Parker} (4:17)
6. I Didn't Know What Time It Was {Richard Rodgers, Lorenz Hart} (4:12)
7. Make Haste {Barry Harris} (5:39)
8. Nightingale {Xavier Cugat, George Rosner, Fred Wise} (5:17) 

Total Time: 40:03 

Credits:
Producer - Orrin Keepnews
Recording Engineer - Ray Fowler
Remastering - Kirk Felton (2001)
Cover Design - Ken Deardoff
Photography [Cover] - Kenneth van Sickle
Photography [Inner] - Steve Schapiro

Blue Mitchell - Blue Soul (1959) [Bonus Remaster]

Trumpeter Blue Mitchell left his home in Miami for a short stint in New York City, headed back to Florida, and then to Los Angeles before his brief but vital career as a jazz trumpeter ended. This sojourn identified his sound, initially branded by the warmth of the Southeast, burnished by the hustle and bustle of the Big Apple, and polished by the West Coast cool school demeanor. In 1959, as Mitchell returned to Miami, he connected with Detroit trombonist Curtis Fuller and Philadelphia tenor saxophonist Jimmy Heath to form one of the most potent three-horn front lines in jazz history. Few knew how good they were until after the fact, but this recording, the third album for Mitchell as a leader, has him and his mates in full flight. Drummer Philly Joe Jones has a lot to do with the solid booster rocket-like propulsion on this primarily hard bop date, and check out his calypso variations on the second chorus of the otherwise easy blues swing and ultra-melodic "Waverley Street." Credit Mitchell's street smarts and highly developed melodic inventiveness as the focal point for this definitive session. In many ways, this is a parallel album to the Miles Davis classic Kind of Blue, with subtle undertones driven by fourth-gear swing. The CD kicks off with the famous "Minor Vamp," of which Fuller's original take for the Savoy label has been remixed and layered, and is heard in the acid jazz dancehalls. It's a familiar sparse line, a two-note vamp tacked onto a lithe, perky melody that needs no critique -- it's simply great! More concisely rendered hard bop follows on "The Head," not complex by any means, but filled with plenty o' soul. The hardest line crops up during "Top Shelf," featuring a memorable, cutting, precise solo by Heath. Fuller and Heath lay out so you can hear in full dimension the cozy and warm persona of Mitchell on the ballad "Park Avenue Petite," but especially on the bright, easy swinger "Blue Soul," which most accurately approaches Kind of Blue. In tribute to his then boss, Horace Silver, "Nica's Dream" features Mitchell's muted trumpet over an underlying fresh bed of trombone and tenor sax. Even more so, Mitchell's deep blue horn shines on the standard "Polka Dots and Moonbeams," an organ of sheer beauty and one to be studied for those who need to learn that playing fewer notes more musically is an admirable quality. This is one of the most precious jazz recordings of a year that would soon give sway to the Blue Note sound, and is in many real and important ways as much of a prelude as any other statement. It's a must-have for all serious mainstream jazz fans. ~ by Michael G. Nastos, AMG.

Riverside Records, RCD-30508, 2008

Recorded 24^th, 28^th, 30^th September, 1959 At Reeves Sound Studios, New York City

Personnel:

Blue Mitchell - Trumpet

Curtis Fuller - Trombone (except #3,4,7,11,12)

Jimmy Heath - Tenor Saxophone (except #3,4,7,11,12)

Wynton Kelly - Piano

Sam Jones - Bass

Philly Joe Jones - Drums

Tracks:

01. Minor Vamp {Benny Golson} (3:42)

02. The Head {Richard Mitchell} (4:29)

03. The Way You Look Tonight {Dorothy Fields, Jerome Kern} (3:23)

04. Park Avenue Petite {Benny Golson} (3:58)

05. Top Shelf {Jimmy Heath, Arr. Heath} (4:09)

06. Waverly Street {Jimmy Heath, Arr. Heath} (5:00)

07. Blue Soul {Richard Mitchell} (4:12)

08. Polka Dots And Moonbeams {Johnny Burke, Jimmy Van Heusen} (5:50)

09. Nica's Dream {Horace Silver} (6:36)

10. Minor Vamp [Take 1] {Benny Golson} (3:39)

11. Park Avenue Petite [Take 1] {Benny Golson} (5:11)

12. Blue Soul [Take 2] {Richard Mitchell} (6:29)

Credits:

Producer, Liner Notes - Orrin Keepnews

Recording Engineer - Jack Higgins (24th, 30th), Roy Friedman (28th) September, 1959

Cover Design - Paul Bacon, Ken Brearen, Harris Lewine

Photography [Back] - Lawrence N. Shustak

Remastering [24-bit] - Joe Tarantino (Fantasy Studios, Berkeley)

Editorial - Rikka Arnold

Project Supervision - Nick Phillips

Projest Assistant - Chris Clough, Albert Roman

Art Direction - Larissa Collins

Clark Terry Quintet w/ Don Butterfield - Top And Bottom Brass

Cryptheads!!!  I'm hooooommme!!!  It's been a while hasn't it?!?  I have been busy renovating my man cave, which is now finished. 

I thought I would come out swingin with this most incredible  Clark Terry album.  However, that isn't the most accurate description as it's really a co-lead affair with Don Butterfield playing a large role musically.  And really, the tuba is what makes this album unique from many others in Clark's large catalogue. 

Butterfield is really a master of his domain as he gets the instrument to bend sonically - from deep and smooth, to sharp and quick.  And he can mix all of those qualities even further.  I was really taken aback with his first solo in The Swinging Chemise, for a few bars, I thought it was Sam Jones!!  Impressive indeed.  As for Terry, he plays wonderfully with a real focus on tone, matching up perfectly with the mighty tuba.  Some really soulful playing from the trumpeter, who also pulls out the flugelhorn on this side.  The rhythm section hold down a superb swing, light and airy with tons of space.  Creatively, the crown may very well go to Jimmy Jones on Top And Bottom Brass, although keeping a tuba interesting throughout eight tunes is no easy feat either.

All in all, this is a rock solid album which has been more or less forgotten.  It did infact receive the OJC treatment, but was quickly back to OOP status again.  Mumbles was one of the greats, a true master of this jazz music and Top And Bottom Brass is yet another document of proof.

This was ripped from the OJC reissue and dithered to VBR mp3.  Frankly the sound is wonderful... enjoy!!!

Riverside RSLP-295

1959

Clark Terry - trumpet & flugelhorn;  Don Butterfield - tuba;  Jimmy Jones - piano;  Sam Jones - bass
Art Taylor - drums.

Roosevelt Wardell Trio - The Revelation

A real killin side featuring some exciting and dynamic piano jazz.  It's a wonder how some of these guys never took off...

Ripped from an original LP, and although we are copin with some fried chicken in parts, the music is gorgeous.

Enjoy!!!

Roosevelt Wardell was an R&B singer before he became a jazz pianist. Altoist Cannonball Adderley, who by then was also acting as a Riverside A&R, discovered Wardell in Los Angeles while he was playing with Dexter Gordon. He quickly arranged for the recording of “The Revelation”, Wardell’s debut. An authoritative performer, the young pianist showed a maturity beyond his years, developing well-constructed, imaginative lines and absorbing his formative influences into an individual style devoid of empty flourishes or gimmicks, in which his roots and swing are ever present.

Riverside RLP 350
Roosevelt Wardell (p) Sam Jones (b) Louis Hayes (d)

Los Angeles, CA, October 5, 1960

Louis Cottrell - Bourbon Street: Living Legends New Orleans

When the Riverside label undertook a series of recordings of some of the living legends of New Orleans, one who was asked to contribute his talents was Louis Cottrell, Jr. Cottrell certainly filled that bill. An important figure in the history of traditional jazz in New Orleans, he was a virtuoso on both the clarinet and tenor saxophone, playing with the top players of his day, including his mentor, clarinet player Lorenzo Tio, Jr., and drummer Paul Barbarin. For the occasion of this record, Cottrell engaged the assistance of Emanuel Sayles on banjo and guitar and McNeal Breaux on bass (Alcide Pavageau plays bass on one track). Together, they weave a fine tapestry of jazz from the New Orleans Creole tradition. The results are simply elegant. The album opens with the beautiful "Perdido," and gets lively with a Barbarin street march, "Bourbon Street Parade." It segues through some delightful blues and standards, such as "Sayles' Broken String Blues" and "Sheik of Araby." The group plays traditional gospel with feeling, including "What a Friend We Have in Jesus" and the bonus track "Down by the Riverside." It closes out with another bonus track, Cottrell's own "You Don't Love Me." The record is enchanting, like a memory of a long-ago love affair in this city of romance and seduction. [This review refers to the 1994 Riverside reissue, New Orleans: The Living Legends, which features the two aforementioned bonus tracks.]  - Rose Of Sharon Witmer/AMG

Riverside RLP 9385
1961

Louis Cottrell - clarinet
Emanuel Sayles - guitar
McNeal Breaux, Alcide "Slow Drag" Pavageau - bass #6 only

Teri Thornton - Devil May Care

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

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

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

...what more do you need?!?

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

Riverside RLP 352
1961

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

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

Eddie Jefferson - Letter From Home

Ahhhh yes.  Sunday, laziest of them all.  Back at our old digs, I was trying to make Sunday about posting something special, yet laid back.  I think I'll bring that idea here, and start the next few weeks by posting vocal and piano based sides.

So I'm opening up with a big one.  I'm sure plenty of you have this or have at least heard it.  No doubt that it's a classic.  Aside from Jefferson's vocalese, there may be a couple of players you recognize from his band. (wink, wink)

All that said, this is presented in marvelous 320 CBR mp3... enjoy!!!







Riverside Records
RLP-411

Ernie Royal, Clark Terry (tp) Jimmy Cleveland (tb) James Moody (as, fl) Johnny Griffin (ts) Arthur Clarke (bars) Joe Zawinul (p) Barry Galbraith (g) Sam Jones (b) Osie Johnson (d) Eddie Jefferson (vo)

Plaza Sound Studios, NYC, December 18, 1961

	Letter From Home
	Things Are Getting Better
	I Feel So Good

Johnny Griffin (ts) Junior Mance (p) Barry Galbraith (g) Sam Jones (b) Louis Hayes (d) Eddie Jefferson (vo)

Plaza Sound Studios, NYC, January 12, 1962

	Billie's Bounce (take 4)
	Soft And Furry
	Keep Walkin' (take 4)
	Bless My Soul

Joe Newman, Ernie Royal (tp) Jimmy Cleveland (tb) James Moody (as, fl) Johnny Griffin (ts) Arthur Clarke (bars) Wynton Kelly (p) Barry Galbraith (g) Sam Jones (b) Osie Johnson (d) Eddie Jefferson (vo)

Plaza Sound Studios, NYC, February 8, 1962

	Take The "A" Train
	Back In Town
	A Night In Tunisia

Elmer Snowden - Harlem Banjo

As much as Orin Keepnews' career is celebrated, in the grand scheme of things, I'm not sure he gets the credit he deserves.  This album is a perfect example of his contribution to the recorded history of jazz.

Snowden was brought out of relative obscurity to record what would become his calling card.  The art of jazz banjo was all but lost, so the beauty of this album is hearing a classic style in a modern recording.

This a a wildly fun and upbeat side, guaranteed to entertain.  It's presented here in VBR mp3, which while not ideal, does infact sound great.  The Crypt will be looking closely at some of Keepnews' lesser known sides from his Riverside imprint...  enjoy!!!

Banjoist Elmer Snowden only led two albums in the LP era, and his OJC CD reissue is his best showcase. Snowden, who is joined by pianist Cliff Jackson, bassist Tommy Bryant, and drummer Jimmy Crawford, is the lead voice throughout the dozen standards, all of which date from the 1920s or '30s. Snowden's banjo style is a lost art, and this is his definitive recording. - Scott Yanow/AMG

Riverside RLP 9348
1960

Elmer Snowden - banjo;  Cliff Jackson - piano;  Tommy Bryant - bass;  Jimmy Crawford - drums.

Albert Wynn And His Gutbucket Seven - Chicago: Living Legends

I just want to say... what happened to the George Lewis lovefest??  The last post was a dustbowl - seems the interest simply vanished.  I am not one to ever say anything about comments (until now), but the comments aren't about vanity for me, I want to know that you guys are enjoying the music.  I also love to discuss the tunes or artists.... but anyhow... I will continue the mini-series with or without comments.

I had a search through my HD and was rewarded with a bunch of albums I ripped years ago.  They are in mp3 and the scans are either done with a camera or not at all.  That said, I think you'll enjoy what I have comin.  I decided to start big, and give you a firm taste of the goods...

This one is a real swinger... enjoy!!!


 Trombonist Albert Wynn, a veteran of the Chicago jazz scene of the 1920s, recorded six selections as a leader from 1926-1928 and then headed no further sessions until he cut this full-length album in 1961 as part of Riverside's Living Legends series. Reissued on CD in the Original Jazz Classics program along with two additional cuts ("I Ain't Gonna Give Nobody None o' This Jelly Roll" and the alternate take of "How Long Blues") originally only on samplers, this is a particularly exuberant date. In addition to Wynn, the septet includes such alumni of the 1920s as clarinetist Darnell Howard, obscure trumpeter Bill Martin, Bus Moten (Bennie's brother) and Blind John Davis alternating on piano, guitarist Mike McKendrick, bassist Robert Wilson, and drummer Booker T. Washington. On a variety of Dixieland and swing standards (including "Ice Cream," "Someday Sweetheart," "Bourbon Street Parade," and "Nobody's Sweetheart"), these veterans show that they were still in their musical prime in 1961. The musicians, who were mostly in their mid-fifties, were considered ancient at the time.  - Scott Yanow/AMG

Riverside RLP-426
1961

Bill Martin (tp, vo) Albert Wynn (tb) Darnell Howard (cl) Bus Moten (p, vo) Mike McKendrick (g, bj) Robert Wilson (b) Booker Washington (d)

"The Birdhouse", Chicago, IL, September 5, 1961