Bill Easley - First Call (1990)

The versatile alto and tenor saxophonist Bill Easley (who on other projects also plays other reeds) is showcased in top form on this CD, performing on two dates with a pair of overlapping groups. Assisted along the way by trumpeter Bill Mobley on five of the numbers, either Sir Roland Hanna or James Williams on piano, and George Caldwell's synthesizer for four of the eight songs, Easley is the main star throughout. He puts plenty of feeling into "It's All in the Game," takes "How Long Has This Been Going On" at a surprisingly fast pace, cooks on "Little Benny," and emulates Sonny Stitt on "Blues for Stitt." Although he has spent much of his career in the background, uplifting other singers and musicians' sessions in addition to working in the studios, Bill Easley shows on this set that he is fully capable of being the leader. This is one of his strongest efforts. ~ by Scott Yanow, AMG. 

Milestone Records, MCD-9186-2, 1991
Recorded 22nd, 29th October, 1990 

Musicians:
Bill Easley - Alto Saxophone, Tenor Saxophone
Bill Mobley - Trumpet (#3-6,8)
Roland Hanna- Piano (#1,2,7,8)
James Williams - Piano (#3-6)
George Caldwell - Synthesizer (#2,4,5,7)
J. J. Wiggins - Bass (#1,2,7,8)
Dave Jackson - Bass (#3-6)
Grady Tate - Drums 

Tracks:
1. It's All In The Game {Charles G. Dawes, Carl Sigman} (6:22)
2. Somewhere Along The Way {Kurt Adams, Sammy Gallop} (5:57)
3. How Long Has This Been Going On {George Gershwin} (7:36)
4. Oh, What A Dream {Chuck Willis} (8:16)
5. Soulful Bill {James Williams} (5:51)
6. Blues For Stitt {Bill Easley} (6:02)
7. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (6:25)
8. Little Benny [aka Crazeology] {Bud Freeman, Benny Harris, Charlie Parker} (4:12)

Total Time: 50:41 

Credits:
Producer - Bob Porter
Engineer - Malcolm Addey
Assistant Engineer - Ron Allaire
Digital Mastering - George Horn
Art Direction - Phil Carroll
Photography - Frank Lindner
Design - Gilles Margerin
Liner Notes - Stuart Troup

Red Rodney - The 3 R's (1979) [vinyl>true flac]

Personally, I never tire of listening to Red Rodney and this particular album is a favourite. With Red joined by such excellent musicians this LP is destined to entertain. It’s sound today is just as potent when it was launched in 1982. The 3 R’s refer to Red, Richie & Ricky, in fact there is a 4^th in Roland. Add to the mix a fine rhythm section, the only regret is that this ensemble did not go on to produce more great music together, even Scottie is impressed, Enjoy!

Three of the Muse label's top artists of the time teamed up for this album: trumpeter Red Rodney, altoist Richie Cole and tenor saxophonist Ricky Ford. Actually, Ford is only on three of the six selections, but the talented Turk Mauro (doubling on tenor and baritone) fills in well, and the rhythm section (keyboardist Roland Hanna, bassist George Duvivier and drummer Grady Tate) was fully capable of playing anything. The music is mostly post-bop, with recent originals by Cole, Jack Walrath and Rodney alternating with Kenny Dorham's "Dead End," Art Farmer's "Blueport" and the standard "For Heaven's Sake." Excellent straight-ahead performances, with all of the musicians in fine form. ~ Scott Yanow, AMG.

Muse Records, MR 5290, 1982

Recorded 13^th & 14^th March, 1979 At Nola Studio, New York City

Musicians:

Red Rodney - Trumpet, Flugelhorn

Richie Cole - Alto Saxophone

Ricky Ford - Tenor Saxophone (#A1,A2,B2)

Turk Mauro - Tenor & Baritone Saxophones

Roland Hanna - Keyboards

George Duvivier - Bass

Grady Tate - Drums

Tracks:

A1. The Mack Man {Red Rodney, Gerry LaFurn} (7:38)

A2. For Heavens Sake {Donald Meyer, Elise Bretton, Sherman Edwards} (4:32)

A3. Dead End {Kenny Dorham} (6:56)

B1. Waiting For Waits {Richie Cole} (5:56)

B2. Samba De Vida {Jack Walrath} (7:06)

B3. Blueport {Art Farmer} (4:50)

Credits:

Producer - Bob Porter

Recording Engineer - Malcolm Addey

Mastering Engineer - Joe Brescio, The Master Cutting Room, NYC

Cover Photo - Joe Rosen

Liner Photos - Charles Reilly

Art Direction - W. Dale Cramer

Liner Notes - Howard Mandel

Note:

deGallo posted this LP in late 2001 at the muse blog, but unfortunately it fails audiochecker on many tracks. This newer rip addresses those issues.

New York Jazz Quartet - Surge

The 70's is in so many ways, the "runt" of the chronological jazz litter.  There were of course, many cringe worthy aspects - perhaps enough to call a majority.  But in spite of this, there were alot of amazing things happening too.  Those incredible musical happenings tend to get overlooked, as many fans write off this decade.

When thinking about "the tradition" in 70's jazz, we can put things into two categories:  solid, straight ahead keepers of the flame;  and progressive innovators.  I think the New York Jazz Quartet fall into the latter.  They were certainly rooted in the familiar, but when you look at the entire picture, you get composition, arrangement and masterful playing.

All four members contribute compositions, with Wess & Hanna being more dominant.  The melodies and arrangements are as beautiful as they are advanced.  The only tune that reflects the sound of the times, would be the Hanna penned "Big Bad Henry".  That said, it's aged perfectly and is more than listenable today.  The group also share in the solo spotlight quite equally, showing that the lesser known Pratt is up to the task.

The entire quartet express themselves wonderfully throughout Surge, but I really feel that Mraz takes the crown.  His playing is quite frankly , beyond words.  Take his solo during Big Bad Henry for example.  His speed and accuracy are incredible, and yet this technical bravado never diminishes the feel or soul of his statement.  Mraz's note selection is perfect, and his tone is clear and articulate... to sum it up, his entire performance is masterful.

I also want to note that Wess' flute work on this session, is some of his best.  He definitely pulled it out on the right tunes, and in the right spots.  His sound is so emotive... beautiful.

Anyhow people, this album is definitely a winner!!  Of course, the minty vinyl has been captured in 24/48 wav and transferred to 24/48 FLAC for your convenience.  Enjoy!!!

___________________________________________________________

Inner City Records ‎– IC 3011

1977

A1 Surge 5:49
A2 Placitude 7:05
A3 Big Bad Henry 9:52
B1 87th Street 6:17
B2 What, Does It Matter? 4:48
B3 Tee Piece 7:10

Bass – George Mraz

Drums – Richard Pratt
Flute, Saxophone – Frank Wess
Piano – Roland Hanna

Idris Muhammad - House Of The Rising Sun (1976) [vinyl>flac]

Idris Muhammad's House of the Rising Sun is a legendary soul-jazz album, and for good reason. First there's the fact that, Grady Tate notwithstanding, Idris Muhammad is easily the greatest of all soul-jazz drummers. Next, it is revealed that label boss and producer Creed Taylor was at his most inspired here, and wasn't afraid to err on the rhythm and blues side of the jazz equation. The material is top-notch, and David Matthews, who orchestrated and arranged this date with the exception of one track -- "Sudan" was written by Muhammad and Tom Harrell, and Harrell arranged it -- was on fire. As a bandleader, Muhammad is shockingly effective. Not because one could ever doubt his ability, but because of his reputation as one of the great studio drummers in jazz. Finally, this is the single greatest lineup in Kudu's history, and features the talents of Don Grolnick, Eric Gale, Will Lee, Roland Hanna, Joe Beck, David Sanborn, Michael Brecker, Hugh McCracken, Bob Berg, Fred Wesley, Patti Austin, and a dozen others playing their asses off. From the title track which opens the album, with Austin reaching the breaking point in her delivery, to the stunningly funky groove in Ashford and Simpson's "Hard to Face the Music," to the minor key funk of the Chopin-adapted theme in "Theme for New York City," to "Sudan"'s triple-timed drums and killer Eastern-tinged hooks, and a read of the Meters' "Hey Pocky A-Way," with Eric Gale's dirty finger poppin' bass atop McCracken's bluesed-out slide work, this is a steaming, no let-up album. Add to this a gorgeous version of the Ary Barroso Brazilian jazz classic "Bahia," and you have the set for a classic jazz album. But the complete disregard for the political correctness of "Jazz" itself, in order to get the deeply funky and soulful grooves across, is what makes this set so damn special and even spiritual in its inspiration. Jazz purists lost all credibility when they slagged this one off, caught as they were in tainted, even racist views of the past that made no allowances for jazz musicians to actually follow their time-honored tradition of mining the pop music of the day to extend the breadth and reach of jazz itself. Anybody who wants to believe that George Gershwin is somehow more important than George Porter Jr. is already lost in his own cultural fascism. Muhammad, who understands this better than anyone, pulled out all the stops here and blasted out one amazingly tough, funky slab. Brilliant. ~ Thom Jurek, AMG.

Kudu Records, KUDU 27, KU-27S1, 1976
Recorded 18th-27th June; 23rd September-8th October, 1975
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:
Idris Muhammad - Drums, Percussion [Log Drum] (#A1)
Tom Harrell - Trumpet
Fred Wesley - Trombone
Barry Rogers - Trombone (#B1)
David Sanborn - Alto Saxophone
Ronnie Cuber - Baritone Saxophone
George Young - Tenor Saxophone (#A2)
Mike Brecker - Tenor Saxophone (#A2)
Bob Berg - Tenor Saxophone (#B1)
Leon Pendarvis - Piano (#A1)
Don Grolnick - Piano (#A2,A3,B2)
Roland Hanna - Piano (#B1,A4)
Eric Gale - Bass (#A3,B2), Guitar (#B2)
Hugh McCracken - Guitar (#B2)
Joe Beck - Guitar (#A3)
Will Lee - Bass (#A1)
Wilbur Bascomb - Bass (#A2,A4,B1)
Alan Shulman, Charles McCracken, Seymour Barab - Cello
George Devens - Percussion
Charles Libove, David Nadien, Emanuel Green, Harold Kohon, Harry Cykman, Joe Malin, Max Ellen, Paul Gershman - Violin
Frank Loyd - Vocals (#A1,B2)
Debbie McDuffie, Hilda Harris, Patti Austin - Vocals (#A2)

Track Listing:
A1. House Of The Rising Sun {Traditional} (4:45)
A2. Baia [Boogie Bump] {Ary Barroso, Ray Gilbert} (4:40)
A3. Hard To Face The Music {Valerie Simpson, Nickolas Ashford} (4:52)
A4. Theme For New York City [Based On Prelude No. 4] {Frederic Chopin} (3:29)
B1. Sudan {Idris Muhammad, Tom Harrell} (10:54)
B2. Hey Pocky A-Way {Ziggy Modeliste, Art Neville, Leo Nocenteli, George Porter, Jr.} (6:07)

Credits:
Producer - Creed Taylor
Arranger - David Matthews, Tom Harrell (#B1)
Recording Engineer - Rudy Van Gelder
Design - Rene Schumacher
Photography - Alen Mac Weeney

Gene Ammons - My Way (1971) [vinyl>flac]

Although late in the Prestige jazz funk years, and not in the small combo mode of some of Ammons' best early 70s sides, this is still an excellent batch of tracks - thanks to hip arrangements from Bill Fisher! The format's almost in a Kudu/CTI mode, as larger arrangements envelope Jug's soulful tenor - funking away with a blacksploitation on tracks like "Chicago Breakdown", "Back In Mérida", and a great cover of "What's Going On", all done with tight horns, compressed guitar, and even a bit of strings. There's a few mellower numbers that aren't as great - but these tracks more than make the album worth having! © Dusty Groove America, Inc.

Ammons is joined with some great players on these sessions, in particular Roland Hanna & Ted Dunbar on the 1^st Side. On the 2^nd side Billy Butler does his thing along with Ron Carter and banging away in the background is the mighty Idris Muhammad. Also with brass and strings added there are some very dynamic grooves going down. Even though this is a latter-day album by Ammons he still blows amazing hard right throughout, Enjoy!

Prestige Records, PR 10022, 1971

Recorded 26^th July (#B1-B3) & July (#A1-A3), 1971 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Gene Ammons - Tenor Saxophone

Robert Prado- Trumpet (#A1,A2,B1-B3)

Ernie Royal - Trumpet (#A1,A2,B1-B3)

Garnett Brown - Trombone (#A1,A2,B1-B3)

Richard Landry - Tenor Saxophone (#A1,A2,B1-B3)

Babe Clark - Baritone Saxophone (#A1,A2,B1-B3)

Roland Hanna - Electric Piano (#A1-A3)

Ted Dunbar - Guitar (#A1-A3)

Billy Butler - Guitar (#B1-B3)

Ron Carter - Bass (#B1-B3)

Chuck Rainey - Electric Bass (#A1,A2)

Idris Muhammad - Drums (#A1,A2,B1-B3)

Omar Clay - Percussion (#A1,A2,B1,B2)

Yvonne Fletcher, Patricia Hall, Loretta Ritter, Linda Wolfe - Vocals (#A2,B1,B2)

Unidentified String Section (#A2,B1,B3)

Bill Fischer - Arranger And Conductor

Track Listing:

A1. Chicago Breakdown {William S. Fischer} (9:37)

A2. What's Going On {Renaldo Benson, Al Cleveland, Marvin Gaye} (4:15)

A3. A House Is Not A Home {Burt Bacharach, Hal David} (3:41)

B1. Sack Full Of Dreams {Gary McFarland, Louis Savary} (6:19)

B2. Back In Mérida {William S. Fischer} (4:17)

B3. My Way {Paul Anka, Claude François, Jacques Revaux} (5:58)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bill Fisher

Photography & Design - Tony Lane

Red Rodney - Red, White and Blues (LP to flac)

"This Muse LP features a logical combination: veteran bop trumpeter Red Rodney and bop revivalist altoist Richie Cole. With pianist Roland Hanna, bassist Buster Williams and drummer Eddie Gladden offering stimulating support, the frontline is in fine form. It is surprising that the quintet mostly performs newer originals (by Rodney, Hanna, Cole and Bernie Senesky) with just two standards: "Smoke Gets In Your Eyes" and Charlie Parker's "Little Suede Shoes" (here mistakenly listed as "Little Red Shoes"). However, the music (which includes such colorful titles as "No Jive Line" and "Ode to a Potato Plant") is largely straight-ahead. An underrated set.

Tracks: It's the Same Thing Everywhere, Lolita's Theme, Red White and Blues, Rodney Round Robin, Little Red Shoes, Smoke Gets In Your Eyes, No Jive Line, and Ode to a Potato Plant

Personnel: Red Rodney on trumpet, Richie Cole on alto sax, Roland Hanna on piano, Buster Williams on bass, and Eddie Gladden on drums

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).

Newport in NY '72 - The Jam Sessions 1 & 2

I recently picked up all six volumes in NM condition for $20! I confess I got lazy on the scans and used the ones that accompanied my old mp3 copies from the Cobblestone blog of a few years back.

Foolish and violent vandals nearly succeeded in putting an end to the Newport Jazz Festival in 1971. George Wein underestimated the draw of booking The Allman Brothers, 10's of thousands more people showed up than there were tickets or room on the grounds for and a mob of gate crashers boiled through the fences during Dione Warwick and rushed the stage, destroying everything in their path. The relationship with the city of Newport, always a rocky one, suffered such damage it would take nine years to recover from it.

As a result Wein moved his festival to New York City in 1972, using multiple venues like Yankee Stadium, Radio City Music Hall and Wollman skating rink in Central Park for the next 9 years. I went for the first two and saw some of these shows. Newport has always been the home of the Jam Session; for better or worse George has always loved putting diverse groups of musicians on a stage and letting the sparks fly. These two jams were at the old Radio City Music Hall I am pretty sure I did not see either of these (it has been a looong time).

Volume One: Radio City Music Hall, July 6, 1972 

side a: Jumpin at Woodside
side b: Lo-Slo Blues

Cat Anderson, Jimmy Owens - trumpet; Charles McPherson alto sax; Buddy Tate tenor sax; Milt Buckner organ; Roland Hanna piano; Charles Mingus bass; Alan Dawson drums

Volume Two: Radio City Music Hall, July 3, 1972

side a: Bag's Groove
side b: Night in Tunisia

Dizzy Gillespie trumpet; Stan Getz tenor sax; Benny Green trombone, Milt Jackson vibes; John Blair violin; Kenny Burrell guitar; Mary Lou Williams piano; Percy Heath bass; Max Roach drums; Big Black congas

Were I looking at the program and trying to decide where to spend my money (and I suppose I was back then, I just don't remember) I would have chosen the July 3 show over the July 6 show....and I would have been wrong! For whatever reason the Volume One jam gels much more than the Volume Two show, the second show has some powerful moments no doubt, Diz, Kenny and John Blair all have some great solo moments, but there is a lot of indecision and differences of opinion on tempo and such too.