Stanley Turrentine with Milt Jackson - Cherry (1972) [+ Bonus]

This 1972 CTI date by Stanley Turrentine was his third for the label, and was produced by Creed Taylor with Rudy van Gelder at the board. Shockingly, Don Sebesky was not called in to arrange anything here. The band chosen to back up Turrentine's edgy, soulful tenor is a fine and diverse one, especially in the heyday of the fusion years: Milt Jackson on vibes, drummer Billy Cobham, pianist (electric of course) Bob James, Ron Carter on bass, and guitarist Cornell Dupree. 

The opener is Lee Morgan's "Speedball," played as a near straight-ahead hard bop barnburner, with a killer little vamp in the melody that is accented and filled by both Bags and James alternating bars. This is followed by a fine is not exceptional read of Johnny Mercer's "I'll Remember You," though Jackson's vibe solo that opens the tune and offers the lead into the melody is quite moving. Jackson's own "The Rev's" is a bluesed-out strut, with Turrentine, James, and Bags holding through the lead riffs before Turrentine digs deep into his soulful bag for a brilliant solo that runs over the bluesology of the old masters -- Dexter Gordon and Ben Webster most notably. But it is the last half of the album that holds the real beauty, with the title track framed by two Weldon Irvine Jr. classics, "Sister Sanctified" and "Introspective" as the closer. Irvine arranged his own tunes, and they are far more wondrous and strange than anything in the CTI catalog. "Sister Sanctified," a deep gospel with repetitive choruses and assertive lead lines, has James playing a gospel piano more reminiscent of Abdullah Ibrahim than himself. Cobham shoves the beat to the margin, double- and triple-timing in places while never leaving the pocket of the groove. Turrentine's solo, especially in the bridge, is phenomenal, guttural, and nearly squalling. "Introspective" is a loping post-bop blues. The long, intricate melody lines are perfectly suited to the complex sense of lyricism that is Turrentine's strength. The more general figures and accents are picked up by Jackson, and Cobham slips through and around the chances in a Latin-styled dance to hold the middle and bring in the blues feel. It's phenomenal and sends this session off on a high note. Recommended. ~ Thom Jurek, All Music Guide. 

CTI Records, CTI 6017, 1972
CBS Records, ZK 40936, 1988 

Recorded 17th, 18th & 24th May, 1972 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Stanley Turrentine - Tenor Saxophone
Milt Jackson - Vibraphone
Bob James - Piano, Electric Piano
Cornell Dupree - Guitar
Ron Carter - Bass
Billy Cobham - Drums

Tracks:
1. Speedball {Lee Morgan} (6:40)
2. I Remember You {Johnny Mercer, Victor Schertzinger} (5:10)
3. The Revs {Milt Jackson} (7:46)
4. Sister Sanctified {Weldon Irvine Jr.} (6:04)
5.. Cherry {Ray Gilbert, Don Redman} (5:10)
6. Introspective {Weldon Irvine Jr.} (7:00)
7. The More I See You {Harry Warren, Mack Gordon} (7:58) [Bonus Track] 

Total Time: 45:52 

Credits:
Producer - Creed Taylor
Reissue Producer, Liner Notes - Didier C. Deutsch
Recording Engineer - Rudy van Gelder
Mastering - Tim Geelan
Arranger - Weldon Irvine Jr. (#4,6)
Design [Album] - Bob Ciano
Photography [Cover] - Pete Turner

DR14

Sister Sanctified

Milt Jackson - Sunflower (1972) [vinyl]

Recorded over two days in December of 1972 at Rudy Van Gelder's Englewood, New Jersey home studio, vibraphonist Milt Jackson's Sunflower is the first -- and best -- of his three albums for Creed Taylor's CTI imprint. (And one of the finest offerings on the label.) With a core band consisting of Herbie Hancock (playing electric and acoustic piano), bassist Ron Carter, drummer Billy Cobham, trumpeter Freddie Hubbard, drummer/percussionist Ralph McDonald, and guitarist Jay Berliner. A chamber orchestra exquisitely arranged and conducted by Don Sebesky adorns the session as well. Jackson's "For Someone I Love," opens the five-tune set, with Berliner playing solo flamenco guitar before the vibes, trumpet, and elements from the chamber orchestra delicately, impressionistically color the background. It gradually moves into a languid, bluesy ballad that slowly gains in both texture and dynamic until the strings trill tensely. Hubbard and Hancock engage them in solos that gently swing out the tune. The reading of Michel Legrand's "What Are You Doing for the Rest of Your Life" is a gorgeous showcase for Jackson; his solo dominates the arrangement. Carter gets downright funky on his upright to introduce Thom Bell's "People Make the World Go Round," and Hancock follows him on Rhodes. Jackson takes the melody, striking a layered contrast as Hubbard slips around all three playing an extension of the melody with requisite taste, fluidity, and taut phrasing. Hancock gets funky to the bone in his brief solo, as the vibes soar around and through his phrases. The title track is a Hubbard composition that floats and hovers with a Latin backbeat before shifting tempos as the solos begin. The expanded harmonic palette of trumpet with the reeds, woodwinds, and strings on the melody add an exotic textural palette for his solo. While Sunflower sometimes feels more like a group session rather than a Jackson-led one, that's part of its exquisite beauty. ~ Thom Jurek, AMG.

CTI Records, CTI 6024, 1973

Recorded 12^th & 13^th December, 1972 at Van Gelder Studios, Englewood Cliffs, New Jersey

Musicians:

Milt Jackson - Vibraphone

Freddie Hubbard - Trumpet, Flugelhorn

Herbie Hancock - Piano

Jay Berliner - Guitar

Ron Carter - Bass

Bill Cobham - Drums

Ralph MacDonald - Percussion

Plus Reeds & Strings:

George Marge - Clarinet, Bass Clarinet, Alto Flute, English Horn

Romeo Penque - Alto Flute, Oboe, English Horn

Phil Bodner - Flute, Alto Flute, Piccolo Flute, English Horn

Alan Shulman, Charles McCracken, George Ricci - Cello

Margaret Ross - Harp

Charles Libove, David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff,

Irving Spice, Joe Malin, Max Ellen, Paul Gershman - Violin

Tracks:

A1. For Someone I Love {Milt Jackson} (10:21)

A2. What Are You Doing The Rest Of Your Life? {Michel Legrand, Alan & Marilyn Bergman} (6:57)

B1. People Make The World Go Round {Thomas Bell, Linda Creed} (8:29)

B2. Sunflower {Freddie Hubbard} (11:01)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger & Conductor - Don Sebesky

Album Photograph - Pete Turner

Liner Photograph - K. Abe

Album Design - Bob Ciano

Jimmy Ponder, Ron Carter, Ben Green - I Giganti Del Jazz, Vol. 28 (1981) [vinyl]

A rare piece of vinyl released on the Italian Curcio Records label in 1981. Jimmy is in top form joined by bassist Ron Carter, drummer Ben Green and pianist Warren Bernhardt. On the last track it is suggested according a few sources that saxophonist William Skinner and organist Jimmy McGriff also come into the grouping. Jimmy showcases four of his own compositions along with one from Sam Jones and another from Miles Davis. Overall, a worthwhile earlier addition to Jimmy Ponder's discography that truly demonstrates his virtuosity and the emergence of a great guitarist. 

Curcio Records, GJ-28, 1981
Recorded prob. New York City: c. 1980 (?) 

Musicians:
Jimmy Ponder - Guitar
William Skinner - Tenor Saxophone (#B3)
Warren Bernhardt - Piano (#A1,A3,B1,B2), Electric Piano (#A2)
Jimmy McGriff - Organ (#B3)
Ron Carter - Bass
Ben Green - Drums 

Tracks:
A1. Seven Minds {Sam Jones} (4:46)
A2. Visions {Jimmy Ponder} (7:51)
A3. Ponder'n {Jimmy Ponder} (5:33)
B1. Blues Bag {Jimmy Ponder} (4:06)
B2. All Blues {Miles Davis} (5:42)
B3. Pices {Jimmy Ponder} (5:36) 

Total Time: 33:34 

Blues Bag

Donald Harrison - The Ballads (2009)

"Mr. Harrison turned out to be one of the most musicologically literate jazz players to come out in ages." ~ New York Times. 

"Donald Harrison Jr. … the most interesting, most accessible, and most talented musician in the country right now." ~ East Bay Express. 

"… one of the more innovative bandleaders New Orleans has produced in the past 20 years." ~ Chicago Tribune. 

--------------------------------------------------

Nagel Heyer Records, CD 9010, 2009
Recorded 2001 - 2008 in New York City and New Orleans 

Musicians:
Donald Harrison - Alto Saxophone
Christian Scott - Trumpet (#1,2,5,6,7)
Mulgrew Miller - Piano (#5,6,7)
Eric Reed - Piano (#1,2)
Victor Gould - Piano (#8,9)
Jesse McBride - Piano (#10)
Ron Carter - Bass (#3,4)
Vicente Archer - Bass (#1,2)
Luques Curtis - Bass (#5,6,7)
Max Moran - Bass (#8,9,10)
John Lamkin - Drums (#1,2,5,6,7)
Billy Cobham - Drums (#3,4)
Joseph Dyson - Drums (#8,9,10) 

Tracks:
01. Strange Day {Eric Reed} (7:46)
02. Swept From The Sea {John Lamkin} (5:31)
03. My Funny Valentine {Richard Rodgers, Lorenz Hart} (8:12)
04. Candlelight {Ron Carter} (6:33)
05. Summertime {George Gershwin} (9:28)
06. Cool Breeze {Donald Harrison} (5:20)
07. Sincerely Yours {Donald Harrison} (9:26)
08. They Can't Take That Away From Me {George & Ira Gershwin} (5:46)
09. If I Were A Bell {Frank Loesser} (6:32)
10. To Nola With Love {Donald Harrison} (9:49) 

Total Time: 74:23 

Notes:
#1,2 - Real Life Stories (2002) Nagel Heyer [2022]
#3,4 - Heroes (2004) Nagel Heyer [2041]
#5,6,7 - Survivor (2006) Nagel Heyer [2068]
#8,9,10 - The Chosen (2008) Nagel Heyer [2084]

Donald Harrison, Ron Carter, Billy Cobham - Heroes (2004)

Donald Harrison, who gained his initial recognition in the 1980s when he was with Art Blakey's Jazz Messengers and co-led a band with Terence Blanchard, has continued growing and evolving ever since that time. Though underrated, he is currently at the peak of his powers. Harrison worked with bassist Ron Carter, drummer Billy Cobham, and pianist James Williams in a 2002 quartet called the Art of Four. He reunites with Carter and Cobham for five selections on Heroes and also engages in three duets with the bassist. Whether it is a minor blues ("One of a Kind"), the "I Got Rhythm" chords of "Double Trouble," "Solar," or the melancholy "Candlelight," Harrison shows that he is a superior post-bop improviser with a sound of his own. The final three selections, listed as "bonus tracks," have Harrison performing a funk piece, a calypso, and a mistitled Thelonious Monk tune ("Well, You Needn't" is listed as "Straight, No Chaser") in spirited fashion with bassist Vicente Archer and drummer John Lamkin. This CD is one of Donald Harrison's most rewarding showcases to date and is highly recommended. ~ by Scott Yanow, AMG. 

Nagel Heyer Records, nagel heyer 2041, 2004
Recorded 1st & 2nd December, 2002 at Avatar Studios, New York 

Musicians:
Donald Harrison - Alto Saxophone
Ron Carter - Bass
Billy Cobham - Drums
Vicente Archer - Bass (#9-11)
John Lamkin - Drums (#9-11) 

Tracks:
01. Heroes {Donald Harrison} (6:14)
02. Blues For The New Millennium {Donald Harrison} (4:12)
03. My Funny Valentine {Richard Rodgers, Lorenz Hart} (8:12)
04. One Of A Kind {Donald Harrison} (5:53)
05. Double Trouble {Donald Harrison, Ron Carter} (8:01)
06. Receipt Please {Ron Carter} (5:59)
07. Candlelight {Ron Carter} (6:33)
08. Solar {Miles Davis} (3:57)
09. Free Style {Donald Harrison} (4:43) *
10. Iko Iko {James Crawford} (3:11) *
11. Well, You Needn't {Thelonious Monk} (8:06) * 

Total Time: 65:06 

 * Bonus Tracks 

Credits:
Producer, Photos - Frank Nagel-Heyer
Recording Engineer - Jim Anderson
Assistant Engineer - Aya Takemura
Mastering, Mixing - Florian Sommer
Cover - Woellergestaltung, Hamburg
Liner Notes - Ted Panken 

Heroes

Gato Barbieri - Yesterdays (1974) [re-rip]

Fantastic slice of latin jazz. The album smokes from start to finish, with Gato in his prime as a sax player. Also featuring the great bass of Ron Carter and the fine drumming of Pretty Purdy. Check out "A John Coltrane Blues" and "Marnie". ~ jimslim11

Gato Barbieri wails his jazz-sax to some great latin rhythms. The title track is complex, driving, and joyous. Driving percussion, thumping bass. Brilliant playing. When they dive into Coltrane's "Village Blues" - (here called "A John Coltrane Blues), ya better strap on your seat belts. ~ phnuggle

Flying Dutchman, BDL 1-0550, 1974

Recorded in New York; 1974

Musicians:

Gato Barbieri - Tenor Saxophone

George Dalto - Piano

Ron Carter - Bass

Paul Metzke - Electric Guitar

Bernard "Pretty" Purdie - Drums

Babafemi - Congas

Raymond Mantilla - Timbales

Tracks:

A1. Yesterdays {Jerome Kern, Otto Harbach} (10:44)

A2. A John Coltrane Blues {John Coltrane} (8:19)

B1. Marnie {Bernard Herrmann, Peter Jason, Gloria Shayne} (7:08)

B2. Cariñoso {Pixinguinha} (10:53)

Total Time: 37:04

Credits:

Producer - Bob Thiele

Recording Engineer - Bob Simpson

Hank Mobley - Far Away Lands (1967)

Of all the Blue Note artists of the 1960s, tenor saxophonist Hank Mobley may very well be the most underrated. A consistent player whose style evolved throughout the decade, Mobley wrote a series of inventive and challenging compositions that inspired the all-stars he used on his recordings while remaining in the genre of hard bop. For this lesser-known outing, Mobley teams up with trumpeter Donald Byrd, pianist Cedar Walton, bassist Ron Carter, and drummer Billy Higgins for four of his songs (given such colorful titles as "A Dab of This and That," "No Argument," "The Hippity Hop," and "Bossa for Baby"), along with a song apiece from Byrd and Jimmy Heath. An excellent outing, fairly late in the productive career of Hank Mobley. ~ by Scott Yanow, AMG. 

Blue Note, BST 84425, 1985
Blue Note, CDP 7 84425 2, 1988
Recorded 26th May, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Hank Mobley - Tenor Saxophone
Donald Byrd - Trumpet
Cedar Walton - Piano
Ron Carter - Bass
Billy Higgins - Drums 

Tracks:
1. A Dab Of This And That {Hank Mobley} (5:11)
2. Far Away Lands {Jimmy Heath} (5:32)
3. No Argument {Hank Mobley} (6:31)
4. The Hippity Hop {Hank Mobley} (5:39)
5. Bossa For Baby {Hank Mobley} (6:06)
6. Soul Time {Donald Byrd} (6:48) 

Total Time: 35:47 

Credits:
Producer - Alfred Lion
Recording Engineer - Rudy van Gelder
Reissue Producer, Liner Notes - Michael Cuscuna
Digital Transfer - Ron McMaster
Design - Richard Mantel

Dom Um Romão - Hotmosphere (1976)

More pop than hot, this mixed bag from Brazilian drummer and percussionist Dom Um Romão ranges from singalong Carnival tunes to more substantial tracks featuring superior arranging and solo work. A veteran of the Latin, pop, and jazz scenes, Romao's extensive CV includes work with Sergio Mendes & Brasil '66 and an early edition of Weather Report. Hotmosphere is in the Latin pop vein of the Mendes group, rather than a missing chapter from the days of Weather Report's I Sing the Body Electric. While Romao is the titular leader, his role on this 1976 release is more of an ensemble member than featured artist. It's Célia Vaz's arrangements for a crack lineup of session players that are the main interest. The high points are the four or five arrangements that gracefully interweave the horns with the sensuously pulsing voices of Sivuca, Julie Janeiro, and Gloria Oliveira. The charts also work in some intriguing Oregon-like passages for cello and soprano sax, and set up strong solos from Mauricio Smith on soprano sax and flute, Dom Salvador on piano, and from trumpeter Claudio Roditi, who brings some hard bop fire to the date. Sivuca's several solos where he vocalizes in unison with his uncredited accordion will be, at best, an acquired taste for listeners. Many, though, will find his piercing nasal tone annoying. ~ by Jim Todd, AMG.

Pablo Records, 2310-777, 1976
Original Jazz Classics, OJCCD-977-2, 1998
Recorded 12^th, 13^th January and 17^th & 23^rd February, 1976 At RCA Recording Studios, New York City 

Musicians:
Dom Um Romão - Drums
Alan Rubin, Claudio Roditi - Trumpet, Flugelhorn
Jack Jeffries, Tom Malone - Trombone
Ronnie Cuber, Sonny Fortune - Saxophone
Mauricio Smith - Soprano Saxophone
Lou Del Gatto, Mauricio Smith - Clarinet, Flute
Dom Salvador - Piano
Ricardo Peixoto, Sivuca - Acoustic Guitar
Ron Carter - Acoustic Bass
Juan "Tito" Russo - Electric Bass
Pat Dixon, Ulysses Kirksey - Cello
Steve Kroon - Percussion, Congas
Glória Oliveira, Julie Janiero, Sivuca - Backing Vocals
Célia Vaz - Conductor, Arranger 

Tracks:
A1. Escravos De Jo {Milton Nascimento} (4:06)
A2. Mistura Fina {Luiz Bandeira} (3:10)
A3. Caravan {Duke Ellington, Irving Mills, Juan Tizol} (5:14)
A4. Spring {Ricardo Peixoto} (3:33)
A5. Pra Que Chorar {Baden Powell} (4:44)
B1. Amor Em Jacuma {Dom Um Romão, Luiz Ramalho} (5:28)
B2. Cisco Two {Célia Vaz} (4:10)
B3. Tumbalelê {Francisco Neto, Jarbas Reis, Milton Neves} (3:21)
B4. Piparapara {Claudio Roditi} (3:53)
B5. Chovendo Na Roseira {Antônio Carlos Jobim} (3:16) 

Total Time: 40:55

Credits:
Producer - Dom Um Romão
Engineer - Bob Simpson
Remastering - Kirk Felton
Cover, Design, Layout - Norman Granz
Photography - Monica Botkay
Liner Notes - Christine Jacobsen

Geri Allen - Timeless Portraits And Dreams (2006)

Geri Allen's musical interests prove to be quite diverse in Timeless Portraits and Dreams, delving into jazz, spirituals, sacred works and originals, accompanied by two of the most in-demand veterans, bassist Ron Carter and drummer Jimmy Cobb, throughout most of the release. Allen's stunning solo opener "Oh Freedom" segues directly into another fine work, "Melchezedek," which showcases both Allen and Carter in the solo spotlight, with wordless vocals by the Atlanta Jazz Chorus adding background color. Singer Carmen Lundy and the chorus are on hand for the spirit-filled "Well Done" and Allen's gorgeous ballad "Timeless Portraits and Dreams." Other vocal tracks include two features for tenor George Shirley, including "I Have a Dream" (from Mary Lou's Mass composed by Mary Lou Williams after the assassination of Dr. Martin Luther King, Jr.) and a vigorous treatment of the piece considered as the Black National Anthem, "Lift Every Voice and Sing." Trumpeter Wallace Roney (Allen's husband) smolders in Allen's tasty post-bop vehicle "In Real Time" and makes a belated entrance in the tense, strident tribute "Our Lady (For Billie Holiday)." Allen throws the listener a curve with her well-disguised introduction to the trio arrangement of Charlie Parker's "Ah-Leu-Cha" and uncovers a neglected gem in Lil Hardin Armstrong's ballad "Just for a Thrill." While some jazz fans may prefer to hear Geri Allen in a strictly instrumental setting, they will miss out if they fail to investigate these stimulating sessions. Highly recommended. ~ by Ken Dryden, AMG.

Telarc Jazz, CD-83645, 2006
Recorded 16^th-17^th March, 2006 At Avatar Studio A, New York City 

Personnel:
Geri Allen - Piano, Solo Piano (#2,5), Vocals
Wallace Roney - Trumpet (#8,12)
Donald Walden - Tenor Saxophone (#6)
Ron Carter - Upright Bass (#2-4,6-12,14)
Jimmy Cobb - Drums (#2-4,6-12,14)
George Shirley - Vocals [Tenor] (#6)
Carmen Lundy - Vocals, Arranger (#4,13)
Atlantic Jazz Chorus (#2,4,5,13)
Dwight Andrews - Chorus Director 

Tracks:
01. Oh Freedom {Traditional} (1:52)
02. Melchezedik {Antoine Roney, Arr. Geri Allen} (7:07)
03. Portraits And Dreams {Geri Allen} (2:27)
04. Well Done {Kenny Lattimore, Pat McClain, Arr. Geri Allen} (5:22)
05. La Strada {Nino Rota, Arr. Geri Allen} (4:21)
06. I Have A Dream {Mary Lou Williams, Arr. Carmen Lundy} (2:24)
07. Nearly {Ron Carter} (4:28)
08. In Real Time {Geri Allen, Wallace Roney} (5:40)
09. Embraceable You {George Gershwin} (2:48)
10. Ah-Leu-Cha {Charlie Parker, Arr. Geri Allen} (4:52)
11. Just For A Thrill {Lil Hardin Armstrong, Arr. Geri Allen} (4:21)
12. Our Lady [For Billie Holiday] {Geri Allen} (5:59)
13. Timeless Portraits And Dreams {Geri Allen} (5:05)
14. Portraits And Dreams [Reprise] {Geri Allen} (1:39) 

Total Time: 58:25

Credits:
Producer, Liner Notes - Geri Allen
Producer - Elaine Martone
Executive Producer - Robert Woods
Engineer, Mastering - Robert Friedrich
Assistant Engineer - Peter Doris
Production Coordination - Ora Ross Harris 

Note:
Lift Every Voice And Sing {James Weldon Johnson, John Rosamond Johnson} (3:52)
on Bonus CD as single track

Houston Person - Sweet Buns & Barbeque (1972) [re-rip]

One of those Prestige records sessions from the early 70's that has more of an electric keyboard groove than a hard organ one, but still a nice set of sweetly funky tracks from Houston Person and his funky tenor. There's a nice cover of "Down Here On The Ground", plus the cuts "Put It Where You Want It", "Groove Thang", and "Sweet Buns & Barbeque", which has some nice hard drums on the intro. Plus, the whole thing's got a cover that features Sweet Buns dripping with barbeque sauce – proof again that shooting soul food in a record album photo just never works! © Dusty Groove, Inc.

Prestige Records, PRT-10055, 1973

Recorded 11^th September and 7^th November, 1972
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Ernie Royal - Trumpet (#B2-B4)

Victor Paz - Trumpet (#B2-B4)

Frank Wess - Flute, Baritone Saxophone (#B2-B4)

Richard Tee - Organ, Electric Piano, Piano (#A1-A3)

Jimmy Watson - Organ (#B1)

Joe Beck - Electric Guitar, Acoustic Guitar (#A1,A2,A4-B3)

Hugh McCracklin - Acoustic Guitar (#A3)

Ron Carter - Bass (#A1-A3), Guitar (#A3)

George Duvivier - Bass, Electric Bass (#A4-B4)

Grady Tate - Drums

Buddy Caldwell - Congas, Percussion (#A4,B1,B3,B4)

Tracks:

A1. A Song For You {Leon Russell} (4:26)

A2. The Trouble With Hello Is Goodbye {Bergmanns, The, Dave Grusin} (4:00)

A3. Scared To Be Alone {Dory Previn} (4:08)

A4. Sweet Buns And Barbeque {Houston Person, Billy Ver Planck} (3:03)

B1. This Masquerade {Leon Russell} (6:07)

B2. Down Here On The Ground {Gale Garnett, Lalo Schifrin} (3:38)

B3. Put It Where You Want It {Joe Sample} (3:05)

B4. Groove Thang {Johnny Bristol} (3:01)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Arranger - Joe Beck (#A1-A3), Billy Ver Planck (#A4-B4)

Art Direction, Photography [Cover] - Tony Lane

Photography [Back Cover] - Lee Friedlander

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

Kevin Hays - Andalucia (1997)

Kevin Hays was already comfortable in the big leagues by the time he recorded Andalucia, his third album for Blue Note. But the fact that this outing featured the young pianist in a trio setting with bassist Ron Carter and drummer Jack DeJohnette turned heads nonetheless. Hays more than holds his own in the company of these two giants, and he's not a chops player, so his strong showing is all the more impressive. His rhythmic and harmonic ingenuity generates well-paced excitement throughout the set. Half the tunes are non-originals, and they include the standard "That's All," Ernesto Lecuona's "Andalucia (The Breeze and I)," Dizzy Gillespie's "Con Alma," and Ron Carter's "Einbahnstrasse." There's also an inventive reworking of the Beatles' "And I Love Her." But the five originals do more to reveal the full depth of Hays' musicality. "Agua," a driving boogaloo tune, kicks off the record. The other four are clustered consecutively in the middle of the program: first the calmly flowing "Mind," then the swinging Chick Corea tribute "Chickory Stick," the amorphous Billy Hart tribute "Hart," and the vigorous abstraction "Break." No matter what he's playing, Hays' soulful, uncluttered, unassuming style sets him apart among talented young jazz pianists. ~ by David R. Adler, AMG.

Blue Note, CDP 7243 8 55817 2 4, 1997

Recorded 21^st-22^nd December, 1996 At Clinton Recording Studio, New York

Musicians:

Kevin Hays - Piano

Ron Carter - Bass

Jack DeJohnette - Drums

Tracks:

01. Aqua {Kevin Hays} (5:11)

02. Andalucia [The Breeze And I] {Ernesto Lecuona} (4:28)

03. And I Love Her {John Lennon, Paul McCartney} (6:20)

04. That's All {Alan Brandt, Bob Haymes} (8:48)

05. Mind {Kevin Hays} (4:59)

06. Chickery Stick {Kevin Hays} (5:52)

07. Hart {Kevin Hays} (3:25)

08. Break {Kevin Hays} (4:35)

09. Einbahnstrasse {Ron Carter} (6:22)

10. Con Alma {Dizzy Gillespie} (5:34)

Credits:

Producer, Liner Notes - Bob Belden

Engineer - James Farber

Mastering - Mark Wilder

Art Direction - Darey Cloutier

Design - Brigid Pearson

Photography - Chuck Stewart, Jules Allen

Total Time: 55:35

Nat Adderley - Calling Out Loud (1969) [re-rip]

A pretty great little album from Nat - recorded with arrangements by Bill Fischer, who gives the record a tightly compressed big band sound that's perfect for Nat's sharp funky horn! The album's not exactly "funk", but there's plenty of it in the mix - as lead horn grooves around nicely, while Joe Zawinul plays electric piano, and Leo Morris (aka Idris Muhammad) plays drums. Titles include "Biafra", "Haifa", "St M", "Grey Moss", and "Calling Out Loud". © Dusty Groove, Inc.

For this album Adderley composes the majority of the tunes and sets about laying down some impeccably beautiful solos on his chosen instrument the cornet. In addition, he surrounds himself with some of the usual session men of the time such as Ron Carter, Leo Morris, Joe Zawinul, Jerome Richardson and Hubert Laws. The interplay of the Idris & Ron and Nat & Joe pairings takes this album to some special places as it hits some real highs, with Nat's cornet leading the way. Zawinul sets up some nice solos on both Biafra and the following tune Haifa. Carter gets into stride with a loud bass line in parts of Grey Moss. The highlight is the swinging Soul-Jazz of Comin' Out The Shadows with some good soloing. The title track is a touch slower but showcases Zawinul’s biting tones on his electric piano. Of merit are the compositions written and arranged by Bill Fischer; St. M, Nobody Knows and shared with Nat Calling Out Loud. Nat’s playing on Nobody Knows is just perfect. Of equal value are Joe Zawinul’s two tunes; Grey Moss & Ivan's Holiday.

The real issue in preparing this rip is that it is assembled as a suite with a series of transitional mini-movements joining the tunes together. With my first post I carefully spliced the two sides into individual tracks that I believe worked. However, when revisiting this gem I decided to leave well alone and upload just as Side A and Side B, Enjoy!

A&M/CTI Records (Japan), C25Y3819, 1986

Recorded 19th, 21st November & 4th December, 1968

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Nat Adderley - Cornet

Joe Zawinul - Electric Piano

Hubert Laws - Flute, Piccolo Flute

Jerome Richardson - Saxophone

Seldon Powell - Saxophone

George Marge - Clarinet, English Horn, Saxophone (#A1)

Paul Ingraham - French Horn

Donald MacCourt - Bassoon

Romeo Penque - Bass Clarinet

Danny Bank - Saxophone (#A1)

Jerry Dodgion - Saxophone (#A1)

Richard Henderson - Saxophone (#A1)

Ron Carter - Bass

Leo Morris - Drums

Tracklist:

Side A: [18:46]

1. Biafra {Nat Adderley} (6:34)

2. Haifa {Nat Adderley} (4:59)

3. St. M {W. S. Fischer} (3:54)

4. Grey Moss {Joe Zawinul} (3:27)

Side B: [17:32]

1. Nobody Knows {W. S. Fischer} (6:11)

2. Comin' Out The Shadows {Nat Adderley} (4:58)

3. Ivan's Holiday {Joe Zawinul} (3:11)

4. Calling Out Loud {Nat Adderley, W. S. Fischer} (3:17)

Credits:

Producer - Creed Taylor

Engineer - Rudy van Gelder

Arranger & Conductor - Bill Fischer

Cover Photo - Pete Turner

Cover Design - Sam Antupit

Note:

Original rip is still active, check link in comments.

Kenny Barron - 1+1+1 (1984) [vinyl]

Having both cut his teeth and come into his own with Dizzy Gillespie, Freddie Hubbard, and Yusef Lateef, among others, pianist Kenny Barron began to carve out what has proven to be a lengthy and fruitful solo career by 1973. This fine duo outing, which has Ron Carter and Michael Moore trading off on bass, certainly shows Barron was in full control of his vigorous and tuneful style by the mid-'80s. Cut for the independent Black Hawk label before Barron would eventually find more exposure via such high-profile companies as Enja and Verve, 1 + 1 + 1 features a tasty program of numbers by Monk, Ellington, Coltrane, Dave Brubeck, and others. Of particular note are Barron and Carter's treatments of the Gershwin opener, "The Man I Love," and Brubeck's "In Your Own Sweet Way." Carter also contributes the lone original here, "United Blues," which features Moore handling the bass duties. Topped off with a fine solo exploration of "Round Midnight" (Barron has to be one of the best modern interpreters of Monk's work), 1 + 1 + 1 is certainly a must for fans of contemporary hard bop. ~ by Stephen Cook, AMG.

BlackHawk Records, BKH 50601, 1984

Recorded 23^rd & 24^th April, 1984 in Englewood Cliffs, New Jersey

Personnel:

Kenny Barron - Piano (All), Solo (#B3)

Ron Carter - Bass (#A2,A3,B2,B4)

Michael Moore - Bass (#A1,A4,B1)

Tracks:

A1. The Man I Love {George Gershwin, Ira Gershwin} (5:13)

A2. United Blues {Ron Carter} (3:37)

A3. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (5:13)

A4. C Jam Blues {Barney Bigard, Duke Ellington} (4:22)

B1. In Your Own Sweet Way {Dave Brubeck} (6:02)

B2. Giant Steps {John Coltrane} (3:06)

B3. 'Round Midnight {Bernie Hanighen, Thelonious Monk, Cootie Williams} (6:29)

B4. Beautiful Love {Victor Young} (4:00)

Credits:

Executive Producer - Don H. Nelson, Karen J. Nelson

Producer, Art Direction - Joanne Klein

Recording Engineer - Rudy van Gelder

Design - Neon De Fall Graphics

Photography [Front] - J.R. Jones

Photography [Back] - Scott Sternbach

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

Buddy Terry - Electric Soul! (1967) [re-rip]

Cool lost album by tenorist Buddy Terry, who plays Varitone on a number of tracks (hence the title of the LP). Jimmy Owens is on trumpet, Harold Mabern's on electric piano, and the set has a nice electric groove that's unusual for Prestige sessions at the time – and which points the way ahead to later jazz work on Kudu and CTI. Tracks include "The Band Bandit", "The Ubangi That Got Away", "Jimmy", and "Electric Soul". © Dusty Groove, Inc.

This is the finest first outing I have heard in many years. Buddy Terry's talent and determination, his superior and well cultivated musicianship are sure to win him many admirers. I can only hope that the reader of these notes is fortunate to have this album on his turn-table at this moment, It's a winner. ~ excerpt from Liner Notes by Michael Gold.

Prestige Records, PRST 7525, 1967

Recorded 23^rd February, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Buddy Terry - Varitone (#A1-A4,B2), Tenor Saxophone (#B1,B3)

Jimmy Owens - Trumpet, Flugelhorn

Harold Mabern Jr. - Electric Piano

Ron Carter - Bass

Freddie Waits - Drums

Tracks:

A1. Electric Soul {Buddy Terry} (6:35)

A2. Alfie {Burt Bacharach, Hal David} (4:44)

A3. Hey, Nellie {Buddy Terry} (4:42)

A4. Everything Is Everything {Whitaker} (4:38)

B1. The Ubangi That Got Away {Buddy Terry} (7:15)

B2. Jimmy {Jay Thompson} (5:14)

B3. The Band Bandit {Buddy Terry} (6:37)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Cover Design/Photo - Don Schlitten

Liner Notes - Michael Gold (April, 67)

RON CARTER - PARADE - 1979 - VINYL - FLAC

1979
Milestone 9088
My Vinyl Rip
DR Value 14
Front & Back Covers
FLAC (8) 357mb

Bassist Carter heads a sterling mid-sized band with three trumpeters and saxophonists and two trombones. He handles the job of being both the primary and secondary rhythm support, while guests Joe Henderson, Jon Faddis, and Frank Wess, among others, provide some standout solos. The ensemble interaction clicks as well....AllMusic Review by Ron Wynn

The Tracks:
A1 Parade / A2 A Theme In 3 Quarter / A3 Sometimes I Feel Like A Motherless Child
B1 Tinderbox / B2 Gypsy / B3 G.J.T.

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