Willis Jackson - Headed And Gutted (1974) [vinyl]

Willis "Gator" Jackson's series of albums for Muse during the 1970s helped keep alive the soulful, tough tenor tradition of Illinois Jacquet, Gene Ammons, and (later on) Houston Person. For this particular set, the participation of guitarist Pat Martino made the date more notable than it might have been. With Mickey Tucker on keyboards, electric bassist Bob Cranshaw, drummer Freddie Waits, and Richard Landrum and Sonny Morgan on percussion, Jackson still sounds very much in his prime, particularly on the exciting "Gator Whale." The other selections tend to emphasize ballads "My One and Only Love" and funky jazz "The Way We Were". ~ Scott Yanow, AMG.

Headed And Gutted is basically a one-tracker. That comes in the form of the title track that is a real nice, mid-tempo funky Jazz piece. It has a driving rhythm and Jackson’s soloing over the top. The rest of the album is more straight-ahead Jazz splitting between the slow and mellow Blue Velvet and The Way We Were, and the more upbeat Miss Ann and Gator Whale. ~ Soulstrut.com.

Muse Records, MR 5048, 1974

Recorded 16^th May, 1974

Musicians:

Willis Jackson - Tenor Saxophone

Mickey Tucker - Piano, Electric Piano, Organ

Pat Martino - Guitar

Bob Cranshaw - Bass

Freddie Waits - Drums

Sonny Morgan - Percussion

Richard Landrum - Congas

Tracks:

A1. Headed And Gutted {Sonny Phillips} (5:21)

A2. Blue Velvet {Bernie Wayne, Lee Morris} (8:16)

A3. Miss Ann [Willis' Wife] {Willis Jackson} (6:28)

B1. The Way We Were {Marvin Hamlisch} (6:49)

B2. Gator Whale {Sonny Phillips} (6:06)

B3. My One And Only Love {Guy Wood, Robert Mellin} (5:44)

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Paul Goodman [RCA]

Liner Notes - Ralph Berton

Kenny Barron - Peruvian Blue (1974) [re-rip]

One of Kenny's best albums from the 70s - a moody set of piano tracks - both electric and acoustic - that features backing by Ted Dunbar, David Williams, Sonny Morgan, and Albert Heath. Most of the tracks have a very nice warm 70's soul jazz sound - laidback, but exploratory and always opening up on new levels - and the mixture of piano and guitar that graces most of the album makes for an unusual departure from some of Kenny's other albums. Titles include "Peruvian Blue", "The Procession", "Two Areas", and "In The Meantime". ~ Dusty Groove, Inc.

Barron has continued to compose, and his works have found their way into repertoires of many leading musicians including Lateef and James Moody. Similarly, his playing has taken on degrees and shades of sophistication and complexity that have made him one of the most impressive of all the younger pianists. He has technical brilliance, a sense of adventure that leads him to explore the freedom of the New Thing, and a balancing sense of tradition that informs everything he plays with the essence of jazz. Peruvian Blue is an album full of that essence. And in Blue Monk it offers a minor masterpiece. ~ Extract from Liner Notes by Doug Ramsey.

Muse Records, MR 5044, 1974

Recorded 14^th March, 1974 at RCA Studios, New York City

Musicians:

Kenny Barron - Piano (#A2-A3,B2), Electric Piano (#A1,B1,B3), Clavinet (#B3)

Ted Dunbar - Guitar (#A1-B1,B3)

David Willians - Bass (#A1,A3,B1), Fender Bass (#B3)

Albert "Tootie" Heath - Drums (#A1,A3,B1,B3), Flute (#A1)

Richard 'Pablo' Landrum - Conga (A1,B1,B3), Percussion (A1,B1,B3)

Sonny Morgan - Percussion (A1,B1,B3)

Track Listing:

A1. Peruvian Blue {Kenny Barron} (9:47)

A2. Blue Monk {Thelonious Monk} (8:38)

A3. The Procession {Kenny Barron} (4:49)

B1. Two Areas {Ted Dunbar} (9:43)

B2. Here's That Rainy Day {Jimmy Van Heusen, Johnny Burke} (8:04)

B3. In The Meantime {Kenny Barron} (5:46)

Credits:

Producer - Don Schlitten

Recording - Paul Goodman [RCA]

Liner Notes - Doug Ramsey