Ted Curson - Ted Curson & Co. (1976) [vinyl]

The distinctive trumpeter Ted Curson is well showcased on this LP, a workout with a particularly strong quartet comprised of pianist Jim McNeely, bassist Cecil McBee and drummer Steve McCall. Curson stretches out on four of his originals (including the 12½-minute "Blue Piccolo") and "All the Things You Are." As usual his solos are both adventurous and (due to his appealing tone and roots in earlier styles of jazz) fairly accessible. Worth searching for. ~ by Scott Yanow, AMG. 

India Navigation, IN 1054, 1982
Recorded 1st July, 1976 at Vanguard Studios, New York City 

Musicians:
Ted Curson - Trumpet, Flugelhorn, Pocket Trumpet
Jim McNeely - Piano
Cecil McBee - Bass
Steve McCall - Drums 

Tracks:
A1. Song Of The Lonely {Ted Curson} (8:01)
A2. Blue Piccolo {Ted Curson} (12:21)
B1. Open The Door [Dwackdi Mun Fudalick] {Ted Curson} (5:28)
B2. Playhouse March {Ted Curson} (7:06)
B3. All The Things You Are {Jerome Kern, Oscar Hammerstein II} (9:32) 

Total Time: 42:28 

Producer Bob Cummins under license from Trio Records.
This recording was previously released as "Blue Piccolo" on Why Not Records (Japan).

Marion Brown - Geechee Recollections (1973)

Geechee Recollections was the first in a trilogy of recordings by saxophonist Marion Brown that both honored the work of poet Jean Toomer and revisited his upbringing in Georgia. Together, they form arguably the most beautiful and satisfying output of Brown's lengthy career. The music, while remaining experimental, is grounded in Southern folk themes and blues, epitomized on tracks like the funky "Buttermilk Bottom" here. A Toomer poem, Karintha is given a striking reading by Bill Hasson and, throughout the recording, Brown receives excellent support by a strong ensemble including trumpeter Leo Smith and the great drummer Steve McCall. Brown, with his marvelously limpid tone on alto, is a joy to hear and seems more at home and relaxed here than on some of his more strident early records. Recommended. ~ Brian Olewnick, AMG.

Impulse! Records, AS-9252, 1973

ABC/Impulse! Records, MVCZ-120, 1997

Recorded 4^th & 5^th June, 1973 At Intermedia Sound, Boston, Massachusetts

Musicians:

Marion Brown - Alto & Soprano Saxophones, Clarinet, Percussion

Leo Smith - Brasses, Strings, Percussion

Bill Hassan - Narration (#2), Percussion

James Jefferson - Bass, Cello (#2), Percussion

Steve McCall - Drums, Miscellaneous Percussion

A. Kobena Adzenyah - Drums [Southeastern Ghana]: Soge, Kidi, Kaganu, Axatse,

Gankogui, Toke; Drums [Akan people, Ghana]: Apentemba,

Apenten, Dawure, Nnawunta, Donne, Gyilla, Balaphone [Lobi people, Northern Ghana]

William Malone - Thumb Piano, Autoharp, Axatse

Jumma Santos - Conga Drums, Miscellaneous Instruments

Tracks:

1. Once Upon A Time {Marion Brown} (6:27)

2. Karintha {Marion Brown, Jean Toomer} (9:25)

3. Buttermilk Bottom {Marion Brown} (6:42)

4. Introduction {Marion Brown} (1:18)

5. Tokalokaloka, Part One {Marion Brown} (6:59)

6. Tokalokaloka, Part Two {Marion Brown} (8:39)

7. Tokalokaloka, Part Three {Marion Brown} (1:45)

8. Ending {Leo Smith} (1:20)

Credits:

Producer - Ed Michel

Recording Engineer - Berred Ouelette

Assistant Engineer - Dominic Lumetta, Gilmar Fortis, Kathryn King, Nat Seligman

Mixing Engineer - Rick Heenan (The Village Recorder)

Photography - Donald M. Shaw

Liner Notes - J.B. Figi

Liner Notes [Poem] - Eric D. Jackson

Total Time: 40:35

Marion Brown - Sweet Earth Flying (1974)

The second installment of his "Georgia" trilogy, Sweet Earth Flying is arguably Marion Brown's finest work and certainly one of the underappreciated treasures of '70s jazz. Again, the words and ideas of poet Jean Toomer underlie Brown's conception (hence the album's title), though this time (unlike the appearance of Karintha on Geechee Recollections) none of Toomer's actually poetry is utilized. Instead, he calls into service the remarkable keyboard paring of Muhal Richard Abrams and Paul Bley, an inspiration that pays off in spades. The two pianists alternate acoustic and electric keyboards, bringing a slight tinge of the propulsiveness of Miles Davis' late-'60s bands, but with a grace, soul, and sense of freedom rarely achieved by Corea and Jarrett. In fact, Abrams' feature on Part Five of the title suite is one of the single most beautiful and cogent statements he ever created. Brown's sound on both soprano and alto has a unique quality; he tends to sound tentative and innocently hesitant when first entering, only to gather strength as he goes, reaching utter conviction along the way. Special mention must be made of vocalist Bill Hasson. He's featured on only one piece, but his deep-voiced recitation in a language of his own construction (drawing from West Africa, Brazil, the Caribbean, and North American down-home English) is a very special treat indeed. Very highly recommended to open-eared jazz fans of all tastes. ~ Brian Olewnick, AMG.

Impulse! Records, AS-9275, 1974

Recorded 6th & 7th May, 1974 At Intermedia Recording, Boston, Massachusetts

Personnel:

Side One:

Marion Brown - Alto Saxophone

Paul Bley - Fender Rhodes (#1,2)

Muhal Richard Abrams - Fender Rhodes (#3), Piano (#4), Organ (#2)

James Jefferson - Bass, Electric Bass [Fender]

Steve McCall - Drums, Percussion

Bill Hasson - Percussion, Narration

Recorded 7th May, 1974 At Intermedia Recording, Boston, Massachusetts

1. Sweet Earth Flying, Pt. 1 (3:40)

2. Sweet Earth Flying, Pt. 3 (5:58)

3. Sweet Earth Flying, Pt. 4: Prince Willie (5:57)

4. Sweet Earth Flying, Pt. 5 (4:58)

Note:

Sweet Earth Flying, Part 2 - Unissued

Side Two:

Marion Brown - Soprano Saxophone

Paul Bley - Piano (#5,7,8), Fender Rhodes (#6,7), Organ (#5)

Muhal Richard Abrahms - Fender Rhodes (#5,8), Organ (#6,7)

James Jefferson - Bass, Electric Bass

Steve McCall - Drums

Bill Hasson - Percussion

Recorded 6th May, 1974 At Intermedia Recording, Boston, Massachusetts

5. Eleven Light City, Pt. 1 (7:17)

6. Eleven Light City, Pt. 2 (2:10)

7. Eleven Light City, Pt. 3 (5:52)

8. Eleven Light City, Pt. 4 (3:02)

Credits:

Producer - Ed Michel

Recording Engineer - Beered Ouellette

Mixing Engineer - Baker Bigsby, Gil Fortis (The Village Recorder)

Album Design - Tim Bryant

Photography [Cover] - Michael W. Anderson

Photography [Liner] - Gail Brown

Liner Notes - Acklyn R. Lynch

Total Time: 38:58

Marion Brown - Le Temps Fou (1968) [vinyl>flac]

Marion Brown not long after launching his first albums on ESP and Impulse; journeyed to Europe and became associated with Günter Hampel's Free Jazz Ensemble. Here, he was approached to write the music for the French film "Un Été Sauvage" by Marcel Camus. It was a unique project where he utilised the majority of the players heard on "Gesprächsfetzen", namely Gunter Hampel, Ambrose Jackson and Steve McCall plus the emerging jazz bassist Barre Phillips (especially heard on his penned tune "Cascatelles") and Alain Corneau on Claves. Even though this album is essentially compiled of tracks written conceptually as a soundtrack it covers a amazing array of genres ranging from Modal Jazz, Folk Rock to fully blown Free Improvisation. A highlight is "Song For Serge And Helle", where Marion's alto duets with Barre's haunting bass drawn alongside Ambrose's trumpet and Günter's vibes. Equally "Boat Rock" is a lively tune with Steve McCall driving the beat. All players extend themselves further by contributing a vivid mixture of percussive sounds. Still to be released on CD this LP gives the listener a unique example of a rich period in Jazz's development by an artist sadly underrated in his lifetime. RIP Marion.

Polydor Records, 658.142, 1968

Recorded 20^th September, 1968 at Studio Davout, Paris, France

Musicians:

Marion Brown - Alto Saxophone, Bells

Günter Hampel - Vibes, Bass Clarinet, Tree Bells

Ambrose Jackson - Trumpet, Cow Bells, Tambour

Barre Phillips - Bass, Castanetes, Whistle

Steve McCall - Drums, Triangle, Tambour

Alain Corneau - Claves, Cow Bells (#B3)

Tracks:

A1. Le Temps Fou {Marion Brown} (5:22)

A2. Cascatelles {Barre Phillips} (5:22)

A3. Song For Serge And Helle {Marion Brown} (6:32)

B1. Boat Rock {Marion Brown} (4:55)

B2. Ye Ye {Marion Brown} (6:01)

B3. En Arrière {Marion Brown} (11:22)

Credits:

Producer - Jean Van Parys

Photos - W. R. Stephens

Ted Curson & Company - Jubilant Power (1976) [vinyl>flac]

This post is a tribute to Ted Curson who passed away early this month. RIP

Jubilant Power gives listeners an excellent sampling of the musical talents of Ted Curson. A versatile trumpeter who can play from straight ahead bop to free improvisations and anything in between, Ted Curson originally found some fame working with Charles Mingues in 1960. Jubilant Power, one of his finest recordings, was made 16 years later and has some of the type of inside/outside music that Curson made with Mingus. Curson is joined in a top-knotch sextet by baritonist Nick Brignola, altoist Chris Woods and either Andy LaVerne or Jim McNeely on piano and the result is adventurous hard-swinging music that clearly inspired all of the musicians. ~ Scott Yanow, AMG.

Slashing, dynamite exchanges, and an intense approach make this the Curson to grab. ~ Ron Wynn, AMG.

Inner City, IC 1017, 1976

Side A recorded 16th October, 1976 Live at Ethical Society in Rittenhouse Square, Philadelphia, Pennsylvania

Side B recorded 17th October, 1976 at Downtown Sound, New York City

Track Listing:

A1. Reava's Waltz {Ted Curson} (11:54)

A2. Ted's Tempo {Ted Curson} (8:54)

B1. Song Of The Lonely One [aka Ode To Booker Ervin] {Ted Curson} (7:33)

B2. Airi's Tune {Ted Curson} (6:15)

B3. Searching For The Blues {Ted Curson} (6:35)

B4. Marjo {Ted Curson} (5:41)

Personnel:

Ted Curson - Trumpet, Piccolo Trumpet, Flugelhorn, Cowbell

Chris Woods - Flute, Alto Saxophone

Nick Brignola - Saxcello, Baritone Saxophone

Andy LaVerne - Piano (Side A)

Jim McNeely - Piano (Side B)

David Friesen - Bass

Steve McCall - Drums (Side A)

Bob Merigliano - Drums (Side B)

Sam Jacobs - Conga

Ted Curson's Jubilant Power shows the modern jazz trumpeter in prime condition, very influenced by a stint with Charles Mingus, and exhorting his large ensemble to play music indicative of the title. This recording combines two live concert sessions from autumn of 1976 done on consecutive nights, the first in his native Philadelphia at Rittenhouse Square, and the second at Downtown Sound in New York City. Curson assembled a dynamic and exuberant band with the baritone saxophonist Nick Brignola and saxophonist/flutist Chris Woods, bassist David Friesen, conga player Sam Jacobs, an exchange of pianists and drummers for each night, and different compositions. Side A has two tunes from the Philly sessions with AACM drumkit juggernaut Steve McCall and pianist Andy LaVerne in tow, making for a presence that gives the band a forceful persona. The hot free bop "Reava's Waltz" showcases Curson's post Lee Morgan/Freddie Hubbard sound with an edge perfectly, especially during his solid solo as the horns chime in on occasion. "Ted's Tempo" is a modal to hard bop scorcher, fluent, risky, but built like a brick wall. The four tracks from Side B in N.Y.C. have Jim McNeely on the 88s and Bob Merigliano playing drums, offering a generally softer focus. The straight ballad "Marjo" borrows from "Sophisticated Lady," while the midtempo "Song of the Lonely" has Friesen's emotionally drenched bass saturating the quote-riddled trumpeter, who most specifically channels the changes of "What's New?." The upbeat numbers include a popping Latin chart "Airi's Tune" with a rich horn accord, while the definitive "Searchin' the Blues" is straight out of the Mingus bag with its delightfully entertaining, spontaneous, quirky speed-ups and settled slow-downs in the melody. Because Ted Curson produced far too few recordings, and because the band is excellent, this has to rank as one of his best efforts, his modern jazz still sounding vital and fresh. ~ Michael G. Nastos, Allmusic.com.