Albert Heath - Kwanza (The First), vinyl rip

Well folks...here we are again. Long time friends will recall that this was long one of my Holy Grail's from the Muse catalog. Once I had finally acquired what appeared to be a nice copy I was heartbroken to discover that side one was flawed with a fierce crackle or groove noise that I wasn't able to remove via software nor cleaning. Eventually I tried so many times to clean side 1 of this record that I likely caused new damage. My attempt to re-rip one last time yesterday was too just too flawed to work with, so I went back to my last, best rip and decided to see if the spectral denoising of Isotope RX4 Advanced could finally rid me of the flaw. It took some experimentation and a couple of junked tries, but I managed to sweep the vast majority of the noise away without messing with the music! The wonders of modern editing software!

So this is still the 16/48 rip from last year, but it is very clearly cleaner and a better listen. I recommend that you upgrade!

    Bass – Percy Heath
    Drums, Timpani [Tympani], Chimes – Albert Heath
    Electric Piano, Piano – Kenny Barron
    Flute, Soprano Saxophone, Tenor Saxophone – Jimmy Heath
    Guitar – Ted Dunbar
    Trombone – Curtis Fuller
 Recorded By – Paul Goodman
    Liner Notes – Gary Giddins
    Producer – Don Schlitten, Design, Photography By – Don Schlitten



Preceding the Strata East 1975 release "Marchin' On" by two years, this could be considered the first Heath Brothers release. A lovely set of spiritual modal jazz that has that 70's feel I can't resist. All the compositions are originals, written either collectively or individually by the brothers; each one a new gem. For me this one is a classic of the genre.

Richard Davis - Dealin' (1974) [vinyl>flac]

This album was released on Muse in 1974. The first side is made up of a couple of funky jazz groovers while the second side is on a more mellow tip. The session is led by bassist Richard Davis, who also wrote the tunes. Marvin Peterson is on trumpet, Clifford Jordan on saxophone, Paul Griffin plays Piano, Rhodes, Organ and Clavinet, David Spinozza plays guitar and Freddie Waits is on drums.

“After Scott LaFaro, Richard Davis is the most important of the young bassists who helped extend the role of their instrument during the early Sixties. He influenced every important bassist of his generation. Like many brilliant sidemen, Davis doesn’t score so well as a leader. There is a general lack of focus that few of his LP’s have overcome.” ~ Steve Futterman. ~ Listening to this album years later brings a different perspective and in a lot ways the reviewer’s comment may seem a bit over stated.

Muse Records, MR 5027, 1974

Recorded 14^th September, 1973

Musicians:

Richard Davis - Bass, Vocals (#A3)

Marvin Peterson - Trumpet, Tambourine, Cow Bell

Clifford Jordan - Tenor Saxophone, Soprano Saxophone, Cow Bell

Paul Griffin - Piano, Organ, Rhodes Piano, Clavinet

David Spinozza - Guitar

Freddie Waits - Drums

Tracks:

A1. What'd You Say (6:17)

A2. Dealin' (5:59)

A3. Julie's Rag Doll (5:33)

B1. Sweet'n (3:49)

B2. Sorta (3:10)

B3. Blues For Now (10:50)

All Compositions by Richard Davis

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Paul Goodman [RCA]

Liner Notes - Dan Morgenstern

Kenny Barron & Ted Dunbar - In Tandem (1975) [vinyl]

Just Marvelous

This duo concert by pianist Kenny Barron and guitarist Ted Dunbar is excerpted from a 1975 concert at Rutgers University, where both of them were teaching at the time. Barron and Dunbar (who made a number of recordings, but very few as a leader or co-leader) mesh very well together, though the liner notes don't make clear whether they had worked together previously. The duo tracks are long but never run out of gas. In the two musicians' exploration of "Summertime," Barron provides a modal-type backing line (sounding a bit like McCoy Tyner at times) as Dunbar's blistering solo takes the initial spotlight; the pianist seems strangely buried in the mix during his solo, even though it matches his partner's intensity.

They jointly composed "Aruba," a piece that successfully blends elements of the Caribbean with adventurous post-bop, during which they are unable to resist the temptation to quote fellow jazzman Sonny Rollins' calypso hit, "St. Thomas." There are also solo features for each man. Barron's interpretation of "Here's That Rainy Day" has Tatum-like rapid-fire flourishes, running through a variety of piano styles in an impressive performance. Dunbar's surprising choice of "On the Trail" as his solo feature finds him making great use of space during his tour de force rendition.

Out of print since the end of the LP era, this 1980 record deserves to be reissued and is very highly recommended. A difficult find today but well worth the time and effort to acquire. ~ by Edward Abbott, Amazon.com.

Muse Records, MR 5140, 1980

Recorded 15^th February, 1975 Live on Campus, Rutgers University, New Jersey

Musicians:

Kenny Barron - Piano, [Solo] (#A2)

Ted Dunbar - Guitar, [Solo] (#B2)

Tracks:

A1. Summertime {George Gershwin, DuBose Heyward} (14:30)

A2. Here's That Rainy Day {James Van Heusen, Johnny Burke} (9:50)

B1. Aruba {Kenny Barron, Ted Dunbar} (17:43)

B2. On The Trail {Ferde Grofé} (6:37)

Note:

All applause edited out.

Credits:

Recording Producer - Kenny Barron, Ted Dunbar

Album Producer - Michael Cuscuna

Mixing Engineer - Kurt Monkasel (Big Apple Studio, NYC)

Cover Design and Illustration - Ron Warwell

Liner Notes - Clifford Jay Safane

Richard Davis - Harvest (1977) [vinyl>flac]

A very nice record that bassist Davis did for Muse in the late 70s. As with previous recordings he works closely with fellow bass player Bill Lee. Lee plays on the record, co-produced and arranged the album and shares songwriting credit with Davis on a couple of the tracks. Davis is joined by Ted Dunbar on guitar, Consuela Moore on piano, Freddie Waits on drums, James Spaulding on flute and alto sax and Marvin 'Hannibal' Peterson on trumpet, among others. Tracks include the two Davis/Lee originals "Half Pass" and "A Third Away" plus in conjunction with the title, there are several songs with flowers in the titles such as "Windflower", "Forest Flower", and "Passion Flower". He also throws in some familiar tunes like "Take The “A” Train". ~ Dusty Groove, Inc.

Muse Records, MR 5115, 1979

Recorded on May 3^rd & 16^th, 1977 at CI Recording, New York City

Personnel:

Richard Davis - Bass

Marvin Hannibal Peterson - Trumpet (#B1,B3,B4)

James Spaulding - Flute (#B1), Alto Saxophone (#B1,B3,B4)

Consuela Moore - Piano (#A1-B2,B5)

Ted Dunbar - Guitar (#A1-A3,B1-B2)

Bill Lee - Bass (#A1-B2,B4)

Billy Hart - Drums (#B1,B3,B4)

Freddie Waits - Drums (#A1-A3,B2), Percussion (#B1)

Tracks:

A1. Forest Flower {Charles Lloyd} (4:55)

A2. This Masquerade {Leon Russell} (6:33)

A3. Half Pass {Bill Lee, Richard Davis} (4:12)

A4. Three Flowers {McCoy Tyner} (1:51)

B1. Windflower {Sara Casey} (7:13)

B2. Passion Flower {Billy Strayhorn} (4:15)

B3. A Third Away {Bill Lee, Richard Davis} (4:25)

B4. Take The 'A' Train {Billy Strayhorn, Milt Raskin} (3:08)

B5. Forest Flower [Reprise] {Charles Lloyd} (1:55)

Credits:

Producer - Frederick Seibert

Co-Producer, Arranger - Bill Lee

Engineer - Elvin Campbell

Cover Photo - Pat Davis

Cover Design - Ron Warwell

Liner Notes - Richard Davis

Bobby Pierce - The Muse Albums [24/48 vinyl rips]

repost by request:

While 'Piercing' follows 'New York' in the Muse discography, it was actually recorded two years earlier (1972) and originally issued on Cobblestone as 'Introducing Bobby Pierce'.

A very hip record from Bobby Pierce – a mixture of jazz and soul, with a laidback feeling that makes the set groove like a late night session at some little New Jersey lounge at the end of the soul jazz era. Players are all great – and include Frank Strozier, Billy Mitchell, Ted Dunbar, and Freddie Waits – but the real star of the set is Pierce, who plays organ, electric piano, and celeste – and also vocalizes on about half the album's tracks, singing in a roughly jazz style that really fits the mood of the set. Titles include "New York", "Children Are The Creator's Messengers", "Hooray For The Children", "Too High", and "Sleep Baby".  © 1996-2014, Dusty Groove, Inc.

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

David 'Fathead' Newman - Resurgence! (new 24-48 LP rip)

David Fathead Newman - Resurgence (1980)

Muse 5234, Vinyl LP

1. Everything Must Change 4:35
2. Mama Lou 5:54
3. Davey Blue 9:15
4. Carnegie Blues 8:28
5. Akua Ewie 6:24
6. To The Holy Land 7:04

Marcus Belgrave Trumpet, Flugelhorn
Ted Dunbar Guitar
Louis Hayes Drums
David "Fathead" Newman Flute, Sax (Alto), Sax (Soprano), Sax (Tenor)
Cedar Walton Piano, Piano (Electric)
Buster Williams Bass

This is one of the best David Newman albums you will ever hear and we are talking about a guy with some great albums! All the players compliment each other nicely and the session was recorded beautifully. Add to this that I have a Near Mint copy and I don't see how you can go wrong.

Mr. 'Fathead' leaves the R&B soaked sound of the Ray Charles band behind and really digs deep into some hard bop and soul jazz type material on this fine record.( I wonder what Dave and Jimmy Heath would have sounded like together?) The Walton, Williams Hayes rhythm section is as good as it gets and they shine like gold here. You also get rarer opportunities to hear guitarist Ted Dundar and trumpeter Marcus Belgrave. The version of Everything Must Change is just sublime and Cedar Walton's To The Holy Land is taken for a really satisfying spin. Davey Blue is the kind of late night, smokey, whiskey sippin' Blues that I just love and that David always excelled at. Akua Ewie could easily have come off of a classic mid 60's Blue Note LP. Anyone who can actually sit still during Carnegie Blues probably needs to go to the hospital right away. It has the kind of infectious, head bobbing swing that changes the mood of a room.

Gotta say I like 'em all, All Killa, No Filla

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

David "Fathead" Newman - House Of David (1967) [vinyl>flac]

I was fortunate enough to borrow this great LP and grab a rip whilst I listened. Ever since, being turn onto some of Newman’s Muse albums, I have been searching out some of his lesser known earlier LPs and this definitely is a fantastic place to start. David’s luscious tenor sound does not disappoint and with the likes of Ted Dunbar on guitar, Kossie Gardner on organ and Milt Turner on drums supporting him the album boils-over reaching some wonderful soulful heights. The listener gets to hear three Newman compositions as well as a vibrant selection of contemporary jazz and pop tunes. On Miss Minnie he swaps solely to flute. As a supposed comeback album he certainly has nothing to prove other than he is on par with some of the best tenor players that emerged throughout sixties and beyond.  

The House of David was David "Fathead" Newman's comeback album of sorts, marking his first release after the end of his association with Ray Charles and a few years spent with his family in his hometown of Dallas. Organist Kossie Gardner, guitarist Ted Dunbar, and drummer Milt Turner support Newman's gritty "Texas tenor" sound, which captures the straightforwardness of R&B pop and the improvisational elements of jazz. Newman plays the flute on the spunky "Miss Minnie," but one of the most interesting songs on the album is the untypical rendition of a Bob Dylan tune, "Just Like A Woman." the artist's warm tenor lifts this song to angelic heights, and it's fathomed that he had only heard the song a few times before laying down this recording. Other standouts on the album include the Cedar Walton penned closer, "The Holy Land," and the original blues numbers such as the title track and "New Blues." This album boils with inventive hooks and the soulful combination of organ and guitar that would become more pop-oriented on subsequent Newman recordings. ~ by Jeff Schwachter.

Atlantic Records, SD 1489, 1967

Recorded 4th-7th March, 1967

Track Listing:

A1. I Wish You Love (Albert Beach, Charles Trénet} (6:08)

A2. One Room Paradise {J. Leslie McFarland} (1:35)

A3. Little Sister {David Newman} (8:15)

A4. Miss Minnie {Claude Johnson} (2:28)

B1. Just Like A Woman {Bob Dylan} (4:31)

B2. House of David {David Newman} (3:47)

B3. Blue New {David Newman} (3:56)

B4. The Holy Land {Cedar Walton} (7:22)

Personnel:

David "Fathead" Newman - Tenor Sax, Flute (A4)

Kossie Gardner - Organ

Ted Dunbar - Guitar

Milt Turner - Drums