Shirley Scott - Roll 'Em: Shirley Scott Plays The Big Bands (1966) [CD]

Shirley Scott’s Roll ‘Em is interesting on several levels, the first being that you are no doubt already keenly aware of the songs Shirley is laying down here with her seventeen-piece big band, so it’s a hoot to simply sit back and listen to the tunes without the due consideration jazz-listening often requires. Secondly, there’s nothing unexpected delivered on this record, everything … the enunciation, the chords, the notes, the take, it’s all been done before, leaving Roll ’Em to simply be a breezy foray into the musical insights and sounds that are created here. Though when "Stompin' At The Savoy" washed across my listen space, I was raptured with the flanking path Scott’s organ took this song. Oddly enough, when one considers women in jazz, the first names that come to mind are usually the singers, Ella Fitzgerald or Billie Holiday, perhaps because singers are easier to spot and identify. Shirley was a lush beautiful petite and very powerful for her size and time, so it sparked my imagination that she might be taking on these songs purposely, numbers that seemed rather too large or expansive for a woman to embrace, where Scott shows the world that she’s more than capable of helming a big band, charting its course, and coming out the other side proving that she can stand toe to toe with anyone when it comes to music that is easily compared. So, while I don’t want to dismiss this outing as uninventive or not being challenging enough, it is impressive to hear Shirley create perfect flawless circles, that while not bold or majestic, hit at the heart of all that’s pure, and dare I suggest innocent, when it comes to the purest elements of sophistication. After all, a simple black dress with an understated string of pearls speaks volumes, without the need for showiness or exuberance. ~ by Jenell Kesler, discogs.com. 

Impulse! Records, AS-9119, 1972
GRP Records, GRD-147, 1994
Recorded 15th (#7-10) & 19th (#1-6) April, 1966 at Van Gelder Studio, Englewood Cliffs, NJ 

Personnel:
========
#1-4:
Shirley Scott - Organ
Thad Jones, Joe Newman, Jimmy Nottingham, Ernie Royal, Clark Terry - Trumpet
Paul Faulise, Quentin Jackson, Melba Liston - Trombone
Tom McIntosh - Trombones
Phil Woods, Jerry Dodgion - Alto Saxophone
Bob Ashton, Jerome Richardson - Tenor Saxophone
Danny Bank - Baritone Saxophones
Attila Zoller - Guitar
George Duvivier - Bass
Grady Tate - Drums
Oliver Nelson - Conductor, Arranger 

#5-6:
Shirley Scott - Organ, Arranger (#5)
George Duvivier - Bass
Grady Tate - Drums 

#7-10:
Shirley Scott - Organ
Richard Davis - Bass
Ed Shaughnessy - Drums 

Tracks:
01. Roll 'Em {Mary Lou Williams} (4:08)
02. For Dancers Only {Don Raye, Sy Oliver, Vic Schoen} (3:43)
03. Sophisticated Swing {Mitchell Parish, Will Hudson} (2:50)
04. Sometimes I'm Happy {Grey, Caesar, Youmans} (3:53)
05. Little Brown Jug {Joseph Eastburn Winner; Arr. Shirley Scott} (3:57)
06. Stompin' At The Savoy {Razaf, Goodman, Webb, Sampson} (3:58)
07. Ain't Misbehavin' {Andy Razaf, Harry Brooks, Fats Waller} (3:31)
08. A Tisket A Tasket {Ella Fitzgerald, Van Alexander} (3:55)
09. Things Ain't What They Used To Be {Duke Ellington, Ted Persons} (5:19)
10. Tippin' In {Bobby Smith, Marty Symes} (4:33) 

Total Time: 39:54 

Credits:
Producer - Bob Thiele
Recording Engineer - Rudy van Gelder
Reissue Producer - Michael Cuscuna
Executive Producer - Dave Grusin, Larry Rosen 

Organist Shirley Scott focuses on swing-era tunes throughout this enjoyable album. Four songs showcase her organ accompanied by a 17-piece big band arranged by Oliver Nelson while the remaining six numbers find her jamming with a trio that also includes either George Duvivier or Richard Davis on bass and Grady Tate or Ed Shaughnessy on drums. Although nothing all that unexpected occurs, it is fun to hear an organ performing such numbers as "For Dancers Only," "Little Brown Jug" and "Stompin' At The Savoy." ~ Scott Yanow, AMG

Sometimes I'm Happy

Houston Person - Houston Express (1971) [re-rip]

As period soul-jazz goes, this is considerably above the average. It's funky, but not in the bland crossover sense; there's a sense of jazz ensemble discipline to the arrangements, but it's still R&B-based enough to groove to. Cecil Bridgewater (trumpet), Billy Butler (guitar), Bernard Purdie (drums), and Motown bassist Gerry Jemmott are among the more notable contributors to this 1971 session. ~ by Richie Unterberger, AMG.

There are some great players on this album. The electric piano really kicks in on a number of tunes and the brass section adds further highlights, but as usual Houston’s tone is very undeniable and full. Enjoy!

Prestige Records, PR 10017, 1971

Recorded 8^th & 9^th April, 1971 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Cecil Bridgewater - Trumpet (#A4-B2)

Harold "Money" Johnson - Trumpet (#A1-A3,B3)

Thad Jones - Trumpet (#A1-A3,B3)

Ernie Royal - Trumpet (#A1-A3,B3)

Garnett Brown - Trombone (#A1-A3,B3)

Jack Jeffers - Trombone (#A1-A3,B3)

Harold Vick - Tenor Sax, Flute (#A1-A3,B3)

Babe Clarke - Baritone Sax (#A1-A3,B3), Tenor Sax (#A4-B2)

Paul Griffin - Piano, Electric Piano (#A1-A3,B3)

Jimmy Watson - Organ

Ernie Hayes - Organ, Electric Piano (#A4-B2)

Billy Butler - Guitar

Jerry Jemmott - Electric Bass

Bernard Purdie - Drums

Buddy Caldwell - Congas

Tracks:

A1. Young Gifted And Black {Nina Simone, Weldon Irvine} (5:17)

A2. The Houston Express {Horace Ott} (5:50)

A3. Enjoy {Horace Ott} (4:57)

A4. [For God's Sake] Give More Power To The People {Eugene Record} (3:42)

B1. Chains Of Love {Ahmet Nugetre} (7:33)

B2. Just My Imagination {Norman Whitfield, Barrett Strong} (5:34)

B3. Lift Every Voice {James Weldon Johnson, John Rosamond Johnson} (5:40)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Horace Ott (#A1-A3,B3)

Art Direction, Cover Art - Tony Lane

Back Cover Photo - Al Johnson

Note:
Ahmet Nugetre aka Ahmet Ertegün [Founder Atlantic Records]

Grover Washington, Jr. - Inner City Blues (1971) [vinyl]

This 1971 date was Washington's first as a leader, after playing and recording with the small organ combos of Charles Earland and Johnny "Hammond" Smith. It's unheard-of for a jazz musician to make his debut complete with strings, horns, and vocal group, but Washington apparently got the opportunity when the backing tracks were in place for a Hank Crawford album and Crawford was out of the country. Stranger still, Washington is usually playing alto here rather than his customary soprano or tenor. It was an instrument he hadn't played in years, and the result of his horn switching is a compellingly original sound that's almost soprano-like. Despite the circumstances, Washington brings a lot of himself to this music, making personal statements of two contemporary Marvin Gaye songs, "Inner City Blues" and "Mercy, Mercy Me," and the standards "Georgia on My Mind" and "I Loves You, Porgy." He also puts together an effective combination of Bill Withers's "Ain't No Sunshine" and J.J. Johnson's "Theme from Man and Boy." Whether it's the tight combo of "Inner City Blues" or the full-blown orchestra with strings and backing vocals, this is soul jazz of the first rank. ~ Adam Rains.

Kudu Records, KU-03, 1971

Recorded September, 1971 at Van Gelder Studios, Englewood Cliffs, New Jersey

Musicians:

Grover Washington, Jr. - Alto & Tenor Saxophones

Thad Jones - Trumpet, French Horn

Eugene Young - Trumpet, Flugelhorn

Wayne Andre - Trombone

Don Ashworth - Baritone Saxophone

Bob James - Electric Piano

Richard Tee - Organ

Eric Gale - Guitar

Don Ashworth, Ron Carter - Bass

Idris Muhammad - Drums

Airto Moreira - Percussion

Strings:

Alan Shulman, Anthony Sophos, Charles McCracken, Maurice Brown - Cello

Harry Katzman, Julius Brand, Julius Held, Leo Kahn, Max Pollikoff, Paul Gershman, Paul Winter, Raoul Poliakin - Violin

Vocals:

Hilda Harris, Maretha Stewart, Marilyn Jackson, Tasha Thomas

Tracks:

A1. Inner City Blues {Marvin Gaye} (7:10)

A2. Georgia On My Mind {Hoagy Carmichael, Stuart Gorrell} (4:39)

A3. Mercy Mercy Me [The Ecology] {Marvin Gaye} (5:06)

B1. Ain't No Sunshine {Bill Withers} / Better Days {J.J. Johnson} (8:33)

B2. Until It's Time For You To Go {Buffy Sainte-Marie} (4:36)

B3. I Loves You Porgy {DuBose Heyward, George & Ira Gershwin} (5:06)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bob James

Design [Album] - Bob Ciano

Photography - Steve Salmieri

This is one of Grover Washington Jr.'s finest, yet funky, and complex works. Creed Taylor (a musical magician) had obviously been an inspiration as a producer. In Grover's later works, it shows. This one is so very soulfully deep, it is not to be missed for any Grover collector! ~ Beverly P, Amazon.

This is vintage Grover Washington in all his melodic genius and mellow tones. Grover's soulful style and creative riffs will entice new listeners to this genre as it continues to amaze and delight longtime jazz and soul fans since it's release in 1971. ~ Nora Rellihcs, Amazon

FRANK WESS - with KENNY BURRELL - STEAMIN' - 1963 - WAVE

1963

Prestige PR 7278

MY Vinyl Rip

Front & Back Covers

WAVE

One of Frank Wess' strongest albums from the time – a harder-than-usual burner recorded with Kenny Burrell on guitar, plus Thad Jones trumpet, Mal Waldron piano, and rhythm by Paul Chambers and Art Taylor. Tracks are long and very jamming – almost in the mode of the Prestige blowing sessions of a few years hence, especially when Wess is playing tenor. Titles include "Count One", "Empty Street", "Steamin", and "Blue Jelly".

01 Steamin'

02 Blue Jelly

03 Count One

04 Empty Street

Count Basie - Dance Along With Basie

Hey gang!!  More from our look at the "Atomic Band"... Basie during his Roulette years.  This offering is interesting for a few reasons, but overall, it's a solid and excellent album.

Looking at the tracklist, it's easy to deduce that this record is tackling pop/dance tunes of the day.  Unlike many of the other albums we've listened to thus far, there's no guest arranger here.  So the first "interesting" item is the fact that Basie himself has interpreted these songs, with input from Teddy Reig presumably.

I would say the other difference on Dance Along is the clear absence of that blues influence that is a staple of this band's sound.  The swing is always there, and heavy at times, but there's really no blues approach to this material.  I will let you ponder the reasons for that.  That said, there's a ton of extended and incredible soloing throughout all of these tunes.  The mood manages to stay upbeat, even through a ballad like Misty.

My record is near mint, and luckily, in glorious mono.  The dynamics and soundstage are everything they should be on a Basie album - HUGE!!!  I know you guys are gonna love this one.  Ripped at 24/48 and transferred to FLAC for your convenience... enjoy!!!

Roulette Records R-52036
1960

Count Basie and Joe Williams - Just The Blues

Re-upped by request... even if only one person benefits from this re-up, it was worth it to me.  A must own album for any jazz fan.  I also want to let you guys know that "Basie Rides Again" is still active.

This is without a doubt my favorite Basie/Williams side, and overall, one of my favorite Basie albums.  Some of you have undoubtedly picked it up from me at a couple of other blogs, but it's never seen light at the Crypt.

Basie and Williams masterfully interpret the blues using all of their skill.  At moments, Basie has the band roarin while at others, you would think it's little more than a trio backing Williams.

This has never seen a CD reissue but was infact included on the Basie Mosaic set.  My copy is actually an EMUS reissue, which I bought still sealed.  I can tell you that this is one of my greatest rips - ever.  For those of you who have followed my posts, I think you know that I don't make statements like that too often.  The dynamics are perfect and this album will really hit you in the gut at different points.

Just The Blues was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  My hope is to share my Basie Roullette vinyl, most of which is unavailable and OOP.  The last iteration of The Crypt was seriously lacking Basie, lets change that.  Enjoy!!!

Roullette Records
R-52054
1960

A1 Confessin’ The Blues
A2 Mean Old World
A3 Trav’lin’ Light
A4 Key To The Highway
A5 Lyin’ Woman
B1 Chains Of Love
B2 Mean Mistreater
B3 Keep Your Hand On Your Heart
B4 Night Time Is The Right Time (When The Sun Goes Down)
B5 Tomorrow Night

Sonny Cohn, Thad Jones, Joe Newman, Snooky Young (tp)
Henry Coker, Al Grey, Benny Powell (tb)
Marshall Royal (cl,as)
Frank Wess (as,ts,fl)
Frank Foster, Billy Mitchell (cl,ts)
Charlie Fowlkes (bar)
Count Basie(p)
Freddie Green (g)
Eddie Jones (b)
Sonny Payne (d)
Joe Williams (vcl)

Thad Jones And Mel Lewis Quartet

I'm really thrilled about this post.  While visiting my local antique shop, a source for jazz vinyl, I came upon this new arrival.  It was still sealed and only $5!!!  I snatched it up in a flash...

For any fans of Thad Jones, this session is an important one.  This was recorded live at the Airliner Lounge in 1977.  It's one of the last which features him in a small group.  On that note, it could aruguably be one of his best - even bringing Scott Yanow to award it 5 stars.  His playing is certainly on par with any of his Blue Note efforts.

Of course, this is a co-lead side so Lewis busts out a few times as well.  Infact, the whole band can be heard, each taking soulful and moving solos.  Rufus Reid is incredible on this one.  The whole group play brilliantly, with top flight interaction.

Overall, the album is a real gem and reminds us why Thad Jones and Mel Lewis are so important as musicians, not just arrangers or composers.  The best part about this post???  The minty status of our source!!!  This transfer came out incredibly... absolutely beautiful tone.  The mono recording throws a huge field of sound with wonderful seperation between the players.  Aside from that, I also have the 8 page booklet!!!  This includes full discographies for both Jones and Lewis, full session info, pics and even a transcribed cornet solo!!  This should make a wonderful upgrade, especially for those who have this sourced from the stereo CD.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Artists House AH-3
1978

A1 But Not For Me 16:30
A2 This Can't Be Love 3:52
B1 Autum Leaves 15:25
B2 What Is This Thing 4:45

Bass – Rufus Reid
Cornet – Thad Jones
Drums – Mel Lewis
Piano – Harold Danko

Count Basie And The Kansas City 7

I hope you all had a great Christmas!!  My family sure did...

As we continue down Basie lane, this album seemed a logical choice after the last Basie small group.  This group is infact a septet with Wess and Foster switching out for roughly half the album each.

Unlike the last album, the rhythm keeps the swing movin' while the focus is kept upfront.  Basie pulls out some incredible solo work himself in his inimitable style - sparse and soulful.

I think the main thing that keeps this album in a class of it's own, is the playlist.  The majority of small group swing albums lean on the jam side of things, while this side has a much more focused approach to the material.  Of course, the soloing is top notch and inspired, but the song arrangements are much more than a simple jam style.  With composers like Wess, Foster and Thad Jones on board it can only be expected.

This album is certainly a small group swing classic, and if you haven't heard it yet you're in for a treat.  My album is near mint, and the fidelity is nothing short of perfect.  Wonderfully dynamic with a great focus on bass - Ed Jones really pops in different parts.  Bluesy swingin, in all of it's glory.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

J.J. Johnson - J.J.!

This album is a 5 star gem.  Johnson figured out how to arrange and conduct a big band, while featuring himself as the star soloist.  Sounds a bit ego driven doesn't it, well who else but this master of jazz to pull it off?!?!  The band tear through bebop and hard bop tunes like no other.  Although Johnson's 'bone is the featured solo chair, we do infact hear from many other players.  The personnel reads like a who's who of bop, a real "dream band" if there was ever any.  Not a dud to be found in these 9 tracks.


Click For Personnel Details



I worked obsessively for hours on this to make it perfect, and to get it done for tonight.  I think the results speak for themselves, I was really happy with the final product.  My LP is a minty stereo RCA/Victor original, ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.

RCA Victor – LSP-3350
1965

Recorded in Webster Hall, New York City.

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).