Richard “Groove” Holmes - Hot Tat (1989)

One of the last albums that Richard Groove Holmes ever recorded -- but a surprisingly strong little set, and one that shows that he never stopped hitting the Hammond hard, even in the later years of his life! The record's got a depth of feeling that goes way beyond the dated, cheesy album on the cover -- almost a classic organ groove, produced by Houston Person for the session -- who's also prominently featured on tenor for the date. Other players include Cecil Bridgewater on trumpet, Jimmy Ponder on guitar, Bad Bascomb on bass, and Greg Bandy on drums -- plus Ralph Dorsey on congas and a bit of added percussion. The largeish group still manages to sound nice and lean -- and although there's a few bassline moments that belie the date of the record, most of the material has a very classic soul jazz sound. Titles include "Renee", "Love Letters", "I Love Your Smile", "Hot Tat", "I Gotta Go", and "Second Time Around".  © Dusty Groove, Inc. 

Muse Records, MCD-5395, 1991
Recorded 5th September, 1989 at Fox Recording Studios, Rutherford, New Jersey 

Musicians:
Richard "Groove" Holmes - Organ [Hammond B-3]
Cecil Bridgewater - Trumpet

Houston Person - Tenor Saxophone
Jimmy Ponder - Guitar
Wilbur Bascomb, Jr. - Bass
Greg Bandy - Drums
Ralph Dorsey - Congas, Percussion

Tracks:
1. Renee {Richard "Groove" Holmes} (6:03)
2. Love Letters {Edward Heyman, Victor Young} (4:18)
3. I Love Your Smile {Cecil Bridgewater} (9:55)
4. Hot Tat {Richard "Groove" Holmes} (7:37)
5. Polka Dots And Moonbeams {Burke, Van Heusen} (6:04)
6. I Gotta Go {Cecil Bridgewater} (6:10)
7. Second Time Around {Cahn, Van Heusen} (6:51) 

Total Time: 46:58 

Credits:
Producer - Houston Person
Recording Engineer - David Blake
Mastering Engineer - Joe Brescio, The Cutting Room, NYC
Graphic Design - Ron Warwell/NJE
Cover Photo [Alicia Lashley] - Fred Salaff
Back Photo - J. Flint
Liner Notes - Larry Birnbaum 

Love Letters

Houston Person - Suspicions (1980) [re-rip]

Here we have another solid outing by Houston Person. He is joined with the mastery of some other fine musicians, including to name a few; Virgil Jones, Melvin Sparks, Horace Ott, Sonny Phillips and Idris Muhammad. The title tune “Suspicions” gets it all started with a funky soul jazz beat. On the rest of the album he turns his tenor to a challenging mixture of tunes from the popular “If” and the more intrinsic “Blue Monk” and a classic standard “This Bitter Earth”, not to mention a funky composition by Sonny Phillips “Me and Me Brudder”, but as always, his interpretation and musicianship excels across anything he producers. Another highlight is the two compositions on offer by Horace Ott; “Pieces” and “Let’s Love Again”. By and large the listener will find something that gets the Soul A-Movin’.

Muse Records, MR 5199, 1980
Recorded 24^th April, 1980 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Virgil Jones - Trumpet

Melvin Sparks - Guitar

Jack Cavari - Guitar

Sonny Phillips - Keyboards

Horace Ott - Keyboards

Ernie Hayes - Keyboards

"Bad" Wilbur Bascomb - Bass

Idris Muhammad - Drums

Ralph Dorsey - Percussion

Tracks:

A1. Suspicions {Eddie Rabbitt, Randy McCormick, David Malloye, Even Stevens} (5:22)

A2. If {David Gates} (3:56)

A3. Me & Me Brudder {Sonny Phillips} (3:25)

A4. Pieces {Horace Ott} (5:02)

B1. Blue Monk {Thelonious Monk} (8:43)

B2. This Bitter Earth {Clyde Otis} (4:44)

B3. Let's Love Again {Horace Ott} (4:58)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Arranger - Horace Ott (#A1,A4,B3)

Art Direction & Design - Mark Larson

Cover Photo - Charles Redly

Liner Notes - Maxine S. Harvard

Houston Person - Always On My Mind (1985) [vinyl>flac]

Tenorman, Houston Person has collected some recent and not so recent vocal hit records and made an incredibly beautiful instrumental album. What will always stay on our minds is the title song here "Always On My Mind." It's haunting and timeless theme will be with us long after Willie Nelson leaves the road. Houston Person is the interpreter. Here he plays the melody and what beautiful melodies...his music will stay "ALWAYS ON MY MIND." ~ Excerpts from Liner Notes

Muse Records, MR 5289, 1985

Recorded 3^rd September, 1985 At Sound Heights Studio, Brooklyn, New York

Musicians:

Houston Person - Tenor Saxophone

David Brahim - Organ, Electric Piano

Ted Brancato - Acoustic Piano, Keyboards

Wilbur Bascomb - Bass

Bernard Purdy - Drums

Ralph Dorsey - Percussion

Tracks:

A1. I Can't Help Myself {Holland, Dozier, Holland} (4:28)

A2. Always On My Mind {Christopher, James, Carson} (5:30)

A3. Endlessly {Brook Benton} (7:04)

B1. How Do You Keep The Music Playing {Legrand, Bergman, Bergman} (6:10)

B2. Cutie Pie {Zapp, Roger} (5:30)

B3. It Might Be You [Theme From Tootsie] {David Grusin} (5:53)

Credits:

Producer - Houston Person

Arranger - Jimmy Roach

Engineer - Vince Traina

Mastering Engineer - Joe Brescio, The Cutting Room, NYC

Cover Photo - Hugh Bell

Art Direction - Dick Smith

David "Fathead" Newman - Keep The Dream Alive (1978)

An overlooked Jazz-Funk/Soul Jazz classic from the late seventies. As a profoundly versatile musician and composer “Fathead” showcases his agility on flute, alto, tenor and soprano. With the crafty arrangements of William Fischer, Newman turns an interesting mix of well-known pop compositions and other less exposed and challenging tunes into prodigious music. For this album Newman is joined by a sterling array of fine players. With the likes of George Cables, Hilton Ruiz, Lee Ritenour, Wilbur Bascomb Jr., Idris Muhammad the listener is in for an enthusiastic piece of entertainment that doesn’t falter, Enjoy!

Prestige Records, PR 10106, 1978

Recorded 23^rd May-July, 1977 at Fantasy Studios, Berkeley, California

Musicians:

David "Fathead" Newman - Flute (#A1,A3,B3), Alto Saxophone (#A1,B2,B3),
Tenor Saxophone (#A2-A4), Soprano Saxophone (#B1)

Jeff Davis, Larry Moses - Trumpets

Janice Robinson, Earl McIntyre - Trombones

Ed Xiques - Baritone Saxophone

Kenneth Harris - Flute

George Cables - Electric Rhodes (#A3,A2,B1), Clavinet (#A1,A2),

Acoustic Piano (#A4,B2) Electric Piano [Yamaha Grand] (#B3)

Hilton Ruiz - Electric Rhodes (#A1,B2,B3), Clavinet (#A4,B1), Acoustic Piano (#A2,A3)

Lee Ritenour - Guitar (#A3,B1-B3)

George Davis - Guitar

Wilbur Bascomb, Jr. - Electric Bass

Idris Muhammad - Drums

Bill Summers - Percussion (Except #B1)

Yvonne Fletcher - Vocals

Renee Manning - Vocals (Except #A2)

William Fischer - Conductor

Tracks:

A1. Keep The Dream Alive {David "Fathead" Newman} (5:37)

A2. Destiny {David Batteau, Richard Holland} (4:47)

A3. Silver Morning {Kenny & Yvonne Rankin} (3:30)

A4. Freaky Beat {David "Fathead" Newman, William Fischer} (5:37)

B1. I Am Singing {Stevie Wonder} (6:30)

B2. Clouds {Durval Ferreira, Maurício Einhorn} (5:57)

B3. As Good As You Are {William Fischer} (6:18)

Credits:

Producer - Orrin Keepnews

Producer, Arranger - William Fischer

Recording Engineer - Eddie Bill Harris

Recording & Remix Engineer - Steve Williams

Assistant & Remix Engineer - Dan Kopelson

Mastering Engineer - John Golden

Art Direction - Phil Carroll

Photography - Phil Bray

Design - Dennis Gassner

David "Fathead" Newman - Scratch My Back (1979) [vinyl>flac]

Here's another LP by David "Fathead" Newman which has been cast aside; this time from 1979 when Disco/Jazz Funk was trying to counteract the onslaught of Rock music and all its derivatives. This album is arranged and co-produced by William Fischer whom also co-writes with Newman four tunes. Many of the tracks are backed by vocals, especially Side A, but the balance showcase many well-known artists giving the listener many an opportunity to hear some great playing. These include: Randy Brecker, Earl McIntyre, James Buffington on horns, Richard Tee, Kevin Toney on keyboards, Cornell Dupree, Eric Gale on guitar, Ron Carter on bass, Harvey Mason on drums and Bill Summers on congas etc.,. Highlights include "Two Can Do It", "Scratch My Back", "After The Ball" & “The Buggs”. An album easily overlooked or put down by jazz purists but in many ways it is a great example of a new style that was emerging in the late seventies, listen with revived appreciation and enjoy!

Prestige Records, P-10108, 1979

Recorded March, 1979 at Fantasy Studios, Berkeley, California

Personnel:

David Newman - Flute, Soprano, Alto & Tenor Saxophones

Randy Brecker, Jon Faddis - Trumpet

Earl McIntyre - Trombone

James Buffington - French Horn (#A3)

Jerry Dodgion, Kenneth Harris, George Marge - Flute

Richard Tee - Acoustic Piano (#A1-A3,B3,B4)

Kevin Toney - Electric Piano, Clavinet, Synthesizers

Cornell Dupree - Guitar (#A3,B1-B4)

Eric Gale - Guitar (#A1,A2)

Ron Carter - Acoustic Bass (#A1-A3,B3,B4)

Wilbur Bascomb, Jr. - Electric Bass (#A3,B1,B2)

Harvey Mason - Drums

Bill Summers - Congas, Percussion

Flame Braithwaite, Deborah McGriff, Bessie Ruth Scott, Tanyette - Vocals

and Strings

Tracks:

A1-A2. One Step At A Time_You Gotta Keep Gotta Keep Dancin' {Newman, Fischer} (12:22)

A3. Two Can Do It {David "Fathead" Newman, William Fischer} (6:32)

B1. Scratch My Back {Kevin Toney} (5:51)

B2. Rock Me,Baby [Like My Back Ain't Got No Bone] {Kevin Toney, Bessie Scott} (5:32)

B3. After The Ball {David "Fathead" Newman, William Fischer} (3:40)

B4. The Buggs {Claude Johnson} (3:26)

Credits:

Producer - Orrin Keepnews, William Fischer

Arranger - William Fischer

Recording Engineer - Vince McGarry

Assistant Engineer - James Faber

Art Direction - Phil Carroll

Design - Kris Johnson

Photography - Phil Bray

Idris Muhammad - House Of The Rising Sun (1976) [vinyl>flac]

Idris Muhammad's House of the Rising Sun is a legendary soul-jazz album, and for good reason. First there's the fact that, Grady Tate notwithstanding, Idris Muhammad is easily the greatest of all soul-jazz drummers. Next, it is revealed that label boss and producer Creed Taylor was at his most inspired here, and wasn't afraid to err on the rhythm and blues side of the jazz equation. The material is top-notch, and David Matthews, who orchestrated and arranged this date with the exception of one track -- "Sudan" was written by Muhammad and Tom Harrell, and Harrell arranged it -- was on fire. As a bandleader, Muhammad is shockingly effective. Not because one could ever doubt his ability, but because of his reputation as one of the great studio drummers in jazz. Finally, this is the single greatest lineup in Kudu's history, and features the talents of Don Grolnick, Eric Gale, Will Lee, Roland Hanna, Joe Beck, David Sanborn, Michael Brecker, Hugh McCracken, Bob Berg, Fred Wesley, Patti Austin, and a dozen others playing their asses off. From the title track which opens the album, with Austin reaching the breaking point in her delivery, to the stunningly funky groove in Ashford and Simpson's "Hard to Face the Music," to the minor key funk of the Chopin-adapted theme in "Theme for New York City," to "Sudan"'s triple-timed drums and killer Eastern-tinged hooks, and a read of the Meters' "Hey Pocky A-Way," with Eric Gale's dirty finger poppin' bass atop McCracken's bluesed-out slide work, this is a steaming, no let-up album. Add to this a gorgeous version of the Ary Barroso Brazilian jazz classic "Bahia," and you have the set for a classic jazz album. But the complete disregard for the political correctness of "Jazz" itself, in order to get the deeply funky and soulful grooves across, is what makes this set so damn special and even spiritual in its inspiration. Jazz purists lost all credibility when they slagged this one off, caught as they were in tainted, even racist views of the past that made no allowances for jazz musicians to actually follow their time-honored tradition of mining the pop music of the day to extend the breadth and reach of jazz itself. Anybody who wants to believe that George Gershwin is somehow more important than George Porter Jr. is already lost in his own cultural fascism. Muhammad, who understands this better than anyone, pulled out all the stops here and blasted out one amazingly tough, funky slab. Brilliant. ~ Thom Jurek, AMG.

Kudu Records, KUDU 27, KU-27S1, 1976
Recorded 18th-27th June; 23rd September-8th October, 1975
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:
Idris Muhammad - Drums, Percussion [Log Drum] (#A1)
Tom Harrell - Trumpet
Fred Wesley - Trombone
Barry Rogers - Trombone (#B1)
David Sanborn - Alto Saxophone
Ronnie Cuber - Baritone Saxophone
George Young - Tenor Saxophone (#A2)
Mike Brecker - Tenor Saxophone (#A2)
Bob Berg - Tenor Saxophone (#B1)
Leon Pendarvis - Piano (#A1)
Don Grolnick - Piano (#A2,A3,B2)
Roland Hanna - Piano (#B1,A4)
Eric Gale - Bass (#A3,B2), Guitar (#B2)
Hugh McCracken - Guitar (#B2)
Joe Beck - Guitar (#A3)
Will Lee - Bass (#A1)
Wilbur Bascomb - Bass (#A2,A4,B1)
Alan Shulman, Charles McCracken, Seymour Barab - Cello
George Devens - Percussion
Charles Libove, David Nadien, Emanuel Green, Harold Kohon, Harry Cykman, Joe Malin, Max Ellen, Paul Gershman - Violin
Frank Loyd - Vocals (#A1,B2)
Debbie McDuffie, Hilda Harris, Patti Austin - Vocals (#A2)

Track Listing:
A1. House Of The Rising Sun {Traditional} (4:45)
A2. Baia [Boogie Bump] {Ary Barroso, Ray Gilbert} (4:40)
A3. Hard To Face The Music {Valerie Simpson, Nickolas Ashford} (4:52)
A4. Theme For New York City [Based On Prelude No. 4] {Frederic Chopin} (3:29)
B1. Sudan {Idris Muhammad, Tom Harrell} (10:54)
B2. Hey Pocky A-Way {Ziggy Modeliste, Art Neville, Leo Nocenteli, George Porter, Jr.} (6:07)

Credits:
Producer - Creed Taylor
Arranger - David Matthews, Tom Harrell (#B1)
Recording Engineer - Rudy Van Gelder
Design - Rene Schumacher
Photography - Alen Mac Weeney

The Buddy Tate Celebrity Club Orchestra - Unbroken

Man... I love Buddy Tate.  This date is just another great session in his huge discography.  However, the orchestra owes it's swingin sound to more than just Tate.  They are indeed a group, and a fine one at that.  It was music like this which helped to keep swing alive and well through a decade like the 70's.

On Unbroken, we're treated to the full band blasting through ensemble melodies, individual solos, quiet and down tempo ballads & high flying dance numbers.  Aside from Tate, Bascomb really shines as a soloist - he has perfect tone.

I think it's easy to look back and see why albums like this, which at the time may have seemed average or relic, were infact essential to mainstream music's survival.

This MPS side was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  It's wonderfully minty and quiet.    
More of that old school vibe here at the Crypt... enjoy!!!

Recorded MPS Studio Villingen, Black Forrest June 30th/July 1st, 1970
MPS / BASF Stereo 20740

1972

Starting in 1952 and continuing into the early 1970s, tenor saxophonist Buddy Tate worked regularly at the Celebrity Club in Harlem with his septet/octet, which he logically called the Celebrity Club Orchestra. Tate and his group made relatively few recordings, which makes this set (cut for MPS and last available domestically as a Pausa LP) quite valuable. In addition to Tate, the group features trumpeter Dud Bascomb (who was with Erskine Hawkins' Orchestra during the swing era), pianist Nat Pierce, bassist Eddie Jones, and such lesser-known players as trombonist Eli Robinson, Ben Richardson (on clarinet, alto and baritone) and drummer George Reed. The unit performs six veteran swing standards (including "Undecided," "Airmail Special" and "Tuxedo Junction") and a couple of basic originals. The enjoyable music swings hard, making one wish that this fine session were reissued on CD. - Scott Yanow / AMG

Clarinet, Alto Saxophone, Baritone Saxophone – Ben Richardson
Bass – Eddie Jones
Drums – George Reed
Piano – Nat Pierce
Tenor Saxophone – Buddy Tate
Trombone – Eli Robinson
Trumpet – Wilbur Dud Bascomb