Blue Mitchell - Booty (1974) [vinyl>flac]

Blue Mitchell, Roy Haynes, Charles Kynard, Curtis Fuller, Harold Mabern, Charles Williams, Chris Woods, Frank Wess, Albert Dailey, Virgil Jones, Cornell Dupree, Ron Carter, George Adams, Marvin Peterson, Lawrence Killian, Terud Nakamura and Ray Barretto [to name a few] are featured in different settings on this LP which was released in 1974 on Mainstream Records, each of these players lead their songs with a cast of other great musicians. Highlights are "Smiling Faces Sometimes"; an excellent soul jazz piece showcasing Charles Kynard’s organ, "Roy's Tune"; a fine soul funky jazz piece with fuzz bass playing by Teruo Nakamura, "Respect Yourself"; a first-rate soul jazz-funk number with Charles McPherson on alto and finally "Alone Again Naturally" with Blue Mitchell playing beautifully. Essentially this is a collection of tunes by a whole range of artists which in the end constitutes one superlative album.

Label: Mainstream

Catalog#: MRL 413

Styles: Soul Jazz, Jazz Funk

Personnel:

"Smiling Faces Sometimes"

Charles Kynard - Electric Organ

Larry McGuire - Trumpet

Jerry Rusch - Trumpet, Flugelhorn

David Roberts - Trombone, Bass Trombone

Paul Humphrey - Drums

Carol Kaye - Bass

Charles Mallory - Guitar

"Family Affair - Respect Yourself"

Dave Hubbard - Tenor Saxophone

Charles McPherson - Alto Saxophone

Ron Carter - Bass

Omar Clay - Percussion

Karl Dunbar - Guitar

Curtis Fuller - Trombone

Virgil Jones - Trumpet

Harold Mabern - Electric Piano

Roland Prince - Guitar

Grady Roker - Drums

Andre Strobert - Percussion

"Roy's Tune"

Roy Haynes - Drums, Timpani

George Adams - Tenor Saxophone, Flute

Marvin Peterson - Trumpet

Mervin Bronson - Fender Bass

Elwood Johnson - Bongo, Tambourine

Lawrence Killian - Conga

Carl Schroeder - Piano

Terud Nakamura - Bass

"Willow Weep For Me"

Charles Williams - Alto Saxophone

Chris Woods - Alto & Baritone Saxophones

Bubba Brooks - Tenor Saxophone

Frank Wess - Tenor Saxophone, Flute

Don Pullen - Electric Organ

Clyde Lucas - Drums

Cornell Dupree - Electric Guitar

David Spinozza - Electric Guitar

Gordon Edwards - Fender Bass

Paul Griffin - Electric Piano

Randy Brecker - Flugelhorn

Ray Barretto - Conga Drums

David Carey - Conga, Marimba

"Spring Can Really Hang You Up The Most"

Dave Hubbard - Tenor Saxophone

Jimmy Rowser - Bass

Buck Clarke - Conga

Albert Dailey - Electric Piano

Harold White - Drums

"Alone Again Naturally"

Blue Mitchell - Trumpet, Flugelhorn

Herman Riley - Tenor Saxophone, Flute

Joe Sample - Electric Piano

Darrell Clay - Fender Bass

Freddie Robinson - Electric Guitar

John Guerin - Drums

Ray Pounds - Drums

Track Listing:

A1. Smiling Faces Sometimes {Norman Whitfield, Barrett Strong} (2:57)

A2. Family Affair {Sly And The Family Stone} (2:32)

A3. Respect Yourself {The Staple Singers} (2:57)

A4. Roy's Tune {Roy Haynes} (5:03)

B1. Willow Weep For Me {Ann Ronell} (6:27)

B2. Spring Can Really Hang You Up The Most {Frances Landesman, Thomas  Wolf } (6:31)

B3. Alone Again Naturally {Gilbert O'Sullivan} (3:19)

The Incredible Ira Sullivan

The Incredible Ira Sullivan
Stash Records 1980

1) Lonely Moments (Salz)
2) Our Delight (Dameron)
3) Bernie's Tune (Miller)
4) Kim's Lament
5) I Can't Get Out of This Mood (McHugh, Loesser)
6) On the Seventh Day (Walrath)
7) Satin Doll (Ellington, Strayhorn)

NYC 1980


We have revisited so many Ira Sullivans lately and our previous offerings of this record were flawed so when I saw a slightly worn copy at the store I decided to see if I could coax a reasonable rip out of it. The previous post of this came from a Ron the Jazzman contribution but the actual rip came from his friend billd. The rip was decent but a little noisey and had a few full blown skips that marred it. I carefully cleaned my record twice in the hopes that most of it's problems were dirt and was rewarded with a fairly good and quiet return but with three or four places on each side where skips or sound anomalies were unfix-able.

Now I put on my Dr. Frankenstein lab coat and looked to the old rip from jazzman. Surely the two rips would not have anomalies in the same places! They did not, so after a little time matching up the volumes the cutting leaders so I could match up tracks side by side like two patients on adjacent operating tables. Slowly I marked the areas to be transplanted and the sites to receive them - it is not as hard as you might think if you listen carefully while magnifying the wave in Audacity until you can see the space between breaths and find landmarks that match up on the two waves - it takes good ears and good speakers or headphones but once you get the hang of it it is possible to make imperceptible cut and paste fixes. You may hear a couple other tiny sound bumps here that I didn't choose to fix (I spent most of a day on this) but none of the actual surgery is audible. So what we have here is something of a Frankenstein monster but the good looking elegant one that you can't tell is made of parts.

SCAM WARNING

WARNING

Particularly of followers of Uri's blogs The Jazz Inn and A Darker Shade of Blue.

Uri's email address has been hi-jacked - DO NOT respond to the fake email saying he's in trouble in the Phillipines - it's a SCAM!!

This is the scam email DO NOT RESPOND:

How are you doing today? Am really sorry to bother you with this email. Am presently in Philippines for a Seminar, everything was going fine until now, I lost my wallet and some documents in the taxi. Am currently stranded at the moment and need your help.
Kindly let me know if you can help me out of the problem, I will send you more details upon your reply.

Hope to read from you.
Uri

Black And Blue

 Ripped from my I Giganti Del Jazz LP... ultra minty!!

Also made available on the Italian budget label I Ganti Del Jazz, this little-known effort finds veteran trumpeter Joe Newman (55 at the time) stretching out quite effectively on four standards and two originals. In what was his first opportunity to lead a recording session since 1962, Newman and his top-notch rhythm section (pianist Hank Jones, bassist George Duvivier and drummer Alan Dawson) swing their way through such songs as "Softly As In a Morning Sunrise," "Paper Moon" and "Fiddy's Moods."  - Scott Yanow

 

 

 

 

 

Curcio Editore GJ-50 / Black and Blue 

I Giganti Del Jazz Vol. 50


Recorded 1960??, Released 1972



Joe Newman - trumpet;  Hank Jones - piano;  George Duvivier - bass;  Alan Dawson - drums

1. Softly As A Morning Sunrise
2. It's Only A Papermoon
3. I Love My Woman
4. Fiddy's Moods
5. Summertime
6. Prelude To a Kiss

__________________________________________________________________________

This is a mint rip from my Classic Jazz reissue, as is the review.  A killer side to be sure...enjoy!!!

Also put out on the French Black & Blue label, this is one of the more obscure LPs to team together tenor saxophonist Eddie "Lockjaw" Davis and trumpeter Harry "Sweets" Edison. Lockjaw and Sweets always made for an exciting combination, constantly challenging each other to play with fire. Highlights of this particular encounter include "Jim Dawg," "Intermission Riff" and "Light and Lovely"; the two distinctive horn stylists are even able to uplift "The Good Life."  - Scott Yanow

Classic Jazz CJ116 / Black and Blue 33121
1975

Recorded on July 26th 1975 in Nice.

1. Jim Dawg
2. The Good Life
3. Meditation
4. Intermission Riff
5. Land Of Dreams
6. Light And Lovely

Eddie Lockjaw Davis - ts
Harry Sweets Edison - tp
Gerry Wiggins - p

Major Holley - b
Oliver jackson - d

________________________________________________________________________

This was ripped from my mint I Giganti Del Jazz reissue.  The Curcio label was an Italian imprint, they put out a set of 100 albums, all reissues or out takes.

This album is a superb set, with both Tate and Buckner as expressive as can be.  Enjoy!!

 I Giganti Del Jazz Vol. 13 / Black and Blue 33014
Paris, France
1967

A1 - When I'm Blue (Tate), 10:50
A2 - You Have Changed (Fisher, Carey), 05:10
A3 - Day by Day (Weston, Stordhal), 06:45
B1 - Them There Eyes (Tracy, Tauber, Pinkard), 10:46
B2 - Margie (Davis, Conrad, Robinson), 10:29

Buddy Tate (Tenor Sax), Milt Buckner (Organ), Wallace Bishop (Drums)

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).

Benny Carter - The Complete Further Definitions

What a feast for the ears this is!!  Carter is a jazz legend, without a doubt.  A true stylist, which is what enabled him to walk the path of a master.  Composition, arrangment, unheralded sensitivity and a unique ability on his chosen instrument.

For some reason, the two albums contained on this CD - Further Definitions and Additions To Further Definitions - have gone undetected on many jazz fan's radar.  Impulse decided to release both on one disc in 1997, an excellent decision.  Frankly, I think this is some of his best work and shows ALL of his talents.

Of course, the supporting players help to define the sessions.  Anybody with reasonable knowledge of jazz should be salivating upon reading the list of personnel.  All of the players are in top form, making for an incredible listening experience.  There's a wonderful sense of romanticism that's tangible when listening to this music.  Carter and co. create a sonic wonderland,  filled with all the right elements to help the listener drift off to a sublime place...

This was ripped from my Impulse! CD using EAC, then to Trader's Little Helper to create FLAC 16/44.1.  Superb reissue and remastering using all of the modern resources which make these CDs sound incredible.  The CD is OOP for sometime now...  Enjoy!!!

 

Roullette: At The Roundtable

By 1959 Herman had broken up his Third Herd and was utilizing a sextet filled with important young players. This live LP from 1959 (the only recording of this group) finds him well-featured on both alto and clarinet with a band that also boasts trumpeter Nat Adderley, acoustic guitarist Charlie Byrd and Eddie Costa on piano and vibes. All 12 selections (mixing together standards and forgotten originals) have their enjoyable moments. A rare chance to hear Woody Herman as a key soloist in a small group. - Scott Yanow

Forum (F 9016)

1959





A1  Black Nightgown   

A2  Pea Soup   

A3  Just A Child   

A4  Petite Fleur   

A5  Lullaby Of Birdland   
A6  Inside Out   
B1  The Swingin' Shepherd Blues   
B2  The Deacon And The Elder   
B3  Princess "M"   
B4  Moten Swing   
B5  Early Autumn   
B6  The Late Late Show   

Bass – William Betts;  Clarinet, Alto Saxophone – Woody Herman;  Drums – Jimmy Campbell
Guitar – Charlie Byrd;  Piano – Eddie Costa;  Trumpet – Nat Adderley

____________________________________________________________________

Recorded at the Roundtable nightclub in New York City on July 1, 1959, this performance marked the beginning of a new, penultimate phase of Jack Teagarden's recording career. His Capitol Records contract having ended the previous spring, he then performed for the portable recording equipment of Roulette Records, which would release some of the sides recorded at this gig as a live album, and which would, for a time, revive his fortunes. Although he's a little less agile and powerful, having reached his late 50s after a career's worth of constant work, and some health problems (later resolved), the cohesiveness of the band makes this release well-worth hearing. The group, in a typical live set, plays seven Dixieland warhorses and the obscure "When" (which was written by the King of Thailand). Teagarden, trumpeter Don Goldie, clarinetist Henry Cuesta, the great stride pianist Don Ewell, bassist Stan Puls, and drummer Ronnie Greb put on a lively, crowd-pleasing show highlighted by "South Rampart Street Parade," "St. James Infirmary" (sung by Teagarden), "St. Louis Blues," and Ewell's feature on "Honeysuckle Rose." [Note: as of 2005, At the Roundtable has never been reissued on its own, but is part of Mosaic's Complete Roulette Jack Teagarden Sessions, augmented with a significant body of unreleased track from this same performance.]  - Bruce Eder

Roullette R25091

Roundtable Nightclub, NYC 1959

Don Goldie (tp, vcl);  Jack Teagarden (tb, vcl);  Henry Cuesta (cl);  Don Ewell (p),

Stan Puls (b);  Ronnie Greb (d).

A1  South Rampart Street Parade   

A2  St. James Infirmary   

A3  Big Noise From Winetka   
A4  When   

B1  St. Louis Blues   

B2  Honeysuckle Rose   

B3  Stardust   

B4  When Tha Saints Go Marching In 

_____________________________________________________________________________

Steve Allen was a jack of all trades as a comedian, television star, author, musician, and prolific composer, but he has been dismissed by a lot of critics as a lightweight performer and songwriter. Allen never clamed to rival Art Tatum as a pianist, or the likes of Cole Porter or Duke Ellington as a composer; he saw himself as an entertainer first. Surrounded by a strong supporting cast during this live engagement at the Roundtable (with Allen hamming it up on the cover photo in a suit of armor), Allen doesn't hog the spotlight but keeps his solos rather brief and gives his sidemen plenty of solo space. His opener "Roundtable Boogie" features guitarist Mundell Lowe, vibraphonist Terry Gibbs, and clarinetist Gus Bivona; while Allen isn't in the league of Meade Lux Lewis and Pete Johnson, he is a more than competent boogie-woogie player (he was once complimented on his boogie-woogie playing by Teddy Wilson, who confessed he had problems playing it himself!). Gibbs swings like mad in a fun-filled take of "I Got Rhythm." "Even Stephen" is actually a wild reworking of "Jeepers Creepers." Doc Severinson adds his swinging trumpet to Allen's rousing closer, "Baby, But You Did." Although this won't be an essential recording for the average jazz fan, anyone who enjoys Steve Allen will be delighted to acquire this record.  - Ken Dryden

Roullette Records
SR-25053
1959

A1 Roundtable Boogie   
A2 Why Don't You Want to Go Home   
A3 I Got Rhythm   
B1 Even Stephen   
B2 I Thought About You   
B3 Baby, But You Did

Steve Allen (piano); Mundell Lowe (guitar); Gus Bivona (clarinet, saxophone, alto saxophone);
 Doc Severinsen (trumpet); Terry Gibbs (vibraphone); Gary Peacock (bass instrument);
Gary Frommer (drums).

Roland Kirk - The Roland Kirk Quartet Meets The Benny Golson Orchestra

The Roland Kirk Quartet Meets the Benny Golson Orchestra
Jun 11, 1964-Jun 12, 1963
Label: Mercury 20844

   1. Ecclusiastics
   2. By Myself
   3. Roland Speaks
   4. A Nightingale Sang in Berkeley Square
   5. Variations on a Theme by Hindemith
   6. I've Got Your Number
   7. Between the Fourth and the Fifth Step
   8. April Morning
   9. Get in the Basement
  10. Abstract Improvisation

Virgil Jones, Richard Williams-tpt (1-5)
Tom McIntosh, Charles Greenlea-tbn (1-5)
Don Butterfield-tu (1-5)
Harold Mabern-p (1-10)
Richard Davis-b (1-5)
Abdullah Rafik-b (6-10)
Albert Heath-d (1-5)
Sonny Brown-d (6-10)
Benny Golson-cond, arr (1-5)

Another wonder from Kirk's Mercury years that has spent far more time out of print than in print. Not for any failure of the music here, I'm surprised this album was never popular, side one is with a nonet arranged by Benny Golson with some very appealing music including the twisted Monk-like  'Ecclusiastics' and the lovely 'A Nightingale Sang In Berkeley Square' featuring Kirk on strich. Side two is a quartet set from a year later that is full of great moments too. 'Ive Got Your Number' is another strich piece that rivals any alto man, followed by one of those jaw dropping full horn chorus numbers that leave you speechless, and then two completely different tenor tour de force pieces that have Roland showing off a slightly Coltrane ballad sound on 'April Morning' and then pure Sonny Rollins trio voicing in 'Get in the Basement'. I don't recall exactly which piece it is now but on one of these you hear one of the first examples of Roland's circular breathing, a technique which only he ever made in the least bit interesting for my ear. (are you hearing me Irvin Mayfield?)

Kirk was the ultimate musical chameleon; he could play anything and sound any way he liked from Hawkins to Trane, and from Bechet to Lacey. He was a walking musical encyclopedia in much the same fashion that Jaki Byard was. No wonder that they enjoyed playing together! Mingus must have been in heaven to have the two of them in the band at the same time, it gave him a variety of tonal colors to play with that let him express his Duke-ness most effectively.

In my mind all these Mercury recording of Roland Kirk are essential for any jazz fan, so I will dig through all of them and bring those that still languish out of print to the Crypt. At least nowadays things like We Free Kings, Domino, Rip Rig and Panic and I Talk With The Spirits seem to stay in print so there is some evidence that the world is finally catching up to Roland. About damn time!

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

Jim Pepper - Polar Bear Stomp

Certainly Jim Pepper has been one of my feature guys from the earliest days of this blog. When I think of it, Jim Pepper, Roland Kirk and Booker Ervin were the three saxophone voices I was obsessed with in the first year of the Crypt. Here is a re-visitation of a Pepper rarity in a seriously up-graded form with flac's and covers...the whole shebang!

"This trio album was made less than a year before Jim died at age of 50. The show was recorded at an obviously tiny club in Austria and has a real intimate feel to it. I've never heard of bassist Wayne Darling or drummer Bill Elgart but they are both quite good and fill their roles admirably. Darling in particular has some great moments, beginning with his sneaky lead into Greensleeves. The song starts out with what sounds like a bit of tune-up noodling and Pepper joking with someone in the background but Darling keeps going until suddenly he is playing the opening bass line from Coltrane's version on Africa Brass and soon Jim and Elgart jump into a wonderfully free and open version of the song. This album grows on me each time I hear it so if you're not thrilled on first listen, give it a couple more chances. I didn't much like Sonny Rollins' trio stuff at first either but now I love it and this album is charting a similar course for me."

Since I wrote that I've learned to love this album even more as a wonderfully warm and personal statement from a man near the end of his road. Jim's giant soul really shines out of this recording. Thank God this gem was preserved!

flac1

flac2

Jimmy Witherspoon - Midnight Lady Called the Blues

Jimmy Witherspoon - Midnight Lady Called the Blues
Muse 5327, 1987

1. New York City Blues
2. The Barber
3. Blinded By Love
4. Happy Hard Times
5. Something Rotten In East St. Louis
6. Midnight Lady Called The Blues
7. Blues Hall Of Fame

Bass – Wilbur Bascomb
Drums – Bernard Purdie
Guitar – Calvin Newborn
Piano, Arranged By, Producer – Dr. John
Producer – Pomus*
Saxophone [Alto], Arranged By – Hank Crawford
Saxophone [Tenor] – David "Fathead" Newman
Trumpet – Charlie Miller
Vocals – Jimmy Witherspoon

WOW was this one ever a fabulous surprise! I bought this and a Shirley Scott at the same time and hit home runs on both. Not only is this a relatively unknown Spoon album but the band is mostly Mac's mid eighties aggregation that included Fathead Newman, Hank Crawford and Charlie Miller! Everything is produced, arranged and written by Doc Pomus (click for bio) and Doctor John. There is even a picture of the elusive Doc Pomus, certainly one of the two greatest white Blues and R&B songwriters ever! (see evidence here), the other guy would be Dan Penn.

If looking at those titles isn't enough to back me up on that statement take a look at the list of people who have recorded Doc Pomus songs here. Kind of staggering isn't it?

This is one terrific little jewel of an album and I'm quite pleased to be able to share it with y'all.

Roland Kirk - Reeds and Deeds

One of the guys whom I first focused on at The Crypt nearly 4 years ago now. I've always preferred the Mercury Kirk to the Atlantic Kirk and I'll never understand why certain of these albums are never in print.

Of all the forgotten Kirk albums, the failure to keep this one in print would have to be the most mystifying. A true lost gem that now days can only be reconstructed from the out of print Mercury Kirk box. The album features a larger ensemble than previous sessions but the many voices and colors of Kirk's axes are undiminished. Check out the wonderful trumpet work by Virgil Jones and the burning trombone solos by Charles Greenlea. A masterpiece start to finish that stands up to anything from the Mercury era.

Roland Kirk: Reeds and Deeds
Mercury 20800, 1963

01 Reeds and Deeds 5:20
02 Hay Ro 3.04
03 This Is Always 4:20
04 Song of the Countrymen 6.56
05 Limbo Boat 3:02
06 Lonesome August Child 4:36
07 Land of Peace 5:54
08 Waltz of the Friends 4.40


Recorded in New York, February 25-26, 1963


[track. 2, 5-8]
Roland Kirk (ts, manzello, stritch, fl, siren)
Virgil Jones (tp)
Charles Greenlea (tb)
Harold Mabern (p)
Abdullah Rafik (b)
Walter Perkins (ds)

[track 1,3,4]
Arranged & Conducted By: Benny Golson
Roland Kirk (ts, manzello, stritch, fl, siren)
Virgil Jones (tp)
Tom McIntosh (tb)
Harold Mabern (p)
Richard Davis (b)
Walter Perkins (ds)

Johnny Coles - Katumbo (Dance)

I must admit that I am not a big fan of the Mainstream "sound".  It more or less comes across like many CTI albums, and it's not for me.  But to paint the whole thing black would be foolish, as this album has proven.

I actually found this and two other Mainstream sides at a thrift, still sealed and only $1 each!!  My main idea was to simply trade them at the local record shop, but two ended up staying with me.

This album varies wildly in terms of style - and for the good I think.  Bop, fusion and avante garde can all be heard at one point or another.  The thing which really holds this session together, at least for my tastes, is Coles' clear and bold statement of a theme.  Tunes like 728 and Petit Machins really stand out as they open up with something groovy for the listener to take into the song.  This album won't be for everyone but I would suggest givin it a whirl if you enjoy Coles' playing at all.

Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Mainstream MRL 346
1971

Gregory Herbert (ts), Johnny Coles (t, fh), Astley Fennell (tb), Howard Johnson (tu), Cedar Walton (p, ep), Reggie Workman (b, eb), Bruce Ditmas (d)

1. Never Can Say Goodbye  (Clifton Davis) 
2.  September Of My Years  (Jimmy Van Heusen, Sammy Cahn) 
3.  728  (Johnny Coles) 
4.  Eleven [aka Petits Machins]  (Miles Davis, Gil Evans) 
5.  Betty's Bossa  (Cecil Bridgewater) 
6.  Funk Dumplin'  (Johnny Coles

Muggsy Spanier's Ragtime Band - The Great 16!!

Folks, I know that I am generally excited to share my music with you - but this is different.  Infact, next to the Sidney Bechet Rhythm Kings sides, this is probably my proudest moment.

For those who are unfamiliar with The Geat 16!, get a place on your shelf ready - next to Kind Of Blue, A Love Supreme, Time Out, Saxophone Colossus, etc, etc.  This is a jazz album which every fan must, at the very least, have a listen to.  Recorded in 1939, Spanier helped to push the revivalist movement forward and recorded what became a bedrock of Dixieland.  "Chicago Style" was born along with the help from cats like Bobby Hackett.

Of course, this side has been reissued countless times, but this is the original.  A joint project between Downbeat and RCA to present the listening public with some choice cuts by the genre's best.  My copy is near mint.  You will be super pleased with the fantastic quality of this rip and the fidelity of the recording.  To be able to share such a quality rip for this type of album is half of my joy.  Fantastic swingin combined with individualistic playing.

I should just add, for anyone who is unfamiliar with this style of jazz, or doesn't care for it - you must listen to the differences closely to appreciate how great the players are.  For example, bebop and hard bop tunes are judged by how tight the ensemble work is.  When the players attack the head, they do so as a unit.  The absolute beauty of Chicago Style is the free approach of this very scenario.  During the head, each player is jammin on the melody in their own unique style.  Hmmmmm, less structure and more improvisation... sound familiar?  Oh yes that's right... it's JAZZ!!!

Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC...
Enjoy!!!

OK everyone, here's the back cover... simply save it into your folder...

Charlie Parker Memorial Concert

Charlie Parker Memorial Concert
Cadet Records – 2CA 60002
 2 × Vinyl, LP, Album, 1970

A1 Billie's Bounce        
A2 Just Friends        
B1 Scrapple From The Apple        
B2 Summertime        
C1 Ornithology        
C2 Groovin' High        
D1 Yardbird Suite        
D2 Now's The Time        
D3 Parker's Mood        
D4 Disappointed/Oh, Lady Be Good (Medley)

    Alto Saxophone – Vi Redd (tracks: C1)
    Alto Saxophone, Tenor Saxophone – Lee Konitz (tracks: B1, C2, D1 to D4)
    Bass – Rufus Reid
    Drums – Philly Joe Jones* (tracks: B1, C2, D1 to D4), Roy Haynes (tracks: A1), Wilbur Campbell (tracks: A2, B2, C1)
    Piano – Jodie Christian (tracks: A1, C1), John Young (16) (tracks: B1, C2, D1 to D4), Richard Abrams* (tracks: A2, B2)
    Tenor Saxophone – Dexter Gordon (tracks: A1), Joe Daly* (tracks: A2, B2), Von Freeman (tracks: A1)
    Trumpet – Howard McGhee (tracks: C1), Kenny Dorham (tracks: A2, B2), Red Rodney (tracks: A1)
    Trumpet, Flugelhorn – Arthur Hoyle (tracks: B1, C2, D1 to D4)
    Trumpet, Violin – Ray Nance (tracks: A2, B2)
    Vocalese – Eddie Jefferson (tracks: B1, C2, D1 to D4)

Newport in NY '72, The Jam Sessions, vols 3 & 4

Newport in NY '72, The Jam Sessions, vols 3 & 4
Cobblestone 1973

Volume 3: Radio City Music Hall July 6
1) Perdido
2) Misty
3) Now's the Time

Joe Newman, Nat Adderley trumpet; Illinois Jacquet, Budd Johnson tenor sax; Tyree Glenn trombone; Gerry Mulligan baritone sax; Jaki Byard piano; Chubby Jackson bass; Elvin Jones drums

Volume 4: Radio City Music Hall (side A July 6, side B July 3)

1) Blue N' Boogie

Clark Terry & Howard McGhee trumpet; Sonny Stitt & Dexter Gordon tenor sax; Gary Burton vibes; Jimmy Smith organ, George Duke piano; Al McKibbon bass; Art Blakey drums

2) So What

Harry 'Sweets' Edison trumpet; James Moody, Flip Phillips, Zoot Sims & Dexter Gordon tenor sax; Roland Kirk tenor sax, manzello, stritch, whistle; Kai Winding trombone, Chuck Wayne guitar, Herbie Hancock piano; Larry Ridley bass; Tony Williams drums

This may well be the best side out of all six LP's - Kirk's solo is jaw dropping!

Newport in New York '72 vol 5, The Jimmy Smith Jam

A look at the pictures on the cover would lead one to believe that this was a lovely outdoor event with everyone in good spirits and grooving on this dynamite band eh? Yeah, well that is not exactly how it went down; things may well have been pleasant and relaxed when these guys played that day but hardly ANYONE would have seen it!

Here is what happened: My buddy and I had popped the whole $7 for the floor of the stadium (see ticket ad below) and we arrived around 6:00 (as you can see it was scheduled for 7:00) only to find the doors already open and to our horror the music already started! We rushed in only to manage to catch the last 5 minutes of this set which ENDED at 6:25!!!!! When we and the others now filling the stadium realized what was happening we protested loudly - This Sucked! How could they possibly justify opening the doors and hour and a half to two hours early and have this act play for about 1000 people?

As more and more people poured in and were informed what had been done the mood turned ugly - people were shrieking obscenities at George Wein who made some lame apologies and a vague promise to bring them back later in the show (THAT never happened!). One particularly loud New Yorker must have harangued Wein for 2 hours minimum, following him everywhere, calling him a fat toad and demanding his money back. It got so bad Wein couldn't continue as MC over the waves of booing.

Sadly for us and seemingly everyone around us the evening had been poisoned beyond repair and the bad vibes continued, tempers were short, things got too crowded and the whole thing continued to go badly. Bad vibes, fights, Police taking on the bad mood too, it was a mess! I remember a few nice moments during Nina Simone but little else. We actually ended up leaving early and junking our plans to go back the following day; my first and last stadium show and only time in Yankee Stadium was an unmitigated disaster and we fled New York entirely the next morning. I went back the next year but nothing could ever temp me into a stadium show ever again.

Listening to this set now 40 years later, it is a shame that they couldn't have played for all of us because it is a lovely set and I'm sure that had it started at the proper time, the whole evening would have gone much better and some of the other music would be on these records too. You will notice that NOTHING else played that day has ever been published despite the big names - Hopefully the second day went a little better, it couldn't have been much worse.

Newport in New York '72, The Soul Sessions, Vol. 6

Well I'm finally getting around to the last album of the series!

Newport in New York '72, The Soul Sessions, Vol. 6
Cobblestone Records, Vinyl LP

A1 Billy Eckstine –     I Apologize

    Bass – Art Koenig, Composed By – A. Goodhart*, A. Hoffman*, E. Nelson*, Drums – Charlie Persip, Piano – Bobby Tucker, Vocals – Billy Eckstine
       
A2     Billy Eckstine –     Jelly Jelly

    Bass – Art Koenig, Composed By – B. Eckstine*, E. Hines*, Drums – Charlie Persip, Piano – Bobby Tucker, Saxophone [Tenor] – Sonny Stitt, Trombone – Kai Winding, Trumpet – Dizzy Gillespie, Vocals – Billy Eckstine
    
A3     Curtis Mayfield –     Stone Junkie

    Bass – Lucky Scott* Bongos, Congas – Master Henry Gibson* Composed By – C. Mayfield* Drums – Scott Harris* Guitar – Craig McMullen Guitar [Lead], Vocals – Curtis Mayfield
    
A4     Curtis Mayfield –     Pusherman

    Bass – Lucky Scott* Bongos, Congas – Master Henry Gibson* Composed By – C. Mayfield* Drums – Scott Harris* Guitar – Craig McMullen Guitar [Lead], Vocals – Curtis Mayfield
   
B1     B.B. King –     I Need My Baby

    Bass – Wilbert Freeman Composed By – King*, Taub* Drums – Sonny Freeman Guitar – Milton Hopkins Guitar, Vocals – B.B. King Piano – Ron Levy Saxophone [Alto] – Earl Turbinton Saxophone [Baritone] – Louis Hubert Saxophone [Tenor] – Bobby Forte Trombone – Joseph Burton* Trumpet – Ed Rowe*
    
B2     Herbie Mann –     Hold On, I'm Comin'

    Bass – Andy Muson Composed By – Hayes/Porter* Drums – Reggie Ferguson Electric Piano – Pat Rebillot Flute – Herbie Mann Guitar – Sonny Sharrock Saxophone [Tenor] – David 'Fathead' Newman*
    
B3     Les McCann –     The Price You Got To Pay To Be Free

    Bass – Jimmy Rowser Composed By – N. Adderley, Jr.* Congas – Buck Clarke Drums – Donald Dean Guitar – David Spinnoza* Piano, Vocals – Les McCann
    
B4     Roberta Flack –     Ain't No Mountain High Enough

    Bass – Terry Plumeri Bass [Fender] – Jerry Jemmott Composed By – N. Ashford/V. Simpson* Drums – Grady Tate Electric Piano – Richard Tee Guitar – Eric Gayle Percussion – Ralph McDonald* Piano, Vocals – Roberta Flack
    
B5     Roberta Flack –     Somewhere

    Bass – Terry Plumeri Bass [Fender] – Jerry Jemmott Composed By – L. Bernstein*, S. Sondheim* Drums – Grady Tate Electric Piano – Richard Tee Guitar – Eric Gayle Percussion – Ralph McDonald* Piano, Vocals – Roberta Flack

"Compared to the first five volumes in this series (which contain jam sessions), this single LP is easily the weakest, particularly from the jazz standpoint. Billy Eckstine is fine on two numbers, welcoming Dizzy Gillespie and Sonny Stitt to a remake of his hit blues "Jelly Jelly." Otherwise the music is more in the R&B field with performances by Curtis Mayfield, an okay blues from B.B. King, Les McCann's vocal on "The Price You Got to Pay to Be Free," a decent jam by flutist Herbie Mann and two songs from Roberta Flack. Nothing too unique occurs during this fairly lively program." scott yanow

Ouch! Scotty didn't like it! I will point out the title of the volume in response to his lack of jazz comment but in the end I have to agree with him for the most part.  

Newport in NY '72 - The Jam Sessions 1 & 2

I recently picked up all six volumes in NM condition for $20! I confess I got lazy on the scans and used the ones that accompanied my old mp3 copies from the Cobblestone blog of a few years back.

Foolish and violent vandals nearly succeeded in putting an end to the Newport Jazz Festival in 1971. George Wein underestimated the draw of booking The Allman Brothers, 10's of thousands more people showed up than there were tickets or room on the grounds for and a mob of gate crashers boiled through the fences during Dione Warwick and rushed the stage, destroying everything in their path. The relationship with the city of Newport, always a rocky one, suffered such damage it would take nine years to recover from it.

As a result Wein moved his festival to New York City in 1972, using multiple venues like Yankee Stadium, Radio City Music Hall and Wollman skating rink in Central Park for the next 9 years. I went for the first two and saw some of these shows. Newport has always been the home of the Jam Session; for better or worse George has always loved putting diverse groups of musicians on a stage and letting the sparks fly. These two jams were at the old Radio City Music Hall I am pretty sure I did not see either of these (it has been a looong time).

Volume One: Radio City Music Hall, July 6, 1972 

side a: Jumpin at Woodside
side b: Lo-Slo Blues

Cat Anderson, Jimmy Owens - trumpet; Charles McPherson alto sax; Buddy Tate tenor sax; Milt Buckner organ; Roland Hanna piano; Charles Mingus bass; Alan Dawson drums

Volume Two: Radio City Music Hall, July 3, 1972

side a: Bag's Groove
side b: Night in Tunisia

Dizzy Gillespie trumpet; Stan Getz tenor sax; Benny Green trombone, Milt Jackson vibes; John Blair violin; Kenny Burrell guitar; Mary Lou Williams piano; Percy Heath bass; Max Roach drums; Big Black congas

Were I looking at the program and trying to decide where to spend my money (and I suppose I was back then, I just don't remember) I would have chosen the July 3 show over the July 6 show....and I would have been wrong! For whatever reason the Volume One jam gels much more than the Volume Two show, the second show has some powerful moments no doubt, Diz, Kenny and John Blair all have some great solo moments, but there is a lot of indecision and differences of opinion on tempo and such too.

Uncle Lionel Batiste R.I.P.

 

 The sky is crying in New Orleans, our dear sweet Uncle Lionel is gone and for the second time this year I am writing with tear filled eyes and a heavy heart.