Melvin Sparks, James Singleton and Johnny Vidacovich Live at The Howling Wolf, N.O.

 I don't recall where or when I got this but I listened to it the other night and I was impressed at how well these three meshed on this date. They really did a fine job of capturing the almost magical communication Johnny and Jim have and the remarkable way in which they can make almost any third guy sound like he has been part of the band for years. Melvin was the visitor here but the opener, Freddie Hubbard's First Light, sounds like they have been playing it together for years. A really nice set and a chance to hear Melvin not long before his death.

Roosevelt Wardell Trio - The Revelation

A real killin side featuring some exciting and dynamic piano jazz.  It's a wonder how some of these guys never took off...

Ripped from an original LP, and although we are copin with some fried chicken in parts, the music is gorgeous.

Enjoy!!!

Roosevelt Wardell was an R&B singer before he became a jazz pianist. Altoist Cannonball Adderley, who by then was also acting as a Riverside A&R, discovered Wardell in Los Angeles while he was playing with Dexter Gordon. He quickly arranged for the recording of “The Revelation”, Wardell’s debut. An authoritative performer, the young pianist showed a maturity beyond his years, developing well-constructed, imaginative lines and absorbing his formative influences into an individual style devoid of empty flourishes or gimmicks, in which his roots and swing are ever present.

Riverside RLP 350
Roosevelt Wardell (p) Sam Jones (b) Louis Hayes (d)

Los Angeles, CA, October 5, 1960

Problem...

Since many people don't see the shoutbox, I am writing a post to avoid the inevitable frenzy.  While uploading today, my kids deleted my MF folder.  They were playing a game with the MF screen minimized... what was I thinking?!?!?  I never saw this coming, but its discouraging all the same.  I will reup my last couple posts immediately and consider any requests.  Slowly I will restore everything...

New Links -

Ben Webster
Louis Cottrell
Teri Thornton
Eddie Jefferson

Ben Webster on Black Lion

This post is a combined effort between grumpy, Tom Ryan and myself.  For newer followers, Tom Ryan is a friend of ours with a deep collection, and an even bigger heart.  Most recently, we featured several of his Diz sides, so make sure to show him some love in the comments.

I can safely say that with all of these albums you would have a wonderful weekend of jazz.  Webster's time in Europe was possibly his most productive, turning out wonderful sides with some of the finest local players. 

Enjoy!!!

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Ben Webster - Duke's In Bed

Black Lion BLP 30137

     1965

Bass – Henrik Hartmann, Hugo Rasmussen, Niels -     Henning Orsted Pederson

Drums – Alex Riel, Hans Nymand

Piano – Kenny Drew, Niels Jorgen Steen

Tenor Saxophone – Ben Webster, Ole Kongsted Trombone – John Darville

Trumpet – Arnved Meyer

 

1.  What's I'm Gotchere

2.  Close Your Eyes

3.  There's No Greater Love

4.  Brother John's Blues

5.  Stompy Jones

6.  Nancy, With The Laughing Face

7.  I Got It Bad (And That Ain't Good)

8.  Duke's In Bed

 

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Ben Webster - Atmosphere For Lover's And Thieves
Black Lion Records BLP 30105
1965

 

Bass – Henrik Hartmann, Hugo Rasmussen, Niels -     Henning Orsted Pederson

Drums – Alex Riel, Hans Nymand

Piano – Kenny Drew, Niels Jorgen Steen

Tenor Saxophone – Ben Webster, Ole Kongsted Trombone – John Darville

Trumpet – Arnved Meyer

1. Blue Light

2. Stardust

3. What's New

                                                                                  4. Autumn Leaves

                                                                                  5. Easy To Love

                                                                                      6. My Romance

                                                                                      7. Yesterdays

                                                                                      8. Days Of Wine And Roses

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Ben Webster and Bill Coleman - Swingin' In London

Black Lion 2460-128

1967 

Bass – Ron Rae
Drums – Lennie Hastings
Guitar – Jim Douglas
Piano – Fred Hunt
Tenor Saxophone – Ben Webster (tracks: A1, A3, B1, B3)
Trumpet, Flugelhorn – Bill Coleman (2) (tracks: A1 to A4, B2, B3)

1.  Bill Coleman   
2.  But Not For Me   
3.  Pound Horn    
4.  Sunday    
5.  For All We Know    
6.  Satin Doll    
7.  For Max    

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Ben Webster - Stormy Weather
Black Lion
1965

Ben Webster (ts)
Kenny Drew (p)
Niels-Henning Oersted Pedersen (b)
Alex Riel (d)

01 - Our Love is Here To Stay    06 - I Can't Get Started
02 - My Romance                       07 - The Theme
03 - Blues for Herluf                    08 - Friskin' The Frog
04 - Londonderry Air                  09 - Stormy Weather
05 - Mack The Knife                   10 - Teach Me Tonight
                                       
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Ben Webster - Gone With The Wind

Black Lion

1965

Ben Webster (ts)
Kenny Drew (p)
Niels-Henning Oersted Pedersen (b)
Alex Riel (d)

1. Perdido
2. Yesterdays
3. I'm Gonna Sit Right Down (And Write Myself A Letter)
4. Set Call
5. Sunday
6. That's All
7. Gone With the Wind
8. Over the Rainbow
9. Indiana
10. Misty
11. Set Call                                                                                                       

Louis Cottrell - Bourbon Street: Living Legends New Orleans

When the Riverside label undertook a series of recordings of some of the living legends of New Orleans, one who was asked to contribute his talents was Louis Cottrell, Jr. Cottrell certainly filled that bill. An important figure in the history of traditional jazz in New Orleans, he was a virtuoso on both the clarinet and tenor saxophone, playing with the top players of his day, including his mentor, clarinet player Lorenzo Tio, Jr., and drummer Paul Barbarin. For the occasion of this record, Cottrell engaged the assistance of Emanuel Sayles on banjo and guitar and McNeal Breaux on bass (Alcide Pavageau plays bass on one track). Together, they weave a fine tapestry of jazz from the New Orleans Creole tradition. The results are simply elegant. The album opens with the beautiful "Perdido," and gets lively with a Barbarin street march, "Bourbon Street Parade." It segues through some delightful blues and standards, such as "Sayles' Broken String Blues" and "Sheik of Araby." The group plays traditional gospel with feeling, including "What a Friend We Have in Jesus" and the bonus track "Down by the Riverside." It closes out with another bonus track, Cottrell's own "You Don't Love Me." The record is enchanting, like a memory of a long-ago love affair in this city of romance and seduction. [This review refers to the 1994 Riverside reissue, New Orleans: The Living Legends, which features the two aforementioned bonus tracks.]  - Rose Of Sharon Witmer/AMG

Riverside RLP 9385
1961

Louis Cottrell - clarinet
Emanuel Sayles - guitar
McNeal Breaux, Alcide "Slow Drag" Pavageau - bass #6 only

Dewey Redman Quartet - Look For The Black Star (1966)

I have always been a great admirer of Dewey Redman, but this album has eluded me for some time until recently when I was able to borrow a well preserved vinyl copy. Essentially it is an album that clearly showcases Redman’s blossoming talents as great exponent of the saxophone and his ability to write some wonderful scores. Although many will find the album leaning towards Free Jazz it still has elements of Hard Bop that astound. This quartet is truly a very unique experience. Jym Young accompanies Dewey marvelously and the rhythm section comprising of Donald Garrett and Eddie Moore clearly compliment Redman’s transcending arpeggios. It’s a very engaging record. Enjoy!

Although always a bit under-recognized and overshadowed by his contemporaries, tenor-saxophonist Dewey Redman has long been one of the giants of the avant-garde and bop. This early recording finds Redman discovering his own individual voice on five of his frequently emotional originals. Assisted by pianist Jym Young, bassist Donald Raphael Garrett and drummer Eddie Moore, this San Francisco date is quite adventurous and holds one's interest throughout. ~ Scott Yanow, All Music Guide.

Fontana, 888 311, 1966

Recorded 1966 in San Francisco

Alternative cover Arista, AL 1011, 1975

Track Listing:
A1. Look For The Black Star (15:33)
A2. For Eldon (6:24)
B1. Spur Of The Moment (1:55)
B2. Seven And One (13:17)
B3. Of Love (7:51)

All Compositions by Dewey Redman

Personnel:

Dewey Redman - Tenor Saxophone

Jym Young - Piano

Donald Garrett - Bass, Clarinet (#B2)

Eddie Moore - Drums

Nice early set by Dewey, recorded in San Francisco in 1966 with a quartet that includes Jim Young on piano, Don Raphael Garrett on bass, and Eddie Moore on drums. Redman wrote all of the compositions, and the set's a great peek at his early talent before recording with Ornette. Tracks include "For Eldon", "Seven And One", and "Spur Of The Moment". © 1996-2012, Dusty Groove, Inc.

Teri Thornton - Devil May Care

Is poppachubby a spoiled sport?!?  Hell nah!!

I have to work 12 hours today.  Can't enjoy my usual dose of Chitlins gospel - no church.  But that doesn't mean that I won't take the time to ensure my Crypt people don't have a stellar Sunday!!

Just quickly folks, this album is gonna blow you away.  Miss Thornton's voice is on par with the usual suspects of female jazz vocals.  She is backed by a small group chock full of stars...

...what more do you need?!?

This is the first (of three) long out of print recordings by Teri Thornton, finally available to the general public. It would not be a stretch to say she is perhaps the most talented, distinctive, clean, out-of-sight singer listeners have never heard....until now. Thornton's powerful, almost chilling voice compares favorably to the pristine tones and vibrato of Sarah Vaughan, the blues sassiness of Dinah Washington, and some of the more soulful refrains of Abbey Lincoln. Simply put, you have to hear her once to believe her. Whether on doleful ballads or raucous swingers, Thornton is totally confident and in control -- of her emotions and yours. From the best version of the Bob Dorough-written title track you are likely to hear, to the regretful ballad "My Old Flame" or the ultimate heart-melter "Left Alone," to an interesting arrangement on a pleading "What's Your Story, Morning Glory?," Thornton charges through the bar lines. Check her forcefulness on "Dancing in the Dark" and "I Feel a Song Coming On." Sometimes she purposefully staggers behind measures to grand effect. Every track is a showstopper, thanks to her uniquely soulful, drama-laden approach. Potent, unobtrusive horn charts feature legends like trumpeter Clark Terry, trombonist Britt Woodman, and saxophonists Earle Warren and Seldon Powell. The rhythm section of guitarist Freddie Green (half the tracks, Sam Herman on the others), pianist Wynton Kelly, bassist Sam Jones, and drummer Jimmy Cobb can do no wrong. Arranger par excellence Norman Simmons provided the perfect charts. This is an important document of a truly great jazz singer, and is essential in the collection of every serious aficionado. The only one regret is that it can't be given several handfuls of *****. ~ Michael G. Nastos

Riverside RLP 352
1961

New York, NY (12/23/1960/01/10/1961); Plaza Sound Studios,
New York, NY (12/23/1960/01/10/1961).

Teri Thornton (vocals); Norman Simmons (conductor, arranger);  Freddie Green, Sam Herman (guitar); Seldon Powell (saxophone); Earle Warren (alto saxophone); Clark Terry (trumpet, flugelhorn); Britt Woodman (trombone); Wynton Kelly (piano); Jimmy Cobb (drums)

Norman Connors - Dance Of Magic (1973) [vinyl>flac]

Following on from the recent Carlos Garnett Muse posts; here’s a magnificent album where he collaborates with a young Norman Connors and other great players to produce what is got to be one of the best spiritual jazz albums from the seventies. Recorded in 1972 it was Connor's debut as a leader. The record features four tracks that include the full-sided "Dance of Magic", as well as "Morning Change", "Blue" and the short but potent "Give The Drummer Some". Apart from this final track, the album has a solid sound that comfortably blends together an overall spiritual feel with many funky and spacey grooves. The record boasts a "Dream Team" lineup that includes Gary Bartz & Carlos Garnett, Stanley Clarke & Cecil McBee, Herbie Hancock, Eddie Henderson, Airto Moreira, Billy Hart, and many others. Later Connors would alter his style to produce many soulful classics like "You Are My Starship" and "Betcha By Golly Wow", but "Dance of Magic" is a definitive early showcasing of Connor's true musical gifts; an exemplary producer, composer and masterful musician capable of assembling the right players and musical components to create great records.

This is definitely a true gem; not to be overlooked.

Alternative cover from 1976 Buddah Records [BDS 5674] release

Cobblestone Records, Catalog#: CST 9024

Recorded 1972 at Bell Sound Studios, New York City

Track Listing:

A. Dance of Magic {Norman Connors} (20:53)

B1. Morning Change {Cecil McBee} (6:22)

B2. Blue {Stanley Clarke} (10:17)

B3. Give The Drummer Some {Norman Connors} (2:22)

Personnel:

Norman Connors - Drums

Herbie Hancock - Piano, Fender Rhodes, Electric Piano

Gary Bartz - Alto & Soprano Saxophones

Carlos Garnett - Tenor & Soprano Saxophones

Eddie Henderson - Trumpet

Art Webb - Flute

Cecil McBee - Bass (A,B1)

Stanley Clarke - Bass

Anthony Wiles - Baliphone, Percussion

Airto Moreira - Percussion (B1,B2,B3)

Alphonse Mouzon - Percussion (A,B2)

Babafemi - Percussion (A)

Billy Hart - Percussion (B1,B2,B3)

Nat Bettis - Percussion, Congas

The U.B.F. Singers - Vocals

This album is drummer Norman Connors earliest and most rewarding date as a leader. Recorded with a who's who of fusion titans including trumpeter Eddie Henderson bassist Stanley Clarke, and keyboardist Herbie Hancock, Dance of Magic channels the lessons drummer Norman Connors learned in the employ of Pharoah Sanders, Sam Rivers and Sun Ra, marshaling Latin rhythms, electronic textures, and cosmic mysticism to create nondenominational yet deeply spiritual funk-jazz. The sprawling 21-minute title cut spans the entirety of the record's first half, capturing a monumental jam session that explores the outer edges of free improvisation but never steps past the point of no return. Connors' furious drumming is like a trail of bread crumbs that leads his collaborators back home. The remaining three tracks are smaller in scale but no less epic in scope, culminating with the blistering "Give the Drummer Some." ~ Jason Ankeny, All Music Guide.