Dizzy Gillespie - One Night In Washington

I bought this sealed so its mint.  The fidelity is really excellent but there is an issue with tracks 3 and 4.  A hum is audible during low signal output - this is from the recording believe it or not.  When I first heard it during playback, it sent me into a whirlwind looking at my turntable's configuration.

Aside from this, an excellent album which was recorded the night after Bird's passing.  News of his death wasn't released for 48 hours, and therefore nobody had a clue as to what occured.

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

Dizzy Gillespie was recruited as a special guest to perform on March 13, 1955, in concert with the Orchestra (a Washington, D.C., big band), a date that was recorded by Bill Potts and not initially released until 1983 by Elektra Musician. Although there was only a brief rehearsal of Gillespie with the band prior to their performance of the trumpeter's "The Afro Suite" (which includes "Manteca" plus a trio of pieces written in collaboration with Chico O'Farrill), they provide excellent support for this extended work, which features the composer extensively. Two pieces from the vast repertoire of Count Basie, "Hobnail Boogie" and "Wild Bill's Boogie," are enjoyable, though pianist Larry Eanet suffers from an inadequate microphone setup. Ed Dimond takes over the keyboard for an explosive Latin-flavored romp through "Caravan," though Gillespie obviously steals the show. The rather reserved small group rendition of "Tin Tin Deo" is curious but still of interest. The closer is bassist Tom McKay's swinging riff tune "Up 'N' Downs," which sounds like it could have easily been a part of Basie's songbook. One oddity about the concert is that Charlie Parker had died during the previous night, but this was not known to the musicians as his passing had not yet been announced. One of the more obscure recordings by Dizzy Gillespie, One Night in Washington is well worth acquiring. - Ken Dryden/AMG

Click For Personnel

Elektra Musician

Jazz Master's Edition - 60300

1983

Recorded At Club Kavakos, Washington DC

1955

Dave Burns - Warming Up!

Dave Burns is another one of those top flight players who was consistently overlooked by listeners, and grossly under recorded by the labels. Probably his biggest, and best known date, was on Art Taylor's Blue Note, A.T.'s Delight. Burns played as a member of the Al Grey/Billy Mitchell sextet and cut a couple albums on the Argo imprint with that group.

This outing is essentially a septet, but the core members are the same as the Grey/Mitchell group.
Although Mitchell and Grey make their presence
known on this side, there's no doubt it's under DB's leadership. He gets most of the shine as far as solo's are concerned, and two of his own compositions are used. Aside from this album, Burns cut another for Vanguard which makes this the follow up. There's no doubt in my mind that this is the best session to get to know Burns as an artist.

That said, this group was well experienced and at this point, ultra tight. All the players are at the top of their game and it"s evidenced in the loose and creative solos. Billy Mitchell in particular is a wild man, playing behind and on top of the beat, inside and outside...he's absolutely inspired.

This LP is absolute mint and of the highest fidelity. It's never seen a CD reissue. Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC, you guys are sure to be entertained to the utmost. Enjoy!!!

Vanguard (VRS-9143)
1964

Dave Burns (tp);  Al Grey (tb);  Billy Mitchell (ts);  Herman Wright (bass fiddle);
Harold Mabern (p);  Bobby Hutcherson (vh);  Otis Finch (d);  *Willie Corea (tymboli)
* on Richie's Dilemma and Rigor Mortez only

1. Day By Day   2. Now Ain't It   3. I Can't Give You Anything But Love
4. Richie's Dilemma   5. Slippers   6. Warm Up   7. My Romance   8. Rigor Mortez

Paul Gonsalves and His All Stars, Riviera/Barclay 1971, rec. Paris 1970 (vinyl>flac)

A vinyl rarity from Peter, who has provided the following information and review:

Paul Gonsalves and His All Stars (Riviera XCED 521 149  - also pressed by RCA London with the same catalogue number, but under Riviera's parent company, Barclay).

A1 - I Cover The Waterfront (Green, Heyman) 5:05
A2 - St  Louis Blues (WC Handy) 5:50
A3 - Alerado (Will Bill Davis, dedicated to Alexandre Rado) 3:25
A4 - Moon Love (Mack David, Mack Davis, Andre Kostelanetz) 4:50
 B1 - Midnight Strole (Anderson) 7:30
B2 - Blues for Marilee (Turney) 2:40
B3 - Sugar Loaf (Anderson) 3:00
B4 - Walkin' (Carpenter) 7:05

Paul Gonsalves, tenor sax
"Cat" Anderson, trumpet
Norris Turney, flute, alto sax
Will Bill Davis (as "Prince Woodyard"), organ
Joe Benjamin, bass
Art Taylor, drums.

Recorded Studio Hoche, Paris, 6 July 1970.

This one is not often seen. Never on CD, and only once on vinyl (Paris and London, 40 years ago).         
I doubt anyone would claim this is Paul Gonsalves' - or Cat Anderson's - best work technically speaking. It is from 1970, late in their respective careers, when the years and lifestyles had taken a toll. Apart from the yearning romanticism (with a few outbreaks) of "Waterfront" - Gonsalves' signature tune in his later years - this is not really the place for the smoothness of a Stan Getz, or a Ben Webster in more pacified mood.
However, the playing is adventurous and risk-taking, beyond what you might have expected. I have always liked WIlliam Alonzo Anderson's playing ... not necessarily first and foremost as a high-note specialist atop a famous orchestra at full blast.
And I have always liked Paul Gonsalves too. Again, not necessarily for a particular Newport marathon.
Responding to Gonsalves' lithe sound and impassioned input is a common reaction, it seems, so I hope this upload is popular.
As Humphrey Lyttleton once memorably put it (hardly as a criticism), "by this time Gonsalves' style was like a man sliding around on several banana skins". He certainly slithers, slides, breathes, flutters and is extravagantly expressive on this date - however inconsistent the attack may be in places, and even if he sits out two tracks and only joins the out chorus on another. He seems to get slightly bored playing close to the melody on "Moon Love" after a while, but his two salutes to France are witty and more pertinent on this Paris date than most saxophone quotes! 
Alexandre Rado's sleeve note makes most of the unexpected "modernism" on this date, in particular on "Walkin'" (which like "Waterfront", reprises a track from Gonsalves great session "Getting Together!" of a decade before). Justifiably enough. Norris Turney's enterprising "lateral" solo is indeed reminiscent of Eric Dolphy (perhaps surprising from an Ellingtonian) - in fact, it was this reference that first put me on to Dolphy.
But you could go further: the playing of all three horns throughout the date (even on superficially unpromising bossa nova and samba-ish rhythms) is fresh and inspiring, even if there may be some uneven playing, and brittleness in places. Cat Anderson is by no means just an epigone of Louis on "St Louis Blues", there are more daring elements even in that old warhorse (he reserves a more traditional approach, with Bubber-like muting for his original jaunty blues "Midnight Strole").

I have to admit that I have worked on the transfer. Not only that my LP had a lot of crackle, clicks and one big crack across it, but also insofar as I felt the recording was poorly balanced. In particular, the trumpeter was completely swamped by Will Bill Davis' organ on WC Handy's famous standard. If you like swamping by organs, please feel free to ramp up the right channel there. In other places too, left and right channels were poorly balanced (leading to a clash rather than a complement of instruments). My apologies, I did this for musical reasons. 

PS: I am not sure the plain text files download from the zip, for reasons I am unclear about. But it doesn't matter - just C and P the above, it's essentially the same!

Modern Jazz Quartet - One Never Knows

Here's one from my vinyl stash.  It's essentially music wrote by Lewis, and then performed by MJQ.  Lacking is the spontaneity of jazz, but it's still a great listen and proof positive of John Lewis' talents.

It's also a relatively short album.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Atlantic 1284
1958

Bass – Percy Heath
Composed By – John Lewis
Drums – Connie Kay
Piano – John Lewis
Vibraphone [Vibraharp] – Milt Jackson

A1		The Golden Striker
A2		One Never Knows
A3		The Rose
B1		Cortege
B2		Venice
B3		Three Windows

Al Haig - Parisian Thoroghfare

Of all the albums we found during our little Haig-Fest 3 years ago, I think that this was the rarest. In fact to this day I have only seen Bluebird's copy of this and no other. This music comes from the same Sept. 23, 1977 session that produced the better known "Al in Paris". On this one Haig sparkles through a lovely program of Bud Powell and classic songbook ballads caped by a surprising little Rachmaninov piece. I consider all of Haig's solo albums to be keepers but I am particularly fond of this one. Don't miss it!

A quick note about links on my posts going forward...I get the feeling that something less than positive is percolating at MediaFire -- once the fastest and most reliable it has grown increasing balky in the past few months. More concerning are the sudden new limits on the size of free accounts and even paid ones - there is no indication yet of the penalty for exceeding the new limits (which I have already done) but there is definite evidence that they have stepped up their enforcement on copyright infringements and are actively seeking and deleting links and whole accounts. I have for the time being eliminated them from my Embed Upload options while I wait to see how this shakes out this time. I am also taking a new approach to links which lapse from disuse, when they are gone they are gone, the share has run it's course and I am unlikely to do many reloads but it is still worth asking, particularly at Xanadu or Chitlins.

Clark Terry Quintet w/ Don Butterfield - Top And Bottom Brass

Cryptheads!!!  I'm hooooommme!!!  It's been a while hasn't it?!?  I have been busy renovating my man cave, which is now finished. 

I thought I would come out swingin with this most incredible  Clark Terry album.  However, that isn't the most accurate description as it's really a co-lead affair with Don Butterfield playing a large role musically.  And really, the tuba is what makes this album unique from many others in Clark's large catalogue. 

Butterfield is really a master of his domain as he gets the instrument to bend sonically - from deep and smooth, to sharp and quick.  And he can mix all of those qualities even further.  I was really taken aback with his first solo in The Swinging Chemise, for a few bars, I thought it was Sam Jones!!  Impressive indeed.  As for Terry, he plays wonderfully with a real focus on tone, matching up perfectly with the mighty tuba.  Some really soulful playing from the trumpeter, who also pulls out the flugelhorn on this side.  The rhythm section hold down a superb swing, light and airy with tons of space.  Creatively, the crown may very well go to Jimmy Jones on Top And Bottom Brass, although keeping a tuba interesting throughout eight tunes is no easy feat either.

All in all, this is a rock solid album which has been more or less forgotten.  It did infact receive the OJC treatment, but was quickly back to OOP status again.  Mumbles was one of the greats, a true master of this jazz music and Top And Bottom Brass is yet another document of proof.

This was ripped from the OJC reissue and dithered to VBR mp3.  Frankly the sound is wonderful... enjoy!!!

Riverside RSLP-295

1959

Clark Terry - trumpet & flugelhorn;  Don Butterfield - tuba;  Jimmy Jones - piano;  Sam Jones - bass
Art Taylor - drums.

Al Haig and Jimmy Raney - Special Brew

Al Haig Jimmy Raney Quartet - Special Brew
Spotlite LP

1 Freedom Jazz Dance
2 We'll Be Together Again
3 Marmaduke
4 Dolphin Dance
5 Blues for Alice
6 Shaw 'Nuff
7 Don't You Know I Care (Or Don't You Care to Know)
8 Just Friends

If I recall correctly this one was actually recorded a bit earlier than Strings Attached. Still Frank Gant on drums but Wilbur Little rather than Jamil Nasser. Another fine album, how could it be anything else?

My memory says that it was our dear departed Jazzman who contributed this rip. Even if it wasn't, I'm saying it was!

Charles Earland - Soul Story (1972) [vinyl>flac]

Here’s another great album from the ‘Mighty Burner’.  It includes a mighty bunch of players such as Gary Chandler along with Houston Person, Virgil Jones, Maynard Parker, James Vaas and Buddy Caldwell. Earland puts together a variety of tunes to make this another soul jazz classic.

An incredible album from Charles Earland -- a real crossroads in his career, one in which his streamlined organ jazz sound of the early 70s takes a slightly more expansive turn -- as on his albums of the mid 70s. The record has slightly larger groups than usual -- with players that include Gary Chandler on trumpet, Houston Person on tenor, and Maynard Parker on guitar -- but the real charm comes from Charles, and his ability to put together some wicked arrangements on tunes that make them complicated and funky at the same time. The best example of this is the album's amazing 10 minute version of "Love Story" with nice baroque changes, cool arrangements, and wild funky bits -- but the whole thing's great, and other cuts include "Betty's Dilemma", "One For Scotty", and "My Scorpio Lady". © 1996-2010, Dusty Groove America, Inc.

Prestige Records; PR 10018, 1972

Recorded 3rd May, 1971 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Track Listing:

A1. Betty's Dilemma {Charles Earland} (8:11)

A2. Love Story {Francis Lai} (9:58)

B1. One For Scotty {Charles Earland} (6:54)

B2. My Scorpio Lady {Charles Earland} (2:23)

B3. I Was Made To Love Her {Stevie Wonder} (2:48)

B4. Happy Medium {Charles Earland} (4:08)

Personnel:

Charles Earland - Organ, Vocals (#A2, B4)

Houston Person - Tenor Saxophone (#A1, A2, B4)

James Vass - Alto & Soprano Saxophones, Flute (#A1, A2, B4)

Gary Chandler - Trumpet (#A1, A2, B4)

Arthur Grant, Jr. - Tenor Saxophone, Flute (#B1-B3)

Clifford Adams, Jr. - Trombone (#B1-B3)

Virgil Jones - Trumpet (#B1-B3)

Maynard Parker - Guitar

Jesse Kilpatrick - Drums (#A1, A2, B4)

Billy "Kentucky" Wilson - Drums (#B1-B3)

Buddy Caldwell - Congas, Percussion (#A1, A2, B4)

Arthur Jenkins Jr. - Congas (#B1-B3)

Gary Chandler - Outlook (1972) [vinyl>flac]

Charles Earland was instrumental in introducing many new musicians to the attention of the jazz world. One such artist was Gary Chandler and here we have his rare and powerful album as a leader. Joined with Harold Ousley, Cornell Dupree, Buddy Caldwell, Idris Muhammad and others this LP is truly a jazz-funk gem.

After catching the attention of producer Bob Porter via Charles Earland dates including Living Black!, trumpeter Gary Chandler finally earned his shot as leader with Outlook, and don't let the absence of subsequent efforts fool you -- this is one of the true lost classics of jazz-funk, a Molotov cocktail lit with a burning joint. Cut with an all-star supporting cast including guitarist Cornell Dupree, organist Ceasar Frazier, tenorist Harold Ousley, and drummer Idris Muhammad, the record is less a collection of songs than one long, steamroller groove. Crate diggers and DJs have coveted "Baby Let Me Take You (In My Arms)" for years, but in truth, damn near every second of Outlook demands consideration as a sample. ~ Jason Ankeny, AMG.

Eastbound Records, EB 9001, 1972

Track Listing:

A1. Baby Let Me Take You [In My Arms] {Abrim Tilmon} (10:04)

A2. Flamingo {Edmund Anderson, Theodor Grouya} (6:38)

B1. Kaleidoscope {Gary Chandler} (4:40)

B2. The Jet Set {Gary Chandler} (4:02)

B3. Blue Dues {Gary Chandler} (7:17)

Personnel:

Gary Chandler - Trumpet

Harold Ousley - Tenor Saxophone

Dick Griffin - Trombone

Ceasar Frazier - Organ

Cornell Dupree - Guitar

Gordon Edwards - Electric Bass [Fender] (#A1, B1, B3)

Buddy Caldwell - Congas, Tambourine (#A1, B1-B3)

Idris Muhammad - Drums (#A1, B1-B3)

Robert Battle - Drums (#A2)

Al Haig & Jimmy Raney - Strings Attached

Al Haig Jimmy Raney Quartet
Strings Attached 1975 (Choice Records)

1) Dolphin Dance
2) Enigma
3) Invitation
4) You Came to Me from Out of Nowhere
5) Freedom Jazz Dance
6) 'Round Midnight
7) Watch What Happens
8) Get Out of Town
9) I Love You

Al Haig piano, Jimmy Raney guitar, Jamil Nasser bass, Frank Gant drums, recorded March 1975.

As promised another of those records from Haig Fest 2009 that we did not find a lossless rip of the last time around. This mp3 320 rip of the CD with the 3 extra tracks was contributed by 'higuja' more than 3 years ago.

This reunion of old bebop warriors from the remarkable Stan Getz band of the early 50's delivers on all of it's promise. Haig and Raney are both in fine form over an excellent selection of both modern and classic tunes. Both had been largely out of the public eye for a considerable time in 1975 but the selection of tunes like Freedom Jazz Dance and Dolphin Dance show that their ears had been open. Jamil Nasser and Frank Gant  are absolutely impeccable throughout this genuinely lovely album. The version of 'Round Midnight is a veritable Jazz Master Class.

If one of you out there has this cd, Please by all means upload a lossless rip for us all and post it in the comments.

Charles Earland - Muse Albums [vinyl>flac]

5126 - Smokin' (1977)
5156 - Mama Roots (1978)
5181 - Infant Eyes (1979)
5201 - Pleasant Afternoon (1981)
5240 - In The Pocket (1982)

These albums represent the output on Muse Records of the great Hammond B-3 master, Charles Earland throughout the seventies and early eighties. Many of these records are not easily found and have been ripped from the original vinyl LPs. The listener is given an opportunity to hear some dynamic Soul Jazz. He is joined by a vast number of players that were well-known or emerging stars. Just take a cursory glance at the personnel lists below you are sure to find the makings of some super group combinations.

[1] Smokin’

Muse Records, MR 5126, 1977

A1. Penn Relays {Charles Earland} (6:00)

A2. Danny Boy's Blues {D. Paul} (3:50)

A3. Milestones #2 {Miles Davis} (8:50)

B1. Soon It's Gonna Rain {Tom Jones, Harvey Schmidt} (9:30)

B2. Strangers In The Night {Bert Kaempfert} (5:30)

Charles Earland - Organ [Hammond B-3]

Dave Schnitter - Tenor Saxophone

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Bobby Durham - Drums (Tracks: A1, A2), Keyboards (Track: A2)

Walter Perkins - Drums (Tracks: A3, B1, B2)

Herb Fisher - Percussion

[2] Mama Roots

Muse Records, MR 5156, 1978

A1. Undecided {Charlie Shavers} (7:45)

A2. The Dozens {Charles Earland} (3:46)

A3. Red, Green & Black Blues {Charles Earland} (4:54)

B1. Mama Roots {Charles Earland} (6:34)

B2. Old Folks {Willard Robison} (5:27)

B3. Bluesette {Toots Thielemans, Norman Gimbel} (6:38)

Charles Earland - Organ

Dave Schnitter - Tenor Saxophone (#A1)

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Walter Perkins - Drums (#A1,A2,B1,B2)

Bobby Durham - Drums (#A3,B3)

[3] Infant Eyes

Muse Records, MR 5181, 1979

A1. We Are Not Alone (5:06)

A2. Blues For Rudy (11:43)

B1. The Thang (7:11)

B2. Infant Eyes (6:17)

B3. Is It Necessary? (4:56)

Charles Earland - Hammond Organ

Bill Hardman - Trumpet

Frank Wess - Tenor Saxophone, Flute

Mack Goldsbury  - Tenor Saxophone (#A2)

Jimmy Ponder - Guitar (#A1,A2)

Melvin Sparks - Guitar (#B1-B3)

Grady Tate - Drums

Lawrence Killian - Percussion

[4] Pleasant Afternoon

Muse Records, MR 5201, rec. 1978; rel. 1981

A1. Murilley (6:29)

A2. A Prayer (3:47)

A3. Organic Blues (7:25)

B1. Pleasant Afternoon (11:00)

B2. Three Blind Mice (6:16)

Charles Earland - Organ, Hammond Organ, Vocals

Houston Person - Tenor Saxophone

Bill Hardman - Trumpet

Melvin Sparks - Guitar

Grady Tate - Drums

Ralph Dorsey - Percussion, Conga

[5] In The Pocket

Muse Records, MR 5240, 1982

A1. Tackhead {Charles Earland} (9:47)

A2. In The Alley {Charles Earland} (8:04)

B1. Grant's Groove {Melvin Sparks} (4:51)

B2. A Good Date {Charles Earland} (5:09)

B3. Ballad For Mom {Charles Earland} (6:49)

Charles Earland - Organ

Houston Person - Tenor Saxophone

Melvin Sparks - Guitar

Idris Muhammad - Drums