Sonny Stitt - Black Vibrations (1971) [vinyl>flac]

"Sonny Stitt joins up with a tight group of prime Prestige funky players – like Idris Muhammad, Leon Spencer, Melvin Sparks, and Virgil Jones – for a sound that's much funkier than some of his other records for the label. The set's got a good set of modern funk tracks, with all the quality moments you'd expect from these top-notch players. Titles include "Goin' To DC", "Calling Card", "Them Funky Changes", and "Black Vibrations"." Of special interest are the tracks where Don Patterson who at Stitt’s insistence, took over the organ from Leon Spencer.

This date ‘has some good Jones trumpet and finds Stitt playing acoustically and switching to alto on two of the six jams, but once again it is the nonstop chugging of Sparks, Muhammad and either Leon Spencer or guest organist Don Patterson that fuels the fire.’ ~ Scott Yanow, AMG.

Prestige Records, PR 10032, 1972

Recorded 9th July, 1971 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Track Listing:

A1. Goin' To D.C. {Leon Spencer Jr.} (7:23)

A2. Aires {Don Patterson, Sonny Stitt} (5:33)

A3. Black Vibrations {Leon Spencer Jr.} (6:41)

B1. Calling Card {Sonny Stitt} (6:26)

B2. Where Is Love? {Lionel Bart} (2:22)

B3. Them Funky Changes {Leon Spencer Jr.} (7:55)

Personnel:

Sonny Stitt - Alto Sax (A1,B2), Tenor Sax (A2,A3,B1,B3)

Virgil Jones - Trumpet

Melvin Sparks - Guitar

Leon Spencer Jr. - Organ

Don Patterson - Organ (#A2,B1)

Idris Muhammad - Drums

Credits:

Producer - Bob Porter

Recording Engineer - Rudy Van Gelder

Jackie McLean - Makin' The Changes (1957) [vinyl>flac]

I prepared this post for the RVG blog. Another contributor posted a CD rip, so rather than wasting my efforts I decided to offer it at the Crypt. This is a marvellous early album by Jackie McLean. It was recorded over two dates one consisting of a Quartet and the other as a Sextet; by the masterful Rudy van Gelder. These variants do detract from the album's flow, but taken individually the music is excellent and well played. The listener can easily discern the dynamics offered by Mal Waldron, Paul Chambers and Curtis Fuller to highlight a few of the great musicians on show here. Overall the album is an opportunity to experience some great hard bop that sounds fresh even in today’s diverse jazz world. Enjoy!

Makin' the Changes features altoist Jackie McLean in two different settings. On three selections -- a rollicking "Bean and the Boys," an up-tempo "I Never Knew" and "I Hear a Rhapsody" -- McLean teams up with pianist Mal Waldron in a quartet with bassist Arthur Phipps and drummer Art Taylor. The other three numbers ("What's New," " "Chasin' the Bird" and McLean's original "Jackie's Ghost") have more of a jam session feel, and feature McLean in a sextet with trumpeter Webster Young, trombonist Curtis Fuller, pianist Gil Coggins, bassist Paul Chambers and drummer Louis Hayes. In general, the hard bop music is swinging and fairly advanced, a step above the usual jam sessions of the time. ~ by Scott Yanow, AMG.

New Jazz, NJLP 8231, 1960

Recorded 15^th February, 1957 (#A1,A3,B1) in Hackensack, New Jersey

Recorded 30^th August, 1957 (#A2,B2,B3) in Hackensack, New Jersey

Track Listing:

A1. Bean And The Boys {Coleman Hawkins} (8:32)

A2. What's New {Bob Haggart, Johnny Burke} (7:08)

A3. I Never Knew {Gus Kahn, Ted Fiorito} (2:58)

B1. I Hear A Rhapsody {Dick Gasparre, George Fragos, Jack Baker, Richard Bard} (5:07)

B2. Jackie's Ghost {Ray Draper} (5:26)

B3. Chasin' The Bird {Charlie Parker} (6:35)

Personnel:

Jackie McLean - Alto Saxophone

Curtis Fuller - Trombone (#A2,B2,B3)

Webster Young - Trumpet (#A2,B2,B3)

Mal Waldron - Piano (#A1,A3,B1)

Gil Coggins - Piano (#A2,B2,B3)

Arthur Phipps - Bass (#A1,A3,B1)

Paul Chambers - Bass (#A2,B2,B3)

Arthur Taylor - Drums (#A1, A3, B1)

Louis Hayes - Drums (#A2,B2,B3)

Credits:

Supervision - Bob Weinstock

Recording Engineer - Rudy Van Gelder

Cover Artwork - Esmond Edwards

Liner Notes - Nat Hentoff

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

Earl Anderza - Outa Sight (1962)

Possibly the most apposite album title ever!

From a review by Eddie Blackwell ~ Jazz Journal, February 1999:-

From the original sleeve-notes we learn that Anderza had been playing for several years [at the time of this recording] and cited Charlie Parker and Lee Konitz as his prime influences. Clearly he had also listened to Eric Dolphy, having received lessons from Dolphy's teacher. In addition, there is reference to a session with Ornette Coleman. His mastery of the alto is demonstrated in a formidable technique. A powerful, brilliant tone, invariably devoid of vibrato, is nevertheless warm and intense on the ballads. In order to create a more individual sound he had developed the technique of false fingering which enabled him to produce higher notes than the saxophone would normally attain. These skills are deployed in a programme of originals, one or two of which were composed at the studio, and several splendid ballad readings. You'd Be So Nice lopes along at perfect tempo, and Anderza's affection for What's New produces a warm performance in which he attempts, successfully, to ascend into the formerly unreachable area above high F and then descends in complete musical taste. He lags neatly behind the beat on Blues Baroque, a satisfying 12-bar, and tears into Freeway like the proverbial bat out of the other place! A fine young musician, captured at a period in his development when the formalities of bop were under challenge from a freer form of expression. I wonder what became of him?

(1) All The Things You Are
(2) Blues Baroque
(3) You'd Be So Nice To Come Home To
(4) Freeway
(5) Outa Sight
(6) What's New
(7) Benign
(8) Lonesome Road
(9) I'll Be Around
(10) Freeway
(11) Benign

Earl Anderza (as); Jack Wilson (p, hps); (tracks 1, 2, 4, 5, 6) George Morrow (b); (tracks 3, 7) Jimmy Bond (b); Donald Dean (d).
Los Angeles, March 1962

Thanks to Otis Foster for unearthing this, originally posted at -
http://cd.ciao.com/Outa_Sight_Limited_Edition_Earl_Anderza__Review_5750762:

"Earl Anderza and I were cell mates in San Francisco City Prison in July of 1970. As I was the only other person in there who loved jazz & knew musicians and since we were probably the only two guys in that cell block with IQs higher than the temperature of the over-crowded air, we became friends, At that time, even though I had been a denizen of Jazz clubs in San Francisco (from the Blackhawk where I saw Horace Silver for the first time in 1960 or 61, when I was 16, from behind the screen that segregated people under 21 from those who were old enough to drink; to the 181 Club after hours; Jack's on Sutter for Sunday Morning Jams) , in LA (Shelly's MannHole where I came every night for a week each to hear Mose Allison & Bill Evans play two sets); in New York (Thanks to a beautiful woman who had flown me from California to hear Bobby Short in the Village) and Chicago (for blues at Mr. Kelly's),.. I had never heard Earl Anderza play.
In the three weeks we spent locked down together, we talked about a wide-world of subjects, of course, we spoke about music, books and our lives in the life, while we awaited transportation to different prisons; he to the State and me to the Feds. Earl spoke about music with the sort of authority that --- when I got out many months later and bought my first vinyl copy of "Outa Sight" --- I wasn't the least bit surprised that his musicianship was amazing or that his lyrical sense was fully formed. I have been delighted by these cuts for more than 35 years; each time I go back to them they re-delight me.

After about three weeks, I got carted off to Lompoc FCI and I never saw Earl Anderza again. Since Earl never re-emerged into the first-rank of musicians with new music, I have assumed that he was lost in that labyrinth. I did hear about him once, from an inmate who transferred into Federal prison from the State. This guy told a story about how Earl Anderza was sitting alone on Xmas eve locked in his cell pouring his soul into his sax, when the sweet/sad sounds that floated down the tiers ignited a full-blown riot --- inmates screamed and threw burning clothes and mattresses onto the tiers until Folsom Prison had do be locked down, to silence the alto-sound of Earl Anderza's mournfully incarcerated-soul.
It's hard to research things that go on in the belly of that beast, so that is about what I know. If I were researching Earl's life after he went "Outa Sight," I'd begin with California's Department of Corrections. If anyone wanted to interview me to validate these recollections, I'd gladly make myself available. Earl Anderza should be remembered not because he was a good guy lost in a dark world; rather because his music is unforgettably elegant. Listen to these cuts and you will know all that can be known about Earl. It will blow your mind that someone, who you have never heard of, could have made such a profound sound with so much virtuosity. Enjoy...jt"

Charlie Barnet - Cherokee

Perhaps my optimism is warping my judgement, but I would like to believe that the Crypt is finally reaching certain "non-believers".   Yes, sometime ago I set out to reign in jazz fans who don't like big band, mainstream and/or basically anything deemed old and uncool.  In that time I have shared quite a few albums and overall received great response.

With that in mind, I am really excited to share this classic album by Charlie Barnet.  For those unfamiliar with him, I would suggest reading up on him, if you like a really non-traditional story.  For our purposes, the Coles notes read like this...  Barnet had his heyday in the 40's with a really great big band.  He eventually drifted out of jazz, but left a few albums along the way - Cherokee is one of those.

In 1958 Barnet hand picked a band to take into the studio.  Everest had commisioned him to cut a session, and so he decided to put together an album of tunes which were hits for him.  Now here's something else you should know about Charlie Barnet, he was always a wildly progressive band leader.  The result of all this is an album which infuses west coast cool and east coast bop into some great big band standards.   I think he wanted to show the apathetic youth, and modern jazz fans that big band could adapt and measure up.  Boy was he right...

I chose this album so that hopefully anybody still unsure about big band, can experience the absolute fun and joy of the genre at its best.  The music moves quickly and excitedly, yet retains a really soulful vibe.  The thing that most any jazz fan will enjoy about Cherokee, is the non stop barrage of solos.  Yes indeed, Barnet was the genuine article.  I have some really wonderful mint sides from his earlier years, but wanted to try and grab everyone's attention with this first - my favorite of his to be sure.  This set swings as hard as they come!!

This was ripped from my original Everest LP.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC, it's a really minty affair with top notch fidelity.  Be sure to read the liner notes penned by Nat Hentoff.  Enjoy!!!

Everest Records LPBR-5008
1958

Charlie Barnet (soprano, alto & tenor saxophones); 

Bunny Briggs (vocals); 

Pete Mondello (alto, tenor & baritone saxophones); 

Vinnie Dee (alto saxophone); 

Dick Hafer, Kurt Bloom (tenor saxophone); 

Danny Bank (baritone saxophone); 

Charlie Shavers, Markey Markowitz, Clark Terry, Al Stewart (trumpet); 

Billy Byers, Frank Sarroco, Bobby Byrne, Ed Price (trombone); 

Nat Pierce (piano); 

Chubby Jackson (bass); 

Terry Snyder (drums).

Sammy Price and his Bluesicians, 1944

Sammy Price was similar to Lonnie Johnson in that he really defied genre classification. My friend Les, who is a trad jazz player, would describe him as a blues pianist who was at home playing jazz as well. The problem with that is he predates the introduction of the piano into Blues. Sammy is a swing and stride era pianist who continued to play effectively in the bop eras but had a special affinity for blues and boogie woogie (styles in which he is considered to be more influential). If you remember the Lucky Thompson series from a year or 2 back, Lucky played with Sammy in the mid 40's too.

These recordings were done for World Broadcasting Systems in 1944 on 16" transcriptions for broadcast purposes only. The final versions first saw public release in 1984 for 2 or 3 seconds. This is the first and only release of the entire session, warts and all. The band is astounding; Ike Quebec, Bill Coleman, Joe Eldridge (Roy's older brother), and a very young Oscar Pettiford.....WHEW!

This release produced just down the block!

Count Basie - Kansas City Suite: The Music Of Benny Carter

Now here's a real classic in the Basie discography.  Penned by Benny Carter, the songs are a thematic nod to Basie's hometown.  The material has an old school big band vibe, from the heyday of the 30's and 40's.  The band handle this with great ease, and add a real modern twist.

The thing I love about these songs, are the incredible dynamics which only a high caliber band like Basie's can deliver.  They shift back and forth from roaring to quiet at the drop of a hat.  Sometimes they spring it on the listener within a beat, and other times they slowly work towards it.  In either case, the playing here is about as interesting as jazz gets.

As the band move through the suite, they are also able to convey so many moods and feelings.  That's why I love Basie so much, behind the top notch playing is always a soulful groove to capture not just your mind , but your heart too.  Sigh...  they don't make 'em like this anymore, but we can still look back.

This was ripped from my minty Forum reissue at 24/44.1 wav and dithered to 16/44.1 FLAC.  Overall it's nice and quiet, and of course has wonderful dynamics.  The bass is really well mixed and even thumps at certain points.  I still have quite a few great Basie sides to share... enjoy!!!

Roulette Records ‎– SR 52056

1960

A1 Vine Street Rumble 3:33
A2 Katy-Do 4:19
A3 Miss Missouri 5:10
A4 Jackson County Jubilee 2:30
A5 Sunset Glow 2:27
B1 The Wiggle Walk 3:53
B2 Meetin' Time 3:23
B3 Paseo Promenade 3:23
B4 Blue Five Jive 3:56
B5 Rompin' At The Reno 2:14

Count Basie (piano); 

Sonny Cohn, Thad Jones, Joe Newman, Snooky Young (trumpet); 

Henry Coker, Al Grey, Benny Powell (trombone); 

Marshall Royal, Frank Wess, Frank Foster, Billy Mitchell, Charles Fowlkes (reeds); 

Freddie Green (guitar); 

Eddie Jones (bass); 

Sonny Payne (drums).

Coleman Hawkins - Wrapped Tight (1966)

Hawkins's last strong recording finds the veteran, 43 years after his recording debut with Mamie Smith's Jazz Hounds, improvising creatively on a wide variety of material on this CD, ranging from "Intermezzo" and "Here's That Rainy Day" to "Red Roses for a Blue Lady" and "Indian Summer." Best is an adventurous version of "Out of Nowhere" that shows that the tenor-saxophonist was still coming up with new ideas in 1965. ~ Scott Yanow, All Music Guide.

As an In expression, “wrapped tight” can have a lot of meanings, all of them superlative. A girl abundantly endowed with Nature’s most attractive gifts is said to be “wrapped tight.” A jaguar swinging down the highway with Count Basie at the wheel is, in a special sense, wrapped is wrapped tight. And among musicians, because of his ability, imagination and universally recognized authority, Coleman Hawkins is assuredly wrapped tight.

The encomium can well be applied to this album, too, because it puts the great tenor saxophonist in contexts that fit him excellently. Wrapped Tight, a Manny Albam original, is one of six arrangements written by Manny that are extraordinarily successful in creating a snug, orchestral atmosphere, and this despite the limited instrumentation. More than mere points of arrival and departure, they serve to enhance the Hawkins improvisations. Enframing and supporting them, they also remove a measure of responsibility from the star’s shoulders, and his playing is in consequence the more relaxed. That he remains perfectly capable of fashioning entire performances himself is very adequately shown on Out of Nowhere and the five-minute Indian Summer, where he is accompanied by the rhythm section only.

In short, then titles wrapped tight by the man for whom the tenor saxophone was invented - Coleman Hawkins.
~ Stanley Dance, from Liner Notes.

Impulse! Records/GRP Records; AS-87/GRP 11092; 1966/1991

Recorded 22^nd February (#1-6), 1965 and 1^st March, 1965 (#7-12) at Van Gelder Studio, Englewood Cliffs, New Jersey

Track Listing:

1. Marcheta {Victor Schartzinger} (3:06)

2. Intermezzo {Pietro Mascagni} (3:38)

3. Wrapped Tight {Manny Albam} (3:27)

4. Red Roses For A Blue Lady {Sid Tepper, Roy Brodsky} (2:25)

5. She's Fit {Coleman Hawkins} (2:44)

6. Beautiful Girl {Arthur Freed, Nacio Herb Brown} (4:27)

7. And I Still Love You {Pauline Rivelli, Ruth Roberts, Stanley Clayton} (3:12)

8. Bean's Place {Bob Hammer, Buck Clayton} (2:54)

9. Here's That Rainy Day {Jimmy van Heusen, Johnny Burke} (5:22)

10. I Won't Dance {Oscar Hammerstein II, Otto Harbach, Jerome Kern} (3:21)

11. Indian Summer {Victor Herbert, Al Dubin} (5:02)

12. Out Of Nowhere {Edward Heyman, Johnny Green} (3:42)

Personnel:

Colemans Hawkins - Tenor Saxophone

Bill Berry - Trumpet (#1,2,3,7,8)

Snooky Young - Trumpet (#4,5,6)

Urbie Green - Trombone (#1,8)

Barry Harris - Piano

Buddy Catlett - Bass

Eddie Locke - Drums

Credits:

Producer - Bob Thiele

Recording Engineer - Rudy Van Gelder

Ramsey Lewis - And His Gentle-Men Of Jazz (1958) [vinyl>flac]

This is LP is the follow-up to Ramsey Lewis’ previous Argo release posted here as Ramsey Lewis - And The Gentle-Men of Swing, in 1956.
It also fills a request for feelingofjaz. Enjoy!

From their first appearance in the Chicago SRO club in the spring of 1957, the Ramsey Lewis Trio was considered, by the public and critics, one of the brightest jazz groups to appear in the jazz scene. Great jazzmen such as Dizzy Gillespie called them “A gust of fresh air on the musical scene,” and Duke Ellington said they were “A bouquet of tonal delight.” A trio with a rare combination of stimulating music and personal magnetism, the group was in the mold of the Modern Jazz Quartet—thoughtful, studious, exploratory, but possessing a quietly throbbing, thoroughly captivating beat.

This out-of-print LP (some of the contents have since come out on CD in the Decca reissue series) was the second one issued under pianist Ramsey Lewis' name and is taken from the same session as his debut. Joined by his longtime sidemen bassist Eldee Young and drummer Red Holt, Lewis plays a melodic brand of swinging bop. This version of "Delilah" (from the film Samson and Delilah) was a minor hit and other highlights include "Please Send Me Someone to Love," "Black Is the Color," "It Ain't Necessarily So" and "On the Street Where You Live." Ramsey Lewis' roots in jazz (which in later years would sometimes be hidden) is very much in evidence throughout this enjoyable trio set. ~ by Scott Yanow, allmusic.com

Argo Records, LP-627, 1958

Recorded 9th February, 1958 in Chicago

Personnel:

Ramsey Lewis - Piano

Eldee Young - Bass

Isaac “Red” Holt - Drums

Track Listing:

A1. Delilah {Victor Young} (5:21)

A2. I Get A Kick Out Of You {Cole Porter} (2:59)

A3. Please Send Me Someone To Love {Percy Mayfield} (4:03)

A4. Brother John {Traditional} (3:50)

B1. Black Is The Color {Traditional} (4:48)

B2. It Ain't Necessarily So {George Gershwin, Ira Gershwin} (2:47)

B3. Seven Valleys {Fred Katz} (5:25)

B4. On The Street Where You Live {Alan Jay Lerner, Frederick Loewe} (3:40)

Elvin Jones - Coalition (1970)

I posted this at the old Crypt a couple of years ago. It still doesn't seem to have made it to CD.

AMG review:
Drummer Elvin Jones' Blue Note sessions have long been underrated, partly because the label itself was declining during the era and also partly due to the rise of the avant-garde and fusion, which overshadowed Jones' passionate and advanced hard bop. In 1970, Elvin's band consisted of George Coleman and Frank Foster on tenors (Foster also plays bass clarinet on one number), bassist Wilbur Little, Candido on conga, and the drummer/leader. This was a particularly creative and often intense ensemble, attached to the hard bop tradition but always looking forward. On four group originals (including Coleman's "5/4 Thing") and "Yesterdays," the quintet generates a lot of heat, with the contrast between the tones of Coleman and Foster making this album (not yet reissued on CD) of particular interest.

01 - Shinjitu
02 - Yesterdays
03 - 54 Thing
04 - Ural Stradania
05 - Simone

George Coleman (ts) Frank Foster (ts, acl) Wilbur Little (b) Elvin Jones (d) Candido Camero (cga, tamb)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, July 17, 1970

Barney and More Barney at The Club St Germain

My buddy Robert (french pronunciation) didn't stop with just the Roy Haynes disc, he also included both volumes of this epic live set from The Club St. Germain featuring American expats Kenny Dorham and Duke Jordan.along with French bassist  Paul Rovere and young Swiss drummer Daniel Humair.

This is some truly lovely music played here. All the participants share a reverence for 'The Song' as opposed to pyrotechnics and gymnastics, the result is quite refreshing. Wilen is by this time 21 or 22 and a more mature player than on the Haynes set. He has scored films, recorded with Miles and several other Giants of Jazz - all in all a rather impressive resume' for such a youngster.

It would appear that these recordings have become somewhat rare since their last reissue, hope you enjoy them.

Mike Bryan And His Sextet

Now here's an album which I stumbled onto.  I have a couple of local thrift shops which I check weekly, and came upon this during my last visit.  Truthfully I had never even heard of Mr. Bryan, so I bought it based on the strength of the Storyville label.  Turned out to be a good move!!

The notes are included, and give the overview of his story, so I won't venture to deep into it.  Firstly, he is a guitar player which threw me for a loop because he's not pictured on the cover of his own album!  Nope, that's Georgie Auld in the foreground and Doc Severinson behind him.  Basically, Bryan played with Benny Goodman for a spell and then while in California, was influenced by the bop movement.  What we get here is a really progressive mainstream side, with leanings towards bop.

Side 1 is a studio session, and side 2 a live set.  Great playing from all... a really tight swing, upbeat, with fun soloing by all band members.  Mike Bryan stretches out on a couple tracks and is an excellent guitarist with a really nice tone.  If you're looking for something "new", this will fill the void.  A really great side with excellent fidelity to boot.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Storyville  SLP-4015
1981

Donald Byrd ~ Getting Down To Business (1999)

Review by Scott Yanow

Trumpeter Donald Byrd's second jazz album during his comeback after years of playing R&B/funk and then totally neglecting his horn finds him starting to regain his former form. The strong supporting cast (altoist Kenny Garrett, tenor saxophonist Joe Henderson, pianist Donald Brown, bassist Peter Washington and drummer Al Foster) sometimes overshadows the leader on this CD but the music overall (modern hard bop) is rewarding. The sextet performs originals by Byrd, Henderson, Donald Brown, Bobby Hutcherson, James Williams and Duke Ellington ("I Got It Bad").

1. Theme for Malcolm
2. That's All There Is to Love
3. Pomponio
4. Certain Attitude
5. Onliest
6. Around the Corner

Donald Byrd (t, flh) Kenny Garrett (as) Joe Henderson (ts) Donald Brown (p) Peter Washington (b) Al Foster (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, October 10 & 12, 1989

Vinyl>flac

Jazz For Playboys

During the 50's, Savoy released quite a few mainstream jam sessions.  They generally revolved around the same batch of players, mostly culled from Basie's band.  The results were excellent and most importantly, consistent.  Jazz For Playboys is no exception and overall is a pleasant ride through jazzville.

You will find that this side gets listed under Frank Wess and Kenny Burrell's names... rightly so.  They appear on all of the tracks and definitely lead the charge as far as soloing is concerned.

I thought this would be a nice break from the Basie project, while still staying in a related sound.  This minty Savoy side is a 1985 reissue, ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Savoy Jazz MG-12095

Count Basie - One More Time

Since everyone seemed to enjoy the last side so much, One More Time seemed a logical choice for our next venture.  It should be also noted that we went a bit off track by posting a Verve album - this project is supposed to be a look at Roullette.

There's a good chance that most of you will find "groovemaker" preferrable to this.  That said, One More Time is a strong album of catchy tunes.  Once again, Quincy Jones was called upon to write, and with glorious results.  The opener, For Lena and Lennie, sums up the difference of this side very nicely, a mid to low tempo statement piece.  From this point however, the band leaps into action with Rat Race - filled with glorious soloing and interaction.  Overall, this is classic Basie serving an interesting and provoking big band session.

This album has some surface noise, which cleaned up nicely.  Ripped from my stereo Forum reissue at 24/44.1 wav, and dithered to 16/44.1 FLAC.  Much like the previous post, we are treated to some wonderful fidelity.  A largely open soundstage with natural reverb between channels.  When the band digs in, the brass has that wonderful bite which only a big band can provide.  One of my favorite line ups...  enjoy!!!

Roullette R-52024
Originally released in 1959
Recorded in New York City on December 18-20, 1958
except #3, 7, 8 & 10 recorded in Chicago on January 23-24, 1959

Bass – Eddie Jones
Drums – Sonny Payne
Guitar – Freddie Green
Piano – Count Basie
Saxophone – Billy Mitchell, Charlie Fowlkes, Frank Foster, Frank Wess, Marshall Royal
Trombone – Al Grey, Benny Powell, Henry Coker
Trumpet – Snooky Young*, Joe Newman, Thad Jones, Wendell Culley
Written-By – Quincy Jones

A1  For Lena And Lennie    3:57
A2  Rat Race     2:57
A3  Quince     3:55
A4  Meet B B     3:35
A5  The Big Walk     2:55
B1  A Square At The Roundtable     2:16
B2  I Needs To Be Bee'd With     3:29
B3  Jessica's Day     4:24
B4  The Midnite Sun     Never Sets 3:34
B5  Muttnik     5:25

Roy Haynes - Modern Jazz Group Swing 10", 1954, France

 My friend Robert is a saxophonist and a Frenchman and a big fan of Barney Wilen. His feeling is that Wilen is the most melodic of players in the hard bop/post bop era. Wilen's improvisations are always close to the bone of the song, he is remarkably UN-selfindulgent in his choices. Through Robert, I have grown to appreciate Wilen too, I think he appeals to me in the same way that John Park does. This rare French 10" was Wilen's first recording, he was 17! Roy Haynes had made his own professional debut at the same age 10 years earlier but this was only his second session as a leader. A lovely little session it is too, Gourley, Renaud and Cameron all have sparkling contributions and of course Roy and Joe Benjamin are impeccable - 20 minutes of bliss.

Roy Haynes - Modern Jazz Group
Swing 10", 1954, France

1. Red Rose
2. A Mountain Sunset
3. Laffin' And Cryin
4. Minor Encamp
5. Subscription
6. Dillon

Roy Haynes,Barney Wilen,Jimmy Gourley,Jay Cameron,Henri Renaud,Joe Benjamin

Donald Byrd ~ Harlem Blues (1987)

R.I.P. Dr Donald Byrd.

Although it is probable that many of the obituaries will focus on Byrd's academic achievements and his commercial success with such as the Blackbyrds, personally I was delighted when he left the desert wastelands of fusion and returned to his roots. "Harlem Blues" was the album that heralded that return and was his first recording after a five year absence from the studios. Currently out of catalogue this is ripped from my original vinyl. If you're lucky enough to get hold of the CD it has an extra track.

Review by Scott Yanow

This Landmark release was trumpeter Donald Byrd's first jazz album in over 15 years after a long (and commercially if not artistically successful) detour into poppish R&B/funk. In the 1980s Byrd had neglected his trumpet playing in order to direct the Blackbyrds and teach. The period away from his instrument shows in spots on this well-intentioned set. Byrd gathered together four excellent players (altoist Kenny Garrett, pianist Mulgrew Miller, bassist Rufus Reid and drummer Marvin "Smitty" Smith) to play four group originals, W.C. Handy's "Harlem Blues" and "Blue Monk." Ironically Byrd's own playing was not at this point up to the level of his sidemen although his chops would improve during the next couple of years.

1. Harlem Blues
2. Fly Little Byrd, Fly
3. Voyage a Deux
4. Blue Monk
5. Alter Ego
6. Sir Master Kool Guy

Donald Byrd (t, flh) Kenny Garrett (as) Mulgrew Miller (p) Mike Daugherty (syn) Rufus Reid (b) Marvin "Smitty" Smith (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, September 22 & 24, 1987

Count Basie - L'il Ol' Groovemaker... Basie!

So I figured it's time to get back on the Basie train, as promised.  I have prepared some really killer sides, but wanted to come out with guns a-blazin!  There's many reasons that Basie was able to stay relevant through the years.  Aside from sheer talent, he also knew the importance of taking cues from other great talent.  All throughout his catalogue you will find collaborations - Basie bringing in a composer and/or arranger to help the band shine.

Quincy Jones was by this point a jazz success,  viewed as the next generation, and lent both his writing and arranging skills to this session.  I can assure you that it was a match made in heaven.  All of the tracks found on "groovemaker" are penned by Jones, and fully arranged as well.

Overall this album has a really great vibe.  Hard swingin and heavy groovin can be found through every track.  I would suggest that everyone read the liner notes, written by Stanley Dance himself.  They really do more justice than I ever could.  It should be noted that the fidelity on this side is exceptional.  The dynamics are as good as they get.  I just love the way the brass cuts through and leaps out of the speakers.  In typical Basie fashion, the band can also play as though they are a mere trio.

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

Don Wilkerson - Preach Brother!

With the release of The Complete Blue Note Sessions, Don Wilkerson seems to have finally received some long overdue recognition.  Firmly planted in the soul jazz style, he stands alongside greats like Fathead Newman, Stanley Turrentine and Hank Crawford.  It's still fascinating to me, that with the incredible popularity and exposure of Blue Note, Wilkerson can still remain a mystery to jazz fans.

You won't find any spiritual or higher powered jazz on Preach Brother!.  The order of the day is fun, upbeat jazz with a heavy leaning towards R&B.  Wilkerson is never at a loss for a funky, groovy chorus - and the band follows suit accordingly.

Obviously, most of you have this album one way or the other, as part of a collection or as a reissue.  I am offering my minty, reissued LP in hopes of capturing the few out there who need an introduction.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Ben Webster - Meets Bill Coleman (1967)

The U.S. jazz scene of the late '60s was dominated by such disparate artists as Miles Davis, John Coltrane, Ornette Coleman, Bill Evans, Stan Getz, Dave Brubeck, and others. The swing players from the '30s and '40s were out of vogue in America, but in Europe audiences still flocked to see them; hence this recording session features a British rhythm section backing tenor legend Ben Webster and trumpeter and singer Bill Coleman. While this music has no surprises, it's delightful in its relaxed swing and joyous delivery. Webster and Coleman play well off each other and the band supports the two horn men with real panache. In particular, the Django Reinhardt-esque guitar playing of Jim Douglas adds a European flair to the proceedings. Highlights include the upbeat "But Not For Me" and the delicate ballad, "For All We Know." ~ by Rovi, allmusic.com

Black Lion, BLCD-760141, 1990

Recorded 27th April, 1967 at Olympic Studios, Barnes, London, England

Track Listing:

1. Proud Horn {Bill Coleman, Ben Webster} (4:56)

2. Moonglow {Eddie DeLange, Will Hudson, Irving Mills} (5:06)

3. Satin Doll {Ellington, Mercer, Strayhorn} (4:54)

4. For Max {Bill Coleman, Ben Webster} (6:22)

5. But Not For Me [Take 3] {George Gershwin, Ira Gershwin} (4:23)

6. But Not For Me [Take 4] {George Gershwin, Ira Gershwin} (4:00)

7. For All We Know {Fred Coots, Sam M. Lewis} (5:41)

8. Sunday {Chester Conn, Nick Drake, Benny Krueger, Ned Miller, Jule Styne} (4:44)

9. Bill Coleman {Bill Coleman, Ben Webster} (6:13)

Track 2 - Previously Unreleased

Track 6 - Previously Unreleased Alternative Take

Personnel:

Ben Webster - Tenor Saxophone

Bill Coleman - Flugelhorn, Trumpet, Vocals

Jim Douglas - Guitar

Fred Hunt - Piano

Roy Rae - Bass

Lennie Hastings - Drums

This one is for PoppaChubby, he's a great lover of Swing. The music provided here was taken from the Limited Edition CD not available now. Like many Black Lion releases the sound quality can be poor. In this instance the disc was ripped to wav and optimized prior to re-encoding to FLAC for this post. The results speak for themselves. Enjoy!

John Handy Concert Ensemble - Projections 1968

This was posted at the old Crypt some 3 years back, it was a contribution from grumpy long before he was an author here and he tells me it came an ancient down load from before the blogging era. It also represents the next step in revisiting the career of Mike Nock.

The Sixties were a great era for John Handy, from his historic 1965 appearance at Monterey on, he rocked the jazz world with a series of terrific and inventive albums.
On this album he has both Michael White and Mike Nock who would shortly leave to form The Fourth Way. The music dances on the edge of free jazz without ever fully crossing over, I would put in the spiritual jazz category if you needed a label for it but mostly it is just great music. The compositions are all originals by members of the ensemble and even today it maintains a wonderful freshness. Sadly Handy would never achieve the level of popularity and recognition he deserved despite having a crossover hit in the 70's with 'Hard Work'. Even today as a jazz educator at San Francisco State he remains criminally under recognized outside of the Bay Area.

Cozy Cole And His All Stars

Hey gang.  This is a wonderful, swingin album filled with exciting, inventive solos and uptempo jazz.  The jacket has no info on the back, simply listings for more titles from Paris Records.  I was under the impression that this was a Cole album, but that's not fully the case.

Big thanks to our Crypt brother yewsta.  He gathered all the info and as it turns out, the album is quite the mash-up of artists.  That said, it's still a worthwhile side with some classic jazz.  Lots of star power throughout which gives us some really inspired soloing, and really tight swing.

I did my best to restore this album, which is far from mint.  Overall it's quite listenable, with varying fidelity due to the source material used by Paris.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Paris Records P-122
Originally released on Plymouth P-12-155
1944, 1945, 1955

November 14 1944 (01 02) - Cozy Cole (New York)
November 21 1944 (03 06) - Cozy Cole (New York)
May 02 1955 (12) - Henri Carels Jean Fanis (Brussels)
August 22 1945 (04 05) - Timme Rosenkrantz and His Barons (New York)
August 1955 (07-11) - Herman Sandy's Quartet (Brussels)

Timme Rosenkrantz - leader (04 05); Charlie Shavers - trumpet (01-03 06); Herman Sandy - trumpet (07-11); Henri Carels - trumpet (12)
Otto Hardwick - alto (04 05); Johnny Bothwell - alto (04 05); Walter Foots Thomas - alto, tenor (01 02)
Coleman Hawkins - tenor (01-03 06); Don Byas - tenor (03 06); Charlie Ventura - tenor (04 05)
Harry Carney - baritone (04 05); Hank D'Amico - clarinet (01-03 06); Roger Asselberghs - clarinet (12)
Red Norvo - vibes (04 05); Clyde Hart - piano (01 02); Johnny Guarnieri - piano(03 06)
Jimmy Jones - piano (04 05); Jean Fanis - piano (07-12); Tiny Grimes - guitar (01 02)
Slam Stewart - bass (01-03 06); John Levy - bass (04 05); Jean Warland - bass (07-11)
Nick Klechkovsky - bass (12); Cozy Cole - drums (01-03 06); Specs Powell - drums (04 05)
Freddie Rottier - drums (07-11); Leon Bodash Demeuldre - drums (12)

Al Grey - Basic Grey

Mwha...MMMwhaaaaaaaa.

That one of a kind, distinct sound was Al Grey's calling card. Infact, he literally wrote the book on it. Grey's career is the stuff of jazz legend, setting the bar for all who follow. He did it all...composer, arranger, player, performer, recording artist, author, educator and all around purveyor of all things jazz.

Al Grey played for years with Count Basie, but luckily for us, set out to lay down his own path. For the most part, he brought his Basie bandmates along forming firstly the Al Grey/Billy Mitchell sextet, and The Basie Wing. During the 60's he recorded several wonderful sides for Argo/Cadet, the jazz arm of Chess Records.


Basic Grey is a collection from his Argo sessions. More specifically, it's actually 3 full length sides released on two LPs. This album was released on the Chess Jazz Masters Series, which took a close look at their jazz catalogue, re-issuing some greats. Unlike many of the two-fers that Prestige or Riverside released, Chess decided to give the listeners the full experience of each album, even keeping the track listings as they originally appeared. We are treated to Snap Your Fingers, The Al Grey/Billy Mitchell Sextet and The Last Of The Big Plungers. "Sextet" is actually a live album, recorded in NYC.

I will keep this review limited to generalizations. Clearly from the list of sidemen, this collection is a monster. Grey favours larger groups as far as the "small" group goes, usually between 6 - 9 players. The front line is generally weighed down with brass and as a result is real, real heavy. Dynamically the impact is just like a big band...fantastic.


All manner of tunes are called upon, but the consistent theme with Al Grey is the blues. It's best fit to his style, and he is relentless during a full on blues jam.


This double set is in NM condition. The fidelity of these recordings is outstanding making these transfers a real joy. Of course, they were ripped at 24/44.1 wav and dithered to 16/44.1 FLAC. The tracks from the live set are best enjoyed with no dead space or cross fade between. I have included all images from the original gatefold, and the notes will help to guide anyone wishing to re-tag these into single sides. And here we go again...Crypt style!! Enjoy!!

Snap Your Fingers:
Al Grey (tb); Billy Mitchell (ts); Dave Burns (tp); Bobby Hutcherson (vibes); Floyd Morris (p); Herman Wright (b); Ed Williams (d) also Al Grey (tb); Billy Mitchell (ts); Donald Byrd (tp); Herbie Hancock (p); Bobby Hutcherson(vibes); Herman Wright (b); Ed Williams (d)

The Last Of The Big Plungers: Al Grey (tb); Bennie Powell (tb); Joe Newman (tp); Billy Mitchell (ts); Charlie Fowlkes (bs); Floyd Morris (p); Ed Jones (b); Sonny Payne (d)

The Al Grey/Billy Micthell Sextet: Al Grey (tb); Billy Mitchell (ts); Henry Boozier (tp); Gene Kee (p); Art Davis (b); Jule Curtis (d); Ray Barretto (c)

Open to the public...

... a place for everything BUT jazz.  Hope to see you there.  No archive - so grab em while they're hot.  The pic is hyperlinked for your convenience.