Herbie Mann - Glory Of Love (1967) [vinyl>flac]

Flutist Herbie Mann is backed by a large rhythm section and a small horn section on this Creed Taylor-produced A&M set (which has been reissued on CD). Actually the most interesting aspect of the R&B-oriented date (which includes such songs as "Hold on, I'm Comin'," "House of the Risin' Sun" and "Unchain My Heart") is that the up-and-coming flutist Hubert Laws is matched with Mann on several tracks.  ~ by Scott Yanow, AMG.

This album is from Taylor's A&M period, and fronted by flautist Herbie Mann, it features a stellar line-up of soul-jazz studio musicians. There's a lot of pop soul here, and a sampling of the latin styles that both Mann and Taylor were known for. You'll find young Roy Ayers and Sonny Sharrock here (dig Ayers' awesome vibes solo on the cover of soul hit "The Letter" for a virtual blueprint of his Ubiquity sound). Listen to Ayers and Sharrock duet on the cover of "Hold On I'm Coming" over the unrelenting funk of Grady Tate on drums. Edu Lobo's "Upa Neguinho" gets a terrific treatment. The title track is pure CTI schmalz. And capitalizing off Taylor's eye for turning adult pop hits into jazz is "Love Is Far Stronger than We" covered from the A Man And A Woman soundtrack. "Oh How I Want To Love You" is a slinky sexy grind of a song, and, gasp, actually a Herbie Mann original.

CTI/A&M, SP-3003, 1968

Recorded 26^th (#A1,A3,A4,A5,B3), 27^th (#B4) July; 19^th (#B1) September;
6^th (#A2,A6,B2) October, 1967 at Van Gelder Studios, New Jersey

Track Listing:

A1. No Use Crying {Roy Gaines, Freddie Kober, Johnnie Daniels} (3:03)

A2. Hold On, I'm Coming {Isaac Hayes, David Porter} (3:11)

A3. Glory Of Love {Billy Hill} (2:41)

A4. Unchain My Heart {Freddy James, Agnus Jones} (3:09)

A5. House Of The Rising Sun {Traditional} (3:08)

A6. The Letter {Wayne Carson} (3:22)

B1. Upa, Neguinho {Edu Lobo, Gianfrancesco Guarnieri} (2:40)

B2. Love Is Stronger Far Than We {Pierre Barouh, Francis Lai, Jerry Keller} (3:10)

B3. Oh, How I Want To Love You {Herbie Mann} (5:31)

B4. In And Out {Herbie Mann} (4:33)

Personnel:

Herbie Mann - Flute

Hubert Laws - Flute, Piccolo Flute (#A1,A3,A4,A5,B1,B3,B4)

Joe Grimaldi - Saxophone (#B1)

Benny Powell - Trombone (#B1)

Burt Collins - Trumpet, Flugelhorn (#B1)

Ernie Royal - Trumpet, Flugelhorn (#B1)

Roy Ayers - Vibraphone (#A2,A6,B2)

Ted Sommer - Vibraphone (#B1)

Paul Griffin - Piano (#B1)

Roy Glover - Piano (#A1,A3,A4,A5,B3,B4), Organ (#A1,A3,A5,A5,B3,B4)

Roland Hanna - Piano (#B4), Organ (#B4)

Eric Gale - Guitar (#A1,A3,A4,A5,B1,B3)

Jay Berliner - Guitar (#B1)

Sunny Sharrock - Guitar (#A2,A6,B2)

Ron Carter - Bass (#A1,A3,A4,A5,B1,B3,B4)

Earl May - Bass (#A2,A6,B2)

Grady Tate - Drums (#A1-A6,B2-B4)

Herb Lovelle - Drums (#B1)

Johnny Pacheco - Percussion (#B1)

Ray Barretto - Percussion (#B1)

Ted Sommer - Percussion (#B1)

Plus Horns and Unidentified Chorus

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy Van Gelder

Don Byas - Ballads For Swingers (1966) [vinyl]

This is from vinyl. Part of a collection recently acquired by Danair, who lacks the facilities to rip LPs so he's sending them for me to do. The first, hopefully, in a series!

Born in 1912, Byas served his apprenticeship in a variety of big bands. Like most tenor players of his generation his style was heavily indebted to that of Coleman Hawkins, particularly in its fullness of tone. However, he soon developed his harmonic range and became interested in the then developing bop style. Often considered to be a bridge between the swing and bebop generations, he often anticipates Charlie Parker's solo development, stringing together whole series of tiny melodic ideas into a coherent line with a challenging harmonic profile.

He went to Europe in 1946 and spent the remainder of his life there until his death in Amsterdam in 1972. In later life he was a fine ballad player. Albert McCarthy in the book “Jazz On Record” published in 1968, suggested that he appeared to introduce elements from the playing of John Coltrane and Sonny Rollins into his style, citing the tracks “Lady Bird” and “All The Things You Are” from this album as evidence. He summarised – “At his best, Byas can be rated as one of the greatest ballad performers on his instrument”.

01 - Yesterdays
02 - All The Things You Are
03 - Lady Bird
04 - Lover Man
05 - I'll Remember April

Don Byas (ts) Bengt Axen (p) Niels Henning Orsted Pederson (b) Axel Riel (d) but see below
Café Montmartre, Copenhagen.

Thanks to Chu:

According to Lord, this was recorded on 13-14 January 1963 (one night) and the drummer is William Schiøpffe. This together with much more from the same night was once released on two Black Lion CDs entitled "A Night In Tunisia" and "Walkin'".

Junior Mance - Holy Mama

Today's offering is one of my favorite albums by our main man, Junior Mance.  Recorded in the late 70's, we are getting a snapshot of his best work in my opinion.  The older Riverside and Jazzland sides may be more attractive, but musically Mance is world's ahead by this point in his career.  I wanted to share this side a few years back but it had been reissued to CD.  It appears that it has gone OOP.

Holy Mama is really a showcase for both Mance and Martin Rivera, his bassist.  Sal LaRocca comps accordingly and does an amazing job keeping up with his partners - no easy task.  Overall, the dynamics on Holy Mama really speak to an excellent recording, but also to a trio with great abilities.  From the softest whisper to a lion's roar within a moment's notice, they capture one of the great essences of acoustic jazz.

The opener is a great example of what to expect from this album.  "By The Time I Get To Pheonix" explores just about every emotion and groove that Mance has to offer.  The way in which they change the time signatures, to the way they change the feel is something only the greatest of musicians are capable of.  The group are rooted in swing but use everything available to them;  from funk to blues.  I think that Rivera really deserves a shout out as he shows himself to be a bassist of the highest caliber.  Really, would a player like Junior Mance work with anything less?  Rivera's solo on "That Mellow Feeling" displays not only an immaculate sense of groove and feel, but amazing dexterity and mastery of his instrument.  I find when he takes a solo, I want to yell out to him and encourage him.  He seems to play right to the edge of chaos - where a player loses himself but of course, he always stays in the tune, fully composed.

Holy Mama was ripped from minty vinyl at 24/44.1 wav and dithered to 16/44.1 FLAC.  I have changed my methods a tad and now use FLAC Frontend to convert from wav.  All scans are still included in 300dpi quality.  For several reasons, I had shy'd away from ripping vinyl - only now and again.  I am now reborn and plan on flooding the Crypt with the huge backlog of albums I have.  I hope everyone digs this Sunday offering... enjoy!!!

___________________________________________________________

Inner City Records
IC 6018
1979

Bass – Martin Rivera
Drums – Salvatore LaRocca
Piano – Junior Mance


A1 By The Time I Get To Phoenix
Written-By – Jim Webb* 7:30

A2 God Bless The Child

Written-By – A. Herzog Jr.*, B. Holiday* 8:17

A3 That Mellow Feeling
Written-By – Junior Mance 7:13 

B1 Holy Mama
Written-By – Junior Mance 5:20

B2 Miss Otis Regrets
Written-By – Cole Porter 2:56

B3 The Good Old Days
Written-By – Junior Mance 5:57

B4 Blues For The Schnug
Written-By – Junior Mance 6:44

Cozy Cole - Cozy's Caravan & Earl Hines - Earl's Backroom

Ahhhhhh, home sweet home.  I may show up at different blogs, shoot....  I even have my own - but nothing, N-O-T-H-I-N-G compares to the Crypt.  I decided to take a short "blogcation" (yes I invented this word), which in turn became quite a long blogcation.  It was nice being able to just listen to some music that had been piling up, and simply chill out when logged on.  But enough of that, onto the music!!!

I want to continue where we left off and get the rest of this incredible series posted.  This album is really two sides in one, a split LP.  While on the topic, you should know that I have tagged it as such so don't be surprised to see two albums appear in your media player.

For fans of Cozy Cole, I don't think you will find a greater album than this.  First of all, the fidelity alone makes it a hot ticket.  Much of his early work suffers from poor recording.  This album also allows him some real space to hit ya with what he's got.  His solo during Caravan is an incredible example of his skill.  Cozy is in no rush and builds it slowly, deliberately creating that wonderful tension until he finally explodes before the band bring back the chorus.  Overall, like much of this series, we are treated to vocals and blues in a jazz jam setting.

As for the Earl Hines side, we are treated to a small quartet session featuring the little known horn player, Curtis Lowe.  Like many of his albums, these tunes are rooted in the blues and have a real jam flavour.  All 3 tracks are solid and exemplify Hines at his best.

With both of these sides combined, we get quite a strong album.  One theme that runs throughout??  FUN!!!  It's all upbeat and lighthearted which is a side of jazz I certainly love.  This was ripped from disc using EAC to 16/44.1 FLAC, 24 bit remastering, mmmmmmmm tasty Crypt BBQ anybody??? ...  enjoy!!!


Earl Hines Quartet - Earl's Backroom
Felsted FAJ 7002

01. Brussels’ Hustle (Hines) 7:59
02. Oooh! (Hines) 5:03
03. Backroom at the Villa d’Este (Hines) 6:49

Cozy Cole Septet - Cozy's Caravan

Felsted FAJ 7002

04. Caravan (Tizol-Ellington) 9:58
05. Phatz’ Blues (Morris-Thompson) 5:16
06. Margie (Davis-Conrad-Robinson) 4:26

Earl Hines Quartet:
Curtis Lowe (ts, bs), Earl Hines (p), Charles Oden (b), Earl Watkins(d).
Recorded in San Francisco, on February 3, 1958.

Cozy Cole Septet:
Lou Jones (tp), Walter 'Phatz' Morris (tb, hmca on #5), Boe McCain (ts), Reuben Jay 'June' Cole (p), Dickie Thompson (g, vcl), Peter Compo (b), Cozy Cole (d).
Recorded in New York City, on February 7, 1958.

Johnny "Hammond" Smith with Lem Winchester - Gettin' The Message (1960)

Organist Johnny "Hammond" Smith's fourth album as a leader, 1961's Gettin' the Message, pairs him with vibraphonist Lem Winchester; Smith and Winchester recorded together fairly often around this period, and the rather unique combination of mellow vibes (an instrument most often associated with cool jazz and Milt Jackson's dignified work with the Modern Jazz Quartet) and funky organ (then rising in popularity, along with what would soon be called soul-jazz) is an interesting blend of styles. The two trade solos in front of a standard hard bop rhythm section that hogs little of the listener's attention, but unfortunately never rises much beyond a mild simmer. While this is fine for tunes like the mellow opener, "Dementia," songs like "Lid Flippin'" and even that hoary old "Swanee River" sound like they could stand to be goosed along a bit; there's a big difference between cool and cold. Aside from that flaw, however, this is a solidly entertaining and texturally intriguing album. ~ by Stewart Mason, AMG.

Prestige Records, PR 7217, 1960

Recorded 14^th October, 1960 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Johnny "Hammond" Smith - Organ

Lem Winchester - Vibraphone

Eddie McFadden - Guitar

Wendell Marshall - Bass

Bill Erskine - Drums

Track Listing:

A1. Swanee River {Traditional} (8:54)

A2. Just Say So Long {Johnny "Hammond" Smith} (4:00)

A3. Lid Flippin' {Johnny "Hammond" Smith} (5:14)

B1. Gettin' The Message {Johnny "Hammond" Smith} (7:12)

B2. Princess {Johnny "Hammond" Smith} (5:28)

B3. Dementia {Johnny Burke, Erroll Garner} (5:18)

Credits:

Supervisor - Esmond Edwards

Recording Engineer - Rudy Van Gelder

Liner Notes - Sidney Falco

Johnny (Hammond) Smith with Lem Winchester, Prestige PRLP 7217 - Johnny (Hammond) Smith has perhaps his best LP effort to date here. The formidable jazz organist has always been a swinger of the first rank, but on this set he also shows first-class showmanship and taste. The addition of the late Lem Winchester adds a touch of contemplation which gives the instrumental sound distinctiveness – much like a funky Modern Jazz Quartet. The album is neatly divided into a variety of moods with “Swanee River,” “Gettin’ the Message” and “Princess” among the top tracks. ~ Billboard Magazine (May 12, 1962, page 24)

Mike Nock - Strata

Another Mike Nock date from 'wightdj' and at the time he sent it, I'd never even heard about this one. The album is a New Zealand release on the Kiwi label that does not appear to have seen any international distribution. In other words, not easy to find!

The record is primarily a solo effort but there is some nice percussion accompaniment on a few cuts. Nock plays some Fender Rhodes and synthesizer as well as piano on this captivating music that was written for a feature film of the same name. There is a definite mood established in this music, it's easy to imagine it accompanying a movie.

This is a rare one, don't miss it and don't forget to thank wrightdj for your good fortune in obtaining a copy of this treasure.

Mike Nock - Ondas

I'd call this one of the overlooked masterpieces of ECM. Rarely have piano trios produced such astounding conversations, this is the territory of  Evans/LaFarro/Motian or Jarrett/Haden/Higgins, hallowed ground indeed, but I have no problem elevating this album to that status. You can read Thom Jurek's ecstatic review, but first here are Mike's memories:

"Manfred wrote me a letter after hearing In Out and Around, saying he wished that album had been on ECM and telling me he wanted to make a trio recording with Gomez, Christensen and myself.
I played quite often with Gomez on recordings and tours, but never with Christensen.
The first day in the studio the trio played quite differently - free high energy jazz, which was erased before I even heard it!  I loved the session but Manfred seemed disinterested.
The next morning he got up at dawn and we began recording around 9am.  By 11am we were finished as he knew he had what he wanted.
It was a very collaborative session.  The first piece; ‘Shadows of Forgotten Love’ was on In Out and Around but Manfred had his own vision for the piece, suggesting I just play the first 16 bars and forget about the bridge section.  We finished the first take and I saw Manfred gesticulating wildly in the control room for us to continue - which we did and which you can actually hear on the recording.  It was all very spontaneous and a wonderfully unusual collaborative experience for me.
I was very much into Brazilian music and culture at the time ('Ondas' means 'waves' in Portuguese) but interestingly enough I came up with the title while on one of my frequent visits to Nelson NZ, situated on Golden Bay.
Manfred loved the title, as apart from the sound of the word it also had a somewhat enigmatic quality, as he felt very few people would know what it actually meant".
Mike Nock - September 15, 2010

Mike Nock celebrated his 70th birthday on September 27, 2010.

I've got to say that I mourn that first session that Manfred erased so preemptively, how nice would it be to have a companion album with a completely different feel?

Mike Nock - Succubus

 An odd little chapter in Nock's albums, as evidenced by the cover that would have you expecting some Goth-Metal band or other such, but this 1980 release on Sutra Records was relatively mainstream jazz for the time. At the end of the day the album attempts to straddle too many fences to be much more than interesting for me, but if you are a big fan of later Weather Report then I'm guessing you may well love this.

This rip comes from a young Swedish guy named Gustav, who posted it a few years back.

Mike Nock - Piano Solos 1978

More brilliant solo work from one of my favorite piano players. There is a sparkle to Nock's solo playing that I find irresistible, he is a painter, a poet, as good as any of his peers at this art-form (solo piano).

This first ran at the old Crypt some 4 years ago and it came then as a gift from wrightdj.

Ted Curson - I Heard Mingus (1980) [vinyl>flac]

Here we have rare and dynamic outing by the late great trumpeter Ted Curson. The title certainly informs the casual listener that he indeed spent some time with Charles Mingus. He is best known for his work with Charles Mingus' 1960 quartet (which also included Eric Dolphy, Booker Ervin and Dannie Richmond). An album to appreciate this fertile association is Mingus at Antibes recorded at a live 1960 performance at Juan-les-Pins and released in 1976. For this date Curson teams up with a very solid rhythm section. Mike Richmond really drives the group forward. There is plenty of room for both Ted and McNeely and Kawasaki to solo and develop some most active and energetic exchanges. Indeed the horn players in both Saxton and Morgenstein add to this strong if somewhat more freer performance than would be expected from such a crew. He essentially was an excellent and flexible trumpeter; personally I have always enjoyed Curson’s excursions into freer jazz formats. Pop Wine (1971) and Cattin' Curson (1973) are two such albums where he is joined by the mighty George Arvanitas Trio and Chris Woods. As always Ted can put together a beautiful ballad and a definite highlight is ‘Lost Her’, Enjoy!

Interplay Records, IP-7729, 1980

Recorded on 5^th January, 1980 at Sound Ideas Studios in New York City

Personnel:

Ted Curson - Trumpet, Flugelhorn, Percussion, Piccolo Trumpet

Bill Saxton - Tenor Saxophone

Mike Morgenstien - Baritone Saxophone (#A2,B2)

Jim Mcneely - Piano (#A2,B1,B2)

Ryo Kawasaki - Guitar

Mike Richimond - Bass, Electric Bass

Adam Nussbaum - Drums

Montego Joe - Percussion (#A2,B2)

Track Listing:

A1. I Heard Mingus (9:04)

A2. Please, Please, Please Don't Put The Pigsfoot In The Kreplach Soup (9:18)

B1. Lost Her (9:54)

B2. Lin's Garden (7:54)

All Compositions by Ted Curson; joined by Graham Collier on (#B2)

Credits:

Producer - Toshiya Taenaka

Recording Engineer - David Baker

Graphic Design - Nancy Graham

Photos - Kaz Fujita

John Handy - Projections

This is, in fact, a continuation of my little Mike Nock series, albeit he is not the leader here. 

I will confess up front that my primary motivation here is to find a nice lossless copy from one of you fine readers, failing that I may have to hunt one down myself because this is one damn fine album. For that matter, I believe there is a Mosaic set with all the Columbia recordings....anyone?? 

As you are carried away on this magic carpet ride, do please consider that this music was played 1967-68! WHEW!

"The third of altoist John Handy's three superb Columbia studio albums finds him fronting a quintet comprised of violinist Michael White, pianist Mike Nock, bassist Bruce Cale and drummer Larry Hancock. The talented group plays four originals by Handy, three by Nock and one from White. The music (much more concise in general than on the previous two Columbias) contains plenty of surprises and is difficult to categorize (somewhere between the avant-garde and hard bop), although it does not reach the same heights as New View." AMG

Red Rodney - Red, White and Blues (LP to flac)

"This Muse LP features a logical combination: veteran bop trumpeter Red Rodney and bop revivalist altoist Richie Cole. With pianist Roland Hanna, bassist Buster Williams and drummer Eddie Gladden offering stimulating support, the frontline is in fine form. It is surprising that the quintet mostly performs newer originals (by Rodney, Hanna, Cole and Bernie Senesky) with just two standards: "Smoke Gets In Your Eyes" and Charlie Parker's "Little Suede Shoes" (here mistakenly listed as "Little Red Shoes"). However, the music (which includes such colorful titles as "No Jive Line" and "Ode to a Potato Plant") is largely straight-ahead. An underrated set.

Tracks: It's the Same Thing Everywhere, Lolita's Theme, Red White and Blues, Rodney Round Robin, Little Red Shoes, Smoke Gets In Your Eyes, No Jive Line, and Ode to a Potato Plant

Personnel: Red Rodney on trumpet, Richie Cole on alto sax, Roland Hanna on piano, Buster Williams on bass, and Eddie Gladden on drums

Gene Ammons - Up Tight! (1961) [vinyl>flac]

A great little session by Jug – cut after the late 50s blowing session years, and with a much tighter sound that's very much in the pocket! The record features two groups – one with Walter Bishop, Art Davis, and Art Taylor; the other with Patti Brown, George Duvivier, and Taylor – and both groups are backed by Ray Baretto, for a tight rolling groove. Most titles are standards or loosely composed lines, but Jug's tenor is in great form – and the setting features some wonderfully economic playing. Tracks include "Up Tight", "Jug's Blue Blues", "Lester Leaps In", and "The 5 O'Clock Whistle". © 1996-2013, Dusty Groove, Inc.

Gene Ammons recorded many albums for Prestige records. This LP serves as a good introduction for jazz lovers unfamiliar with his playing style. Typically Ammons sounds particularly warm and soulful throughout this album. Ammons is unique in his ability to play both hard bop and soul jazz numbers. Just listen to "The Breeze And I" and then try on "Lester Leaps In" as examples. Overall a great performance, well recommended!

Prestige Records, PR 7208, 1962

Recorded 17^th & 18^th October, 1961 at the Van Gelder Studio, Englewood Cliffs, NJ

Personnel:

Gene Ammons - Tenor Saxophone

Walter Bishop - Piano (#A1,A3,B2,B3)

Patti Bown - Piano (#A2,A4,B1)

Arthur Davis - Bass (#A1,A3,B2,B3)

George Duvivier - Bass (#A2,A4,B1)

Arthur Taylor - Drums

Ray Barretto - Conga Drum

Track Listing:

A1. The Breeze And I {Ernesto Lecuona} (6:23)

A2. I Sold My Heart To The Junkman {Leon Rene, Otis Rene} (4:31)

A3. Moonglow {Will Hudson, Irving Mills, Eddie DeLange} (5:02)

A4. Up Tight {Gene Ammons} (3:32)

B1. The Five O'Clock Whistle {Josef Myrow, Kim Gannon, Gene Irwin} (5:56)

B2. Jug's Blue Blues {Gene Ammons} (8:17)

B3. Lester Leaps In {Lester Young} (4:12)

Credits:

Supervisor - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Tom Wilson

Mike Nock - Talisman

Mike Nock - Talisman
Inner City Records 1978 (Enja)

It has been four years since this one made an appearance at the old crypt.

A beautiful solo outing from 1978,  courtesy of 'wightdj'. Not only a lovely album but a great cover too. I could listen to Mike Nock play solo piano all day, he just carries me away. The opening song, Sunrise, very much captures the magic of a sunrise. Apparently Mike sat down in the studio and created this album in a day. The album consists of mostly originals but the covers are great songs too: In Your Own Sweet Way and Black is the Color. Take the time to read the back cover (the resolution is really good); it tells the tale of Mike moving to San Francisco with John Handy in the Summer of Love and staying at the Garage of Kesey's Merry Pranksters. Some parties and recreational drugs down the road Mike quit Handy's band, discovered Gurdjieff, and founded The Fourth Way. The year Mike left SF, 1975, is the year I first arrived there. Damn! Just missed him!

Mulgrew Miller - Wingspan 1987

On May 29th we lost 'Grew', the great Mulgrew Miller to a stroke, he was only 57.

"The emphasis on this quintet album is on Mulgrew Miller's compositions; five of the seven numbers (all but Kenny Garrett's "Sonhos Do Brasil" and the standard "I Remember You") are by the pianist/leader. Miller is joined by bassist Charnett Moffett, drummer Tony Reedus, vibraphonist Steve Nelson and altoist Garrett (who plays flute on one song); percussionist Rudy Bird guests on three numbers. The inventive solos on the fairly complex material and the attractive sound of the ensembles make this a worthy release." Yanow

This is a reissue of what was Miller's 3rd album on the Landmark label.

Oscar Dennard - The Legendary Oscar Dennard

This first appeared at the old Crypt some two or more years ago.

I've got to confess that when Mysterious E sent me this one I hadn't the faintest idea who Oscar Dennard was but here is what I've found.

by Henry M. Shteamer This is the only record date led by Oscar Dennard, an obscure pianist best known for his work with Lionel Hampton in the 1950s. Legendary Oscar Dennard finds Dennard in a trumpet quartet, featuring the wonderfully composed Idrees Sulieman, Jamil Nasser (of the Ahmad Jamal trio) on bass, and Buster Smith on drums. The tunes are mostly jam-session fare, and they are given lengthy readings. The group swings hard throughout, with each member soloing extensively. Dennard's unique style is the real reason to seek out this set. His solos build to dense peaks, employing flurries of jagged notes. On "Tour de Force Blues," Dennard pounds out a succession of single-note stabs, countering the easy swing laid down by Nasser and Smith. Dennard's playing, highlighted by chromatic grace and rhythmic play, is an interesting treat, embracing swing and bop while also suggesting the work of celebrated eccentrics such as Jaki Byard and Herbie Nichols.

I'd say the comparison with Nichols and Byard works; It is also nice to hear Sulieman in such an exposed format. I'm still processing this one so the review may gain some insight in another listen or two

Oscar Dennard - The Legendary Oscar Dennard
somethin' else Classics (1958)

1 All of You Porter 6:51
2 Visa Parker 11:21
3 Pinky 4:26
4 Stella by Starlight Washington, Young 12:24
5 Confirmation Parker 9:55
6 Tour de Force Gillespie 4:26
7 Tangier Blues Sulieman 12:05