Booker Ervin 1960

 A pair of one-off sessions made during Ervin's Mingus time. These catch him in a more straight ahead hard bop mode than the later recordings.

"Booker Ervin's debut as a leader teamed the intense tenor saxophonist with fellow tenor Zoot Sims (one will have little difficulty telling the cool-toned Zoot apart from Booker), trumpeter Tommy Turrentine, pianist Tommy Flanagan, bassist George Tucker and drummer Dannie Richmond. Ervin (who has his ballad "Largo" as a feature) performs five originals and "Poor Butterfly"; best are the slow blues "The Blue Book" and the rapid blues "The Book Cooks." AMG

The same year Ervin did a Savoy session with a trio of Mingus band mates including his roommate Horace Parlan and the brilliant Richard Williams, a memorable trumpet voice that was lost too soon. The album has a more coherent feel than many Savoy sessions of the time because this was a frequent working unit in clubs.

Clifford Jordan/Von Freeman - Hyde Park After Dark (1981) [Bee Hive 7014]

I couldn't let a comment to my previous Jordan post go unchallenged so I've re-upped this from the old Crypt. Never issued on CD, I was fortunate to acquire a sealed copy of this LP - so ripped from mint vinyl.

Review by Brian Davis, Jazz Journal, July 1994

"This is not a blowing session ambling through a couple of standards, I Got Rhythm and a blues. As the titles show this is a challenging choice of two rarely played ballads, three compositions by other jazzmen, one by Simmons (Sad Sam which, as it happens, is the only weak track, a slowish minor-keyed thing in samba rhythm progressively losing impetus) and one, the title track, by Jordan.
This latter with a nice 'head' by Simmons (as on all others) refers to the long gone Chicago nightlife area which also housed the famed BeeHive Lounge where many NYC bebop pioneers played alongside their Chicago brethren. Simmons immediately shows his mettle jumping in as first man up with a grooving, meaty percussive solo, followed by Touff's bass trumpet. Touff has proportionately less exposure throughout than the others. His sound is pleasantly burry, resembling an abrasive toned Bob Brookmeyer; his ideas are similar but he has less to say. You're Blasé is Simmons and rhythm only and here the pianist commands attention with a beautiful loping solo.
The central interest is the two tenors. Jordan is a strong player and never less than interesting. Easily his best is his ballad feature, an expressive and sensitive reading of the one-time Gillespie big band theme, I Waited For You. Freeman's ballad choice, I'm Glad There Is You, is typical of his unconventional approach. Speech-like in delivery, his phrasing stark and effecting a wide vibrato, he achieves a maximum of drama. Sproles is a rock-solid no frills bassist and anchor man throughout, while Campbell swings lightly but a bit too politely at times.
Good to see BeeHive buzzing again and up to that label's expected high standard."

01 - Hyde Park After Dark
02 - You're Blasé
03 - Lotus Blossom
04 - Sad Sam
05 - I Waited For You
06 - I'm Glad There Is You
07 - 2° East, 3° West

Clifford Jordan, Von Freeman (ts); Cy Touff (b-t); Norman Simmons (p); Victor Sproles (b); Wilbur Campbell (d). Chicago, September 5, 1981

Clifford Jordan - Hello Hank Jones

New link now available. From the original direct to disc LP.

Review by Ken Dryden
"Direct-to-disc recordings were highly sought by audiophiles during their heyday in the late '70s and early '80s, prior to the widespread availability of digital recordings. The technology had its advantages, especially during jazz sessions, where musicians the caliber of Clifford Jordan weren't handicapped by the engineer's inability to splice takes or overdub afterwards. Jordan, who is the leader of the session, shines on tenor sax, driven by an outstanding rhythm section with seasoned pianist Hank Jones, bassist Reggie Workman, and drummer Freddie Waits. Following an extensive exploration of Jordan's very catchy post-bop Vienna (which he previously recorded nine years earlier for the LP In the World), the quartet shifts into a bop mode with a superb take of Oscar Pettiford's Bohemia After Dark and a hard-blowing interpretation of Cole Porter's Love for Sale. Like all direct-to-disc recordings, this long unavailable LP is a limited edition that was in short supply and difficult to find even when it was issued. Any jazz fan fortunate enough to locate a copy decades later will enjoy the performances and marvel at the warm, very intimate sound achieved by the musicians and the engineers on that summer day in 1978."

1. Vienna
2. Bohemia After Dark
3. Love For Sale

Clifford Jordan (ts) Hank Jones (p) Reggie Workman (b) Freddie Waits (d)
NYC July 5, 1978
(East World EWLF-98003 - Japan)

Hampton Hawes - Live At Montmartre (1971) [vinyl]

New links now available for both albums.
Something from my favourite pianist, several albums emerged from Hawes' European tour with this trio in 1971.

This Guys In Love With You

Review by Scott Yanow:
Hampton Hawes, a bop-oriented pianist in the '50s, continued to develop and evolve throughout his career without losing his musical identity. For this trio set with bassist Henry Franklin and drummer Michael Carvin, Hawes shows the influence of McCoy Tyner a bit and, by performing Burt Bacharach's "This Guy's in Love with You" (along with four other group originals), he shows his openness to including some pop material in his repertoire (although his explorative version owes little to the original hit tune). This excellent live session has plenty of close interplay by the tight trio.

01 - This Guy's In Love With You
02 - South Hampton*
03 - The Camel
04 - Little Miss Laurie
05 - Hamp's Broad Blue Acres

*'South Hampton' is actually Wayne Shorter's 'Footprints' and is correctly titled and credited on the later 'Live at Montmartre' reissues.

Dexter Gordon (ts -5) Hampton Hawes (ps) Henry Franklin (bs) Michael Carvin (d)
"Jazzhus Montmartre", Copenhagen, Denmark, September 2, 1971

A Little Copenhagen Night Music

Liner Notes by Michael Cuscuna:
This is a companion album to Hampton Hawes' first Freedom disc, first released as "This Guy's In Love With You" and later released as "Live At The Monmartre!' While both albums were recorded live at the Jazzhus Monmartre on the same night, the circumstances and music differ greatly.
That first album featuring contemporary compositions by the trio members and others in carefully planned arrangements was recorded early in the night before a full crowd. Most of the material from "A Little Copenhagen Night Music" was taped very late into the night with an intimate crowd in an after hours environment. While Hamp's "Spanish Way" might fit more into the mold of the contemporary material, the rest of this performance finds the pianist comfortably digging into four be-bop classics.
This 1971 European tour with Henry Franklin and Michael Carvin marked a fruitful and happy period in Hamp's too often tragic and frustrated career. That joy is communicated in this rare glimpse at Hamp in a totally informal setting. It was very soon after this tour that Hamp returned to the States and began playing in a new fusion style with electric keyboards. In fact, at the end of this long night
of September 2, 1971, Hamp began playing for the first time an electric piano that pianist Tommy Clausen had brought into the club.
Dexter Gordon, a long time comrade of Hamp's from their early Los Angeles days, joined the group that night for a very special reunion. In the actual sequence of that night, Dexter's classic "Dexter's Deck" followed "Now's The Time!' If one listens carefully, one can hear Dex walk up to the bandstand during "Now's The Time" and call, "Can the tenor player get some?"
Dexter and Hamp were again reunited and recorded by Prestige at the 1973 Montreux Jazz Festival. Their mutual respect and enthusiasm for one another are clearly audible on the rousing version of "Dexter's Deck!' Ironically, Dexter on tour during his triumphant re-entry in the American scene arrived in Los Angeles in May of 1977 only to be greeted with the news of Hamp's death and stayed to attend the funeral.
Hampton Hawes' life and struggles and talent have been well documented in various articles, in his autobiography and on his many fine recordings for Contemporary, Black Lion-Freedom, Prestige and a few others. His abrupt and premature end was just another example of the tragedy and injustice that plagued his entire life.

1. Now's The Time
2. Round Midnight
3. Cheryl
4. Spanish Way
5. Long Tall Dexter (Dexter Deck)

Dexter Gordon (ts -5) Hampton Hawes (ps) Henry Franklin (bs) Michael Carvin (d)
"Jazzhus Montmartre", Copenhagen, Denmark, September 2, 1971
(Freedom (E) FLP 41043)

Art Blakey - Oh-By The Way (1982) [vinyl]

Review by Scott Yanow:

When the Marsalis Brothers left The Jazz Messengers in early 1982, Wynton suggested that Art Blakey take a close listen to trumpeter Terence Blanchard (then 19) and 21-year old altoist Donald Harrison. The drummer took his advice, and after also adding young pianist Johnny O'Neal, Blakey soon had an exciting new version of The Jazz Messengers. Tenor saxophonist Bill Pierce and bassist Charles Fambrough were still present from the older band for this excellent LP. In the Blakey tradition, this set has five new compositions from bandmembers in addition to Wayne Shorter's "One by One" and the standard "My Funny Valentine"; the music is a fine example of high-quality hard bop.

Oh, By The Way
Duke Soup
Tropical Breeze
One By One
Sudan Blue
My Funny Valentine
Alicia

Terence Blanchard (trumpet) Donald Harrison (alto saxophone) Billy Pierce (tenor saxophone) Johnny O'Neal (piano) Charles Fambrough (bass) Art Blakey (drums)
Fendal Sound Studio, Loenan Aan De Vecht, Holland, May 20, 1982

Lou Donaldson - Sweet Poppa Lou (Muse) [vinyl]

Chris Sheridan Jazz Journal, July, 1982
“This is so close in spirit to the last Donaldson recording I reviewed ("Midnight Sun', Blue Note LT-1028) that the 20 years between the sessions melt into oblivion. Indeed, after two decades in the commercial boogaloo jungle, Lou has signified a return to straight-ahead blowing and, on this evidence, has picked up the traces as though nothing ever happened.
Though Parker remains in the background of his work, Lou has matured beyond the mantle, developing an essentially lightweight post-bop style with an individual, pleasantly reedy tone. It occasionally borders on the sentimental (You'll Never' Know), but, on vehicles with a strong melodic, harmonic or rhythmic base he can play extremely satisfyingly. If I Should Lose You is a case in point, generating tensile work from the altoist that approaches the standard of still the finest interpretation of the tune, by Hank Mobley.
The rhythmic shadings of the blues. Mo' Gravy and Shuckin', are a trifle obvious, but born of so long leading organ trios, and Foster's chordal style prolongs the organ trio atmosphere. It also perpetuates the illusion that the session could have been recorded any time in the fifties.
This is by no means an essential purchase, but it is certainly more rewarding than a generous proportion of today's output.”

01 - Mambo Inn
02 - You'll Never Know
03 - Mo' Gravy
04 - If I Should Lose You
05 - Shuckin' Blues
06 - Don't Take Your Love From Me

Lou Donaldson (as) Herman Foster (p) Calvin Hill (b) Idris Muhammad (d)
Ralph Dorsey (per -1/3)
Englewood Cliffs, NJ, January 7, 1981

Pepper Adams - Master Of Bari Disaster

Lest We Forget Vol. 6 / Pepper Adams: The Master Of Bari Disaster by Poppachubby on Mixcloud

Bud Shank - Girl In Love (1966) [vinyl]

Something a little different for the Crypt.
This is from a series of albums Shank made for World Pacific in the mid 60s. Most have had Japanese CD reissues, however this one seems only to be available in its original vinyl form?

This is Shank in a very commercial setting with appropriate arrangements by Oliver Nelson. Nothing profound happens here but, of its type, this is excellent and vastly superior to the Johnny Hodges Sandy's Gone, that I posted at the old Crypt while ago, and that would appear to have been aimed at a similar market.
Alan Zeffert writing in "Jazz On Record, A Critical Guide to the First 50 Years" remarked '...he has offered virtually straight offerings of current pop hits. Ephemeral though most of this material may be, mention must be made of the altoist's now exquisite, full, golden tone and perfect articulation...'

01 - Lady Jane
02 - Summer Wind
03 - The Sun Ain't Gonna Shine (Anymore)
04 - Strangers In The Night
05 - When A Man Loves A Woman
06 - Girl In Love
07 - Don't Go Breaking My Heart
08 - Everybody Loves Somebody Sometime
09 - Time
10 - The Shining Sea
11 - Lara's Theme From Dr. Zhivago
12 - Solitary Man

Bud Shank (as) Frank Rosolino (tb) Bob Florence (p) Herb Ellis, Dennis Budimir, John Pisano (g)
Bob West (b) Frank Capp (d) Victor Feldman (pc)
Arranged & Conducted By Oliver Nelson
Recorded Los Angeles in 1966

Eric Kloss - Doors/Now (1972/1978) [vinyl>flac]

New Links now available

Doors
Originally on Cobblestone this has been issued on a now out of print Japanese CD. However this is from the Muse LP.

Dusty Groove review:
"One of the grooviest Eric Kloss albums from the Muse years – thanks to some great keyboards from Neal Creque! Creque's presence always makes any date sparkle – and here, he brings a bit of a funky sound to the record – sliding in nicely behind Kloss on the solos, but also pushing the overall groove of the set with his rhythms."

01 - Doors
02 - Waves
03 - Quasar
04 - Sweatin' It
05 - Love
06 - Libra

Eric Kloss (as,ts) Neal Creque (kybds) Gene Taylor (b,el-b) Ron Krasinski (d,tamb)
NYC. January 1, 1972

Now
After a fine series of albums for Prestige and Muse, another who then disappeared from view. I think this is much better than Scottie's lukewarm review, as KingCake has remarked 'this grows on you'.

"Tenor/altoist Eric Kloss recorded often from 1965-1981 before disappearing from jazz. His sound was fairly original, he was technically skilled, and, even though his impact was fairly minor, he did record many worthwhile sessions, most of which are currently hard to find. On this LP, Kloss (joined by keyboardist Mike Nock, bassist Mike Richmond, and drummer Jimmy Madison) performs six of his originals, none of which caught on. The music is generally lyrical and the leader plays well, even if the rhythm section is fairly anonymous, but little all that memorable occurs."~AMG

01 - We Are Together
02 - Now
03 - Morning Song
04 - Hey, Hey, Whatta You Say
05 - Autumn Blue
06 - Booga Wooga Woman

Eric Kloss (as,ts) Mike Nock (kybds) Mike Richmond (b) Jimmy Madison (d) Efrain Toro (cowbell)
Van Gelder Studios, Englewood Cliffs, NJ. January 4&5, 1978

Philly Cats

Philly Cats by Kingcake on Mixcloud

Ivan “Boogaloo Joe” Jones - Snake Rhythm Rock (1973) [vinyl>flac]

'Snake Rhythm Rock' is the seventh album by jazz-groove guitarist Ivan “Boogaloo Joe” Jones. It was recorded in 1972 and released in 1973 on the Prestige label; produced by Ozzie Cadena and engineered by the great Rudy van Gelder. “Boogaloo Joe” joins forces with Rusty Bryant on killer tenor and alto, Butch Cornell on pulsating organ, Jimmy Lewis on driving electric bass and Grady Tate banging away on drums. The album’s five funky jazz cuts are absolutely dominated by the tight guitar stylings of Jones, Cornell’s lively organ licks and Bryant’s gravelly voiced sax. Enjoy this short but wonderful LP.

Ivan Boogaloo Joe Jones recorded a number of sides for Prestige Records during the early 70s. This is another great Boogaloo Joe Jones album. A monster set of work by one of the funkiest guitar players. ~ by dj fanis

Prestige Records, PR 10056, 1973

Recorded 24th November, 1972 at Rudy van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Ivan “Boogaloo Joe” Jones - Guitar

Butch Cornell - Organ

Rusty Bryant - Alto & Tenor Saxophones

Jimmy Lewis - Electric Bass

Grady Tate - Drums

Track Listing:

A1. Hoochie Coo Chickie {Boogaloo Jones} (5:23)

A2. Snake Rhythm Rock {Boogaloo Jones} (5:27)

A3. The First Time Ever I Saw Your Face {Ewan Maccoll} (5:46)

B1. He's So Fine {Ronald Mack} (6:28)

B2. Big Bad Midnight Roller {Boogaloo Jones} (9:49)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Clifford Jordan – Repetition (1984) [vinyl>flac]

Barry McRae, Jazz Journal, December, 1984:
This is a predictably good quartet record with the Chicago tenor man in the driving seat. He does not take the session by force, however, and the way in which he makes use of rests allows the Harris-led rhythm team to breath freely and is just right for the balance of the music. Jordan is a saxophonist who uses his fluency to serve his improvisational ends and he has especially inventive solos on Third Avenue, House Call and Quit 'N Time. He is very much a man concerned with his sound and in every solo he matches this with genuine content and a natural sense of formal organisation.
Harris is as immaculate as ever, his lines are firmly wrought and his ideas are concise and personal. Booker and Fournier are professional in the best sense of the word and the group is a well integrated unit. The final accolade must go to art director Sandy Jordan for a fine sleeve design. It completes a very pleasing package.

Review by Ken Dryden:
Clifford Jordan was in top form for this marathon, noon-to-midnight quartet studio session with Barry Harris, Walter Booker, and Vernel Fournier. The veteran hard bopper brought three potent originals to the date, and the group collaborated on the driving up-tempo "Fun." Neal Hefti's "Repetition" could be subtitled "Relaxation" for its easygoing tempo. The short but effective rendition of Monk's "Evidence" packs plenty of punch, while the medley of Fats Navarro's "Nostalgia" and Tadd Dameron's "Casbah" is also a masterful performance. The only downside to this release is the self-serving liner notes by the enormously egocentric Stanley Crouch.

01 - Third Avenue
02 - Fun
03 - Repetition
04 - Evidence
05 - Nostalgia~Casbah
06 - House Call
07 - Quit 'N Time

Clifford Jordan (ts); Barry Harris (p); Walter Booker (b); Vernel Fournier (d).
NYC. February 9, 1984

Eric Kloss - First Class Kloss - Grits And Gravy

 Two more from the Prestige years.

"First Class! collects two solid Eric Kloss albums from 1966 and 1967, the first titled Grits and Gravy, the latter First Class Kloss! Over the course of 16 pieces, however, saxophonist Kloss fronts three different groups: a quartet, quintet, and septet. While this never seems disjointed, it does occasionally feel like a best-of package, especially when the female vocal group joins in on pieces like "Slow Hot Wind." This is especially true on the first eight pieces from Grits and Gravy. Bizarre hodgepodges like the title track with its combination of background vocals, a large ensemble, and repetitive funky riffs remind one of a bad '60s movie soundtrack. These tracks are juxtaposed with incredibly edgy work by Kloss, pianist Jaki Byard, bassist Richard Davis, and drummer Alan Dawson. The intensity of "Softly, As in a Morning Sunrise" still sounds fresh 20 years after the fact, and the chemistry among the players is explosive. Luckily, the two bonus tracks, "When I Fall" and "Psychedelicatessen Rag," come from these sessions. Kloss is joined by trumpeter Jimmy Owens, pianist Cedar Walton, bassist Leroy Vinnegar, and drummer Dawson for the last half-dozen tracks, and the work here is uniformly excellent. "The Chasin' Game" and "African Cookbook" take advantage of the duel-horn lineup, and the quintet stretches both of these pieces out for seven minutes. While the overall effect of First Class! is a bit scattered, there's a great deal of excellent music on the disc that's sure to please the Kloss fan." AMG

Ceasar Frazier - Hail Ceasar! (1972) [vinyl>flac]

Hail Ceasar! is the first album to feature organist Ceasar Frazier as a leader and it is very much a monster bit of funky jazz. The LP consists of a number of long tracks that all jam mightily, right up there with the best of the Soul Jazz grooves coming out of the early seventies. The album was released on the rare Eastbound label a jazz subsidiary of Westbound Records. It's overall success is contributed to highly by the recording maestro Rudy van Gelder. Ceasar pulls together a Prestige-styled combo with a group of players well-known and recorded by van Gelder. It includes Houston Person on soulful sax, Cecil Bridgewater blowing away on Trumpet, Melvin Sparks throwing in some heavy licks, Gordon Edwards ramping up the bass, Idris Muhammad smashing away on drums and Buddy Caldwell doing his bit on the congas. As a first this album truly showcases Ceasar grooving hard on the organ and the chosen tracks don't disappoint. Well recommended!

Eastbound Records, EB 9002, 1973

Personnel:

Ceasar Frazier - Organ

Houston Person - Tenor Saxophone

Cecil Bridgewater - Trumpet

Melvin Sparks - Guitar

Gordon Edwards - Bass

Idris Muhammad - Drums

Buddy Caldwell - Congas

Track Listing:

A1. Hicky Burr {Bill Cosby, Quincy Jones} (8:07)

A2. Ellie's Love Theme {Isaac Hayes} (5:03)

A3. See-F {Ceasar Frazier} (4:42)

B1. Hail Ceasar! {Melvin Sparks} (6:27)

B2. Make It With You {David Gates} (4:01)

B3. Runnin' Away {Sylvester Stewart} (4:58)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy Van Gelder

Note:

Typo on file names: Hail Caesar! not Hail Ceasar!

Eric Kloss - One, Two, Free

This is very odd, the jpeg of my cover does not look like this at all, the strange apparent wear is only in the blogger upload! I'm baffled and it keeps doing it!

A quick word about our pal Grumpy - as someone whom has had his links deleted en-mass I can tell you it is quite a shock and no fun at all. Please give him a break and do not ask for restoral of any Hotfile links - it isn't going to happen any time soon.

"Pittsburgh native Eric Kloss (b. 1949) was one of the most distinctive, original voices to emerge on alto sax in the mid-60s. He was only 16 when the first of his eleven Prestige albums was released in 1965. These records featured the cream of the crop of New York musicians and the young Kloss more than held his own with heavyweights like Booker Ervin, Jaki Byard, Chick Corea, Cedar Walton, and most notably, guitarist Pat Martino.

Kloss switched to the Muse label in 1972 and debuted with this outstanding quartet recording, One, Two, Free ; which remains his finest achievement. In a group featuring Martino on guitar and Ron Thomas on electric piano as well as bassist Dave Holland and fellow Pittsburgher Ron Krasinski on drums, Kloss pushes and pulls his group to take chances that explore the outer edges of bop, fusion and even funky pop music.

The 18-minute, three-part title track is clearly influenced by Bitches Brew (on which bassist Holland also participated). But here, like on the surprisingly substantial funk of Carole King's "It Too Late," Kloss's arched sound and searing style move the ostinato vamp in a more avant-garde direction (the way Arthur Blythe later would). Martino gets a notable share of the solo spotlight and never ceases to amaze in his mixture of cool chordal comps and fleet runs up and down the fretboard.

Kloss's beautiful ballad, "Licea," guided by Dave Holland's moody, signature string work, is the jewel of this collection and probably deserves to be better known. Martino waxes lyrically before Kloss enters for a rueful countenance that's worth the price of admission. Even though there's 42 minutes of music here, one wishes creative interaction this good kept on going."

Songs:One, Two, Free Suite: Pt. 1, One, Two, Free; Pt. 2, Elegy; Pt. 3, The Wizard; It's Too Late; Licea.

Players:Eric Kloss: alto sax; Pat Martino: guitar; Ron Thomas: electric piano, tambourine; Dave Holland: bass, electric bass; Ron Krasinski: drums.

Leo Wright: Flute, Sax and Soul

Lest We Forget Vol. 5 / Leo Wright: Flute, Sax and Soul by Poppachubby on Mixcloud

Ricky Ford - Manhattan Plaza [new LP rip}

An old friend has requested this and in the course of doing a new rip, I've discovered that I have an exceptionally good copy! After a little aggressive cleaning...a damn near perfect record! On top of that it really is an enjoyable album.

Ricky Ford - Manhattan Plaza
Muse 5188, 1978, Vinyl LP
Bass – David Friesen, Drums – Dannie Richmond, Trumpet – Oliver Beener, Piano – Jaki Byard, Saxophone [Tenor] – Ricky Ford
Engineer – Rudy Van Gelder, Producer – Richard Seidel

A1 Fadism
A2 Afternoon In New York
A3 Diane's Melody
A4 Ceal's Place
B1 On The Plaza
B2 If You Could See Me Now
B3 Olean Visit

Manhattan Plaza isn't just the name of an album, it refers to an apartment building in Manhattan, not far from Birdland and the Greenwich Village Jazz clubs. It features subsidized housing in a moderately luxurious building for musicians and artists. Mingus lived there (Sue Mingus still does), members of the Mingus band and the Ellington band (Ford qualifies on both counts) have long lived there, and of course Ricky Ford lives there. Sienfeld creator Larry David used to live there and the building community had a major influence in the developement of the show, in particular the character Kramer who was apparently modeled on a neighbor at Manhattan Plaza. Others residents include or have included Dexter Gordon, Jack Walrath, Mike LeDonne, Ray Mantilla, Woody Shaw and many more. The attraction for the musicians is the the rent is a scaled 30% of income no matter what that might be; helps the musicians through the lean times, helps the building when times are good. Are you beginning to see why Ricky named his first Muse date after the place?

The album is a fine straight ahead hard bop session featuring Mingus band mates Jaki Byard and Dannie Richmond, a relatively unknown then Dave Friesen on bass and obscure trumpeter and fellow Manhattan Plaza resident Oscar Beener. Aside from Tad Dameron's If You Could See Me Now, all the tunes are originals from either Ford or Jaki Byard, who plays a strong part in the album. This was the first of ten excellent albums that Ricky did for Muse that still represent some of his strongest work. Somehow the level of success one would have expected from this strong start has never quite materialized..

Eric Kloss - Love And All That Jazz (1966) [vinyl>flac]

Here’s Eric’s 2^nd LP I had tucked away, just as groundbreaking as the 1^st. The session on the 14^th with the “Groove” adds further scope to showcase Eric’s wonderful young talent.

------------------------------------

Great early Eric Kloss record, with a tight organ jazz feel, courtesy of Groove Holmes and Don Patterson. Kloss was totally tight at this point, and less given to the sort of sloppy experimentation that weakened him later. He's backed by two great tight organ jazz groups, and the feel is nice and loungey, but with a good modern edge. Tracks include "Gemini", "Just for Fun-k", and a great version of "Love for Sale". Nice cover too. © 1996-2011, Dusty Groove America, Inc.

This was Eric's second album so we are still talking about a 16 year old, just turning 17 by the second part (Don Patterson) of the sessions. Kloss plays with two different organ trios; on 'The Shadow of Your Smile' and Gemini he is with Richard 'Groove' Holmes, Gene Edwards on guitar and Grady Tate on drums, on the rest of the album the band is Don Patterson, Billy James and Vinny Corrao on guitar. Kloss is impressive on both alto and tenor saxes. Pretty classy soul jazz from a kid!

Prestige Records, PR 7469, 1966

Recorded 14th March (#A3,B3) &  11th April (#A1,A2,A4,B1,B2), 1966
at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Eric Kloss - Alto & Tenor Saxophones

Richard "Groove" Holmes - Organ (#A3,B3)

Gene Edwards - Guitar (#A3,B3)

Grady Tate - Drums (#A3,B3)

Don Patterson - Organ (#A1,A2,A4,B1,B2)

Vinny Corrao - Guitar (#A1,A2,A4,B1,B2)

Billy James - Drums (#A1,A2,A4,B1,B2)

Track Listing:

A1. You'd Be So Nice To Come Home To {Cole Porter} (4:56)

A2. Just For Fun-k {Eric Kloss} (5:53)

A3. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (3:04)

A4. No Blues {Miles Davis} (5:18)

B1. Love For Sale {Cole Porter} (7:38)

B2. I'm Glad There Is You {Jimmy Dorsey, Paul Mertz} (5:06)

B3. Gemini {Jimmy Heath} (6:07)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy Van Gelder

David Friesen - Other Times-Other Places (1989) [vinyl>flac]

The main reason to acquire this Global Pacific release is for the fine playing of Canadian saxophonist Phil Dwyer, who is heard on tenor and soprano. Otherwise, the music has its moments, particularly the interplay between pianist Denny Zeitlin and bassist David Friesen, and there are two vocals by Flora Purim, but the overall results are not all that memorable. Many of Friesen's dates as a leader tend to be on the sleepy and introspective side, fitting into the genre usually championed by Global Pacific but making the music less interesting than hoped for by jazz fans. ~ Scott Yanow, AMG.

This LP is a much overlooked album by the master bassist David Friesen; featuring Denny Zeitlin, Phil Dwyer, Alan Jones, Airto and Flora Purim. The interplay between Denny Zeitlin is quite magical, highlighted on both Song For My Family and Years Though Time. In many ways the album showcases the amazing saxophone skills of Phil Dwyer. It is an exploration of his ability to work seamlessly alongside Friesen and add depth of scale to Friesen’s variant and elusive compositions. Listen to Tyrone's Dedication, Father's Delight, Our 25th Year, Childhood Walk and Above And Beyond for clarification. Both Alan Jones’ and Airto’s contributions render a solid backing to the majority of the tracks and Flora Purim’s vocals add a distinctive fusion-styled interest to Festival Dance and Song For My Daughter. As always Friesen’s bass sets the mood. His dynamically ranging sound is heard across a broad range of self penned tunes, sharing one with Alan Jones. This LP requires a few listens to truly appreciate its value, something which Scott Yanow may have overlooked in his underrated review.

Global Pacific Records, OZ 45245, 1989

Personnel:

David Friesen - Bass, Acoustic Bass, Keyboards, Mixing, Synthesizer

Phil Dwyer - Soprano & Tenor Saxophones

Denny Zeitlin - Piano

Alan Jones - Drums, Percussion, Synthesizer Bass

Airto Moreira - Percussion

Flora Purim - Vocals (#A1,A3)

Track Listing:

A1. Festival Dance {David Friesen} (4:06)

A2. Tyrone's Dedication {David Friesen, Alan Jones} (3:43)

A3. Song For My Daughter {David Friesen} (2:04)

A4. Father's Delight {David Friesen} (3:14)

A5. Song For My Family {David Friesen} (6:30)

B1. Our 25th Year {David Friesen} (3:58)

B2. Childhood Walk {David Friesen} (4:04)

B3. Years Though Time {David Friesen} (4:18)

B4. Above And Beyond {David Friesen} (4:26)

B5. Song For My Son {David Friesen} (3:04)

Credits:

Producer - David Friesen, Jeff Johnson

Executive Producer - Howard Sapper, Howard Morris, Barklie Henry

Mastering - David Mitson, Joe Gastwirt

Photography - Hiroshi Iwaya

Duke Ellington Orchestra- The Great Paris Concert (2LP rip)

Just the Atlantic LPs ripped from my very clean copy.

"This set came about, in part, as a result of Ellington's signing to Frank Sinatra's Reprise label in November 1962, with the ending of his exclusive contract to Columbia. Six numbers from the three Paris dates were initially edited and released by Reprise as part of the ten-song Duke Ellington's Greatest Hits, but the bulk of the performances from those shows didn't surface until many years later as The Great Paris Concert on two LPs. ... The stuff from The Great Paris Concert is raw and largely unedited, and depicts the full Ellington band in extraordinary form, oozing excitement -- from the saxophone showcase on the opener, "Rockin' in Rhythm," the various sections of the band take flight at different points throughout this set, which includes such contemporary numbers as Ellington's theme music for an all but forgotten television series, The Asphalt Jungle, and excerpts from Such Sweet Thunder . Johnny Hodges is showcased in several solos, most notably on "Suite Thursday," a work whose original studio incarnation he missed appearing on; Cootie Williams ("Tutti for Cootie"), Paul Gonsalves ("Cop Out"), Ray Nance ("Bula"), and Cat Anderson ("Jam with Sam") get their own moments in the spotlight. The editing and equalization on the Reprise tracks is considerably smoother and more obtrusive, in terms of closing fades, from that on the Atlantic release, where the sound is rougher and more realistic, and one wishes that original tapes could have been found and the complete 26 numbers from the Paris shows reassembled together in an integrated fashion." AMG

Personally, I've never been all that crazy about the Reprise material added to the CD version - I first experienced this in exactly THIS version and I still prefer it.

The Capp/Pierce Orchestra - Juggernaut Strikes Again!

Here's a re-up for our Crypt brother Jazzjet.  You're gonna enjoy this one buddy...

Sooooo...I think most everyone is familiar with Nat Pierce.  It's fair to say that at this point in his career, he has mastered the big band genre.  Pierce spent most of his career being (unfairly) criticized as a Basie clone.  This album shows that he is so much more.  Of course, any big band will give The Count a big healthy nod, but I think between his book and the stellar arrangements, Pierce IS his own man.

The material is what really stands out on this one.  Wonderfully varied and fresh, it's clear the band are stoked to be playing these numbers.  Standouts for me are Buck Clayton's Chops, Fingers and Sticks and the Billy Preston ballad, You Are So Beautiful.

The soloing really moves around from chair to chair.  Capp and Pierce clearly wanted everyone to have a voice.  Check the track listing on the back cover for solo details on each tune.  I give the nod to Pete Christlieb and Marshal Royal, they just sound fantastic and spirited.  Of course the ensemble work is wildly tight and inspiring, a real joy to listen to.  Overall a fun and enjoyable side by a seasoned group of players.  Not a typical big band album by any means.

CJ-183 is of course mint.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC...let your backbone slide Cryptheads!!  Enjoy!!

Concord Jazz (CJ-183)
1982
Recorded in Hollywood, CA - Oct/Nov 1981

Frank Capp (drums);  Nat Pierce (piano);  Ernie Andrews (vocals);
Bill Green (soprano & baritone saxophones);
Marshal Royal, Joe Roccisano, Jackie Kelso (alto saxophone);
Pete Christlieb, Bob Cooper, Bob Efford (tenor saxophone);
 Johnny Audino, Frank Szabo, Al Aarons, Warren Luening, Snooky Young, Bill Berry (trumpet);
Alan Kaplan, George Bohanon, Buster Cooper, Mel Wanzo (trombone);
Ray Pohlman (guitar);  Bob Maize (bass).

The Joe Farrell Quartet - Someday

My first attempt at ripping this record was filled with a wicked hiss that eventually lead to a second attempt using a cleaning tool that damaged the rip sonically. This time it hasn't been touched and it played clean...better late than never.

The Joe Farrell Quartet - Someday

Real Time Records March 1982 

Joe Farrell (reeds), George Cables (piano), Tony Dumas (bass) and John Dentz (drums).

Tracks: Fun For One; Blue And Boogie; Around Midnight; Epistrophy; Come Rain Or Come Shine; You Stepped Out Of A Dream; Someday My Prince Will Come; On Green Dolphin Street

I had never seen nor heard of this excellent Joe Farrell date until the day I bought it.This record is of impressive quality, heavy cover and vinyl like an expensive Japanese pressing and when I first played it the music positively leaped out of the speakers at me! I hope I've done a good enough job on the transfer that you get a similar experience.

Joe and George had played together a lot both on record and in clubs by the time this was made and it really shows in the relaxed feel of this session which plays like a club date with tracks where Joe lays out and the trio plays punctuating the set. You almost want to look over your shoulder to see if Joe is at the bar during the trio portions. Farrell was all about no nonsense hard bop by this time in his career, the experiments with funk receding in the rear view mirror.

Rusty Bryant - Soul Liberation (1970) [vinyl>flac]

While his manner (Rusty's) may be mild, his tenor sound is distinctive among all other tenor saxophonists. A heavy sound, imagination and his uniquely soulful delivery are the functional components of his style. Were talent the only criteria for making an album, Rusty would be able to handle the chore by himself but he has chosen an all-star cast involving some of the top recording stars in the business to groove along with him.

Joining him are: Virgil Jones on trumpet, Charlie Earland on Organ, Melvin Sparks on guitar and Idris Muhammad on Drums

Inside this cover are five of our most talented musicians at their best. Together they create a forum of excitement. In the five tunes they capture all that is sought by imaginative listeners. If you are one of those dudes that need to get your soul together you have picked a good place to start. On the other hand if you have yourself wrapped tight then you no doubt are aware of Rusty and the boys. In either case, Soul Liberation is for you. ~ Excerpt from Liner Notes by Martin Douglas.

Prestige Records, PR 7798, 1970

Recorded 15^th June, 1970 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Rusty Bryant - Tenor Sax (#A1,A3-B2), Alto Sax (#A2)

Virgil Jones - Trumpet

Charlie Earland - Organ

Melvin Sparks - Guitar

Idris Muhammad - Drums

Track Listing:

A1. Cold Duck Time {Eddie Harris} (6:21)

A2. The Ballad Of Oren Bliss {Rusty Bryant} (6:00)

A3. Lou-Lou {Charlie Earland} (8:13)

B1. Soul Liberation {Charlie Earland} (11:35)

B2. Freeze-Dried Soul {Rusty Bryant} (7:29)

Credits:

Supervisor - Bob Porter

Recording Engineer - Rudy Van Gelder

Liner Notes - Martin Douglas

The Bee Hive Session - Unissued Tunes, Vol. One

On that day when I yearly mark the passage of time, I received this morning a nice little gift from our old friend deGallo. A peak at these covers should have all of you salivating already. Add to this the anticipation of one our friend's perfect rips, and I have to question why you are still reading this instead of getting to the link. Should some of you require yet further prodding, here is what AMG had to say:

"The Bee Hive label was founded by Jim Neumann in Chicago in 1977 and stayed around for about six years. While based in Chicago, most of their players were based in New York City and virtually all the albums were recorded there. There weren't that many albums released, 16 including this one (with red vinyl). But what was lacking in quantity, was made up in quality. Top ranked jazz artists cut albums for this recording company, some of them are represented on this compilation of takes which didn't make it to a regular album. To the label's credit, they gave their artists lots of time to fully work out their approach to the music. The average playing time per tune is about seven minutes.

Why these tracks never made it to a customary release is puzzling, given the high level of artistic execution. Nick Brignola playing alto instead of baritone combines with Pepper Adams on an authoritative version of "Stablemates" for one. Sal Salvador and Eddie Bert uniting with the now baritone sax playing Brignola on an in depth probe of "On Green Dolphin Street" for another. Then there's the pièce de résistance, the master ballad singer Johnny Hartman's treatment of "Moonlight in Vermont" alone with the guitar of Al Gafa. This album should be remastered for CD just for this performance. It would be a good project for an enterprising and caring record company to gather all the Bee Hive albums and release them on CDs. Depriving jazz lovers of this music is criminal."

Now please DO remember to leave some love for our pal deGallo for this jewel.

Baritone Madness - The Nick Brignola Sextet featuring Pepper Adams

A repost by request.

An exciting Bee Hive contribution from Wid - this has been on a private site in flac but here is a different LP rip for The Crypt that is the first public lossless offering.

Nick Brignola Sextet featuring Pepper Adams - Baritone Madness
Bee Hive Records, 1977

01 - Donna Lee 9:40
02 - Billie's Bounce 11:21
03 - Marmeduke 11:36
04 - Body And Soul 7:07
05 - Alone Together 7:05

Nick Brignola - Baritone Sax
Pepper Adams - Baritone Sax
Ted Curson - Trumpet, Flugelhorn
Derek Smith - Piano
Dave Holland - Acoustic Bass
Roy Haynes - Drums

Recorded December 22, 1977 at Blue Rock Studio, New York City.

This album lives up to its title. Nick Brignola is matched up with fellow baritone great Pepper Adams in a sextet also including trumpeter Ted Curson, pianist Derek Smith, bassist Dave Holland and drummer Roy Haynes. The personnel differs throughout the program, with the full group being heard on "Billie's Bounce" and "Marmaduke," Curson sitting out on "Donna Lee," "Body and Soul" being a feature for Brignola, and "Alone Together" showcasing the rhythm section. It is obvious from the song titles that this is very much a bebop jam session date, and quite a few sparks do fly.

(sic) Clean, open, 'live' sound. Highly detailed instruments with 'air' and presence performing in an intimate environment. Very natural sounding. Excellent Bass, Brass with plenty of 'bite' and an open, airy treble. A 3-D soundstage with strong imaging. Wid

KC note: The very first album issued on Bee Hive.

Charles Mingus - Nostalgia In Times Square: The Immortal 1959 Sessions

Hey gang.  Been really busy this last couple of weeks, during which I have been mostly listening to soul music anyhow.  However I have a really amazing 2LP Mingus album for y'all to dig on.

There's not much point in me going on about this one.  If you know anything about jazz, all of the clues are here which point to an amazing set of tunes.  For those not so savvy, let me help you...  Mingus + 1959 + insane cast of talent = one hard swingin joint!!  This is certainly my favorite era of Mingus, one of his greatest collectives.

Not a dud on this 1979 reissue which collected a bunch of "throwaway" tunes from a few different sessions.  The fidelity is wonderful from a minty hunk of vinyl.  Ripped at 24/44.1 and dithered to 16/44.1 FLAC... enjoy!!!






Columbia JG-35717
1979

A1 Pedal Point Blues 6:29
A2 GG Train 4:38
A3 Girl Of My Dreams 4:08
A4 Strollin' 4:33
B1 Jelly Roll 6:15
B2 Boogie Stop Shuffle 5:00
B3 Open Letter To Duke 5:50
B4 New Now Know How 4:13

C1 Birdcalls 6:19
C2 Slop 6:43
C3 Things Ain't What They Used To Be 7:37
D1 Pussy Cat Dues 9:15
D2 Song With Orange 6:50
D3 Gunslinging Bird 5:12 

Bass – Charles Mingus
Cello – Maurice Brown (tracks: C2), Seymour Barab (tracks: C2)
Drums – Dannie Richmond
Flute – Jerome Richardson (tracks: B4,)
Piano – Horace Parlan, Nico Bunick (tracks: B4), Roland Hanna (tracks: C2, C3, D2, D3)
Saxophone [Alto] – John Handy, Shafi Hadi
Saxophone [Baritone] – Jerome Richardson (tracks: A4, B4, D2, D3)
Saxophone [Tenor] – Benny Golson (tracks: A4, D2), Booker Ervin
Trombone – Jimmy Knepper, Willie Dennis
Trumpet – Don Ellis (tracks: C2, C3), Richard Williams (tracks: B4, D2, D3)
Vibraphone – Teddy Charles (tracks: B4, D2, D3)

Rusty Bryant - Night Train Now! (1969) [vinyl>flac]

One of the first few funky classics from tenorist Rusty Bryant – a record that showed a whole new side of his talents, thanks to the addition of a rock-solid rhythm section! As the title might imply, there's a bit of Rusty's old "Night Train" sound in spirit here – but the overall sound is much more modern, at least for the late 60s – thanks to the use of a varitone sax on the date, and a group that includes Ivan Boogaloo Joe Jones on guitar, Jimmy Carter (not the president) on Hammond, and Bernard Purdie on drums. Titles include a great funky version of "Night Train", plus some other originals like "Cootie Boogaloo", "Funky Mama", and "Funky Rabbits". © 1996-2013, Dusty Groove, Inc.

An effort very much consistent with producer Bob Porter's Prestige "house" soul-jazz sound, utilizing players who would contribute to many other similar efforts in the late '60s and early '70s, particularly guitarist Joe "Boogaloo" Jones and drummer Bernard Purdie. These beefy, straightforward grooves include a remake of Bryant's arrangement of "Night Train" (one of his most popular recordings in the version he cut for Dot). The writing credit for "Funky Rabbits" is given as "unknown," but it sure sounds a lot to these ears like a retitled version of Ray Charles' "Hallelujah, I Love Her So." ~ Richie Unterberger, AMG.

Prestige Records, PR 7735, 1969

Recorded 6th October, 1969 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Rusty Bryant - Alto Sax (#B2), Tenor Sax (Varitone)

Boogaloo Joe Jones - Guitar

Jimmy Carter - Organ

Eddie Mathias - Bass [Electric]

Bernard "Pretty" Purdie - Drums

Track Listing:

A1. Cootie Boogaloo {Rusty Bryant, Jimmy Carter} (5:54)

A2. Funky Mama {John Patton} (5:53)

A3. Funky Rabbits {Unknown} (5:34)

B1. Night Train {Jimmy Forrest} (5:22)

B2. With These Hands {Abner Silver, Benny Davis} (4:24)

B3. Home Fries {Rusty Bryant, Jimmy Carter} (5:54)

Credits:

Supervisor - Bob Porter

Recording Engineer - Rudy Van Gelder

Liner Notes - Tom Curry (October, 1969)

Freddie Hubbard - Polar AC (1975) [vinyl>flac]

Trumpeter Freddie Hubbard's sixth and final CTI studio recording has its moments although it is not on the same level as his first three. Hubbard, backed on four of the five songs by a string section arranged by either Don Sebesky or Bob James, is assisted on songs such as "People Make the World Go Round" and "Betcha By Golly, Wow" by flutist Hubert Laws and guitarist George Benson. "Son of Sky Dive" showcases his trumpet with a sextet including Laws and tenor-saxophonist Junior Cook. The music is enjoyable but not essential and this LP has yet to appear on CD. ~ by Scott Yanow, AMG.

Released in 1975, this was Hubbard's final release for Creed Taylor's CTI Records. It's a luxuriant, strongly orchestrated, but very accessible piece of jazz. Don Sebesky and Bob James alternate the orchestrations and arrangements. Hubbard's playing is outstanding, at the same time much solo space is allocated to flautist Hubert Laws; added to the mix is guitarist George Benson and George Cables on the Rhodes. A genuine highlight is "People Make the World Go Round" arranged by Bob James. It begins with Airto performing some unusual animal noises and percussion sounds contrasted with flourishes on the Rhodes by Cables. On the title track "Polar AC", Ron Carter throws in some vivacious bass playing whilst Jack DeJohnette is heard working the snares and cymbals against the rich the orchestral arrangements of Don Sebesky; which Hubbard weaves in and around with some amazing solos. There is a lot of pleasure to be found on this LP with further spins. Well Recommended.

CTI Records, CTI 6056, 1975

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Freddie Hubbard - Trumpet

Hubert Laws - Flute

George Benson - Guitar (#A1-B1)

Junior Cook - Tenor Saxophone (#B2)

George Cables - Piano (#A2,B2)

Ron Carter - Bass

Alan Rubin, Garnett Brown, Marvin Stamm, Paul Faulise,
Tony Price, Wayne Andre - Brass (#B1)

George Marge, Phil Bodner, Romeo Penque, Wally Kane - Woodwind (#B1)

Billy Cobham - Drums (#B1)

Jack DeJohnette - Drums (#A1)

Lenny White - Drums (#A2, B2)

Airto - Percussion (#A2, A3)

Strings:

Al Brown, Charles McCracken, Harold Kohon, Irving Spice, Matthew Raimondi, Tosha Samaroff (#A1)

David Nadien, Emanuel Green, Manny Vardi, George Ricci, Joe Malin, Paul Gershman (#A1-A3)

Tony Sophos, Charles Libove, Gene Orloff, Harry Lookofsky, Max Ellen, Theodore Israel (#A2,A3)

Track Listing:

A1. Polar AC {Cedar Walton} (6:52)

A2. People Make The World Go Round {Linda Creed, Thomas Bell} (5:48)

A3. Betcha By Golly, Wow {Linda Creed, Thomas Bell} (8:10)

B1. Naturally {Nat Adderley} (5:53)

B2. Son Of Sky Dive {Freddie Hubbard} (13:17)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy Van Gelder

Arranger - Bob James (#A2,A3), Don Sebesky (#A1, B1)

Jim Pepper - Dakota Song [vinyl rip/FLAC]

Jim Pepper - Dakota Song
Enja 1987 [vinyl rip/FLAC]

1) Three Quarter Gemini
2) What's New
3) Jumping Gemini
4) Dakota Song
5) Mercer Street Blues
6) Commie II Fault
7) It Could Happen To You

I have always been a fan of the passionate tone of the late, great Jim Pepper. I have a decent vinyl copy of this fine album which I am happy to present, but I know that the CD version contained two extra tracks that I've never heard. I know from personal experience that the album which followed this one (The Path) also had two added tracks on the CD and it improved the album, so....anyone?

Dinah Washinghton - A Slick Chick (On The Mellow Side) FLAC LP Rip

Since I have just recently completed a crispy fresh rip of this relatively rare double LP from Unkie Cliff, I thought it might be appreciated if I shared.

The sub-title tells you the story of this one, the focus is Dinah's reign as the queen of the R&B charts. It will depend on your collection as to whether or not this one fills any holes for you. The covers will expand in high rez when double clicked, so you can check to see what's here.

Boogaloo Joe Jones - What It Is (1971) [vinyl>flac]

Using the same personnel as he did on his fifth Prestige album (1970s No Way!), Jones offers more good-natured funk-soul-jazz on this 1971 session. After getting a couple of contemporary pop covers (of Bill Withers' "Ain't No Sunshine" and Carole King's "I Feel the Earth Move") out of the way, it's mostly Jones originals. On his slower moments, as in "Fadin'" and Sonny Thompson's "Let Them Talk," he shows the influence of straight jazz players such as Wes Montgomery; "What It Is" and "Inside Job" are more cut-to-the-chase funk riffs. Jones has his cult following, but as soul-jazz goes, this is kind of run of the mill: good for background, but not captivating foreground listening. ~ by Richie Unterberger, AMG.

This LP is not as ordinary as suggested. There is some amazing playing on the part of “Boogaloo” and Grover Washington Jr. Jimmy Lewis’ bass gets things pulsating along with the organ of Butch Cornell; many a fine groove is whipped into shape. On “What It Is” he soars. Bernard Purdie on drums hammers away in the background and every once in awhile Buddy Caldwell does his conga thing. A great mix of jazz; funk, blues and pop tunes. Enjoy!

Prestige Records, PR 10035, 1971

Recorded 16^th August, 1971 at Van Gelder Studios, Englewoods Cliffs, New Jersey

Personnel:

Boogaloo Joe Jones - Guitar

Grover Washington Jr. - Tenor Saxophone

Butch Cornell - Organ

Jimmy Lewis - Electric Bass

Bernard Purdie - Drums

Buddy Caldwell - Congas, Bongos

Track Listing:

A1. Ain't No Sunshine {Bill Withers} (5:33)

A2. I Feel The Earth Move {Carole King} (6:10)

A3. Fadin' {Boogaloo Joe Jones} (7:01)

B1. What It Is {Boogaloo Joe Jones} (7:05)

B2. Let Them Talk {Sonny Thompson} (5:49)

B3. Inside Job {Boogaloo Joe Jones} (6:17)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Art Direction - Tony Lane

Photos - Burt Goldblatt