Donald Byrd [w Joe Henderson] - A City Called Heaven (1991)

This, the third of Byrd's Landmark recordings, was to be his final studio release. As far as I know he only made one other recording before his death in 2013, one track on a 1995 Ahmad Jamal album.

Review by Derek Ansell, Jazz Journal, July 1992:
This is a fairly straight ahead jazz album by Dr Donaldson Toussaint L'Ouverture Byrd II who, understandably, prefers to be called Donald Byrd. King Arthur, Complete with back beat and Blues March type theme, is dedicated to Art Blakey and although no doubt sincerely meant, does not quite work. Only Art himself, behind the drums, could work magic with this type of thing. A City Called Heaven is a bit ponderous and both vocalist and musicians sound rather strained and self-conscious at times.
The rest is magic. I’ll Always Remember is a plaintive ballad with Byrd's muted trumpet warm and winsome and Hutcherson and Henderson in fine form. Byrd's bright, billowing tone and inventive lines are heard to good effect on Lu Easy Anna and Byrd Song, the latter much more effectively in a Jazz Messengers vein.
Remember Me is adapted from Dido & Aeneas—not jazz, but if you love Purcell's music as much as I do you won't complain. Lorice Stevens' vibrant voice carries the melody aided by Hutcherson and the continue part is shared by Brown and Reid with the bass sounding like a baroque cello. Half way through there is a jazz flavour as Byrd and Hendsrson contribute bluesy horn lines. Surprisingly, it works.
Not Necessarily The Blues is the blues, in free time; an experiment with symmetry and geometric shapes according to the leader in his liner notes.
This is an engaging, varied and highly original programme, and apart from the reservations expressed above it offers a rich musical experience.

1. King Arthur
2. I'll Always Remember
3. A City Called Heaven
4. Back Down In Lu Easy Anna
5. Byrd Song
6. Del Valle
7. Remember Me
8. Not Necessarily The Blues

Donald Byrd (t, flh) Joe Henderson (ts) Bobby Hutcherson (vb) Donald Brown (p) Rufus Reid (b)
Carl Allen (d) Lorice Stevens (voc -3,7)
Berkeley, CA, January 17-19, 1991

Valery Ponomarev - Profile (w/ Joe Henderson)

 This post is numba 2 in my little Joe-Fest, but it also links to grumpy's post through Valery Ponomarev.

"This is a dream date for Russian hard bop trumpeter Valery Ponomarev that should keep fans of the hard bop style of jazz wide awake. Many listeners may simply regard Profile as part of the Joe Henderson body of water, not a bad thing at all in that this superb tenor player is Ponomarev's main foil and will constantly reward listeners' attention with neat turns of phrase, solid energy, and a tone that would still seem hearty even if surrounded by loaves of Russian bread and bowls of steaming soup. The program is an even mix of standard selections and the trumpeter's original compositions, which the band digs into with the type of appetite that might have been stimulated by the previous sentence. There's Cole Porter's "I Concentrate on You," a classic as well as a description of this fine rhythm section's attitude toward the soloists; a Harold Arlen number; and Bud Powell's "Time." The latter may seem on paper to be the alarm clock for pianist Kenny Barron, who has established a reputation for his masterly touch with the repertoire of jazz keyboard masters. The truth is that Barron is in fine form throughout, as is Ponomarev. "I Was Afraid You'd Never Call Me" kicks off the album, the title perhaps a reflection on the career of this often-overlooked but never under-swinging trumpeter and composer. If this early-'90s session sounds exactly like an old Blue Note or Prestige session, it isn't just because of the players' style; engineer Rudy Van Gelder was in the booth, doing his usual beautiful thing." Eugene Chadbourne

Art Blakey & The Jazz Messengers - Reflections In Blue (1978) [vinyl>flac]

Reposted from old crypt.

I've tended to overlook Blakey's post 60s recordings, easy to do given the astonising body of work previously recorded for Blue Note. In comparison, his 70s recordings are few and far between, this was a
period when Jazz seemed to be in decline. The Penguin Guide to Jazz describes this '77 band as 'workmanlike' rather than 'inspired', fair enough but workmanlike Blakey is better than most. I'm just grateful that my recent discovery of Schnitter's Muse recordings has led me back to these Timeless Blakeys.

Dusty Groove:
“Key proof that Art Blakey was still going strong in the late 70s – continuing his 60s legacy of working with the best young players he could find, in a setting that was bristling with sweet soul jazz energy! This version of The Jazz Messengers includes some tremendous players – including a young Bobby Watson on alto, the great David Schnitter on tenor, James Williams on piano, and Valery Ponomarev on trumpet – all grooving with Art in a style that steps nicely from the soulful Prestige Records years, when Blakey was leading the group with Woody Shaw and Carter Jefferson. Tracks are nearly all originals – loping and grooving with a soulful finish that's really wonderful, showing off equal parts of writing from nearly all corners of the group. The album's awash in soulful joy and love, and titles include "Reflections In Blue", "ETA", "Mishima", "Say Dr J", and "Stretching".”

01. Reflections In Blue
02. E. T. A.
03. Say Dr. "J"
04. Mishima
05. Ballad Medley: My Foolish Heart, My One and Only Love, Chelsea Bridge, In a Sentimental Mood
06. Stretching

Valen Ponomarev (t); Robert Watson (as); David Schnitter (ts); Dennis Irwin (b); James Williams (p); Art Blakey (d)
Fendel Sound Studio, Loenen, Holland, December 4, 1978

Neil Swainson - 49th Parallel (with Woody Shaw & Joe Henderson)

"Bassist Neil Swainson is known more as an accompanist (most notably with George Shearing) than as a bandleader, and this was his first opportunity to head his own recording date. Swainson was able to secure the services of both trumpeter Woody Shaw (on his final studio session just two years before his death) and tenor saxophonist Joe Henderson, in addition to a couple of Toronto-based musicians: pianist Gary Williamson and drummer Jerry Fuller. Swainson, who has long had impressive technique and a beautiful tone, performs five of his originals, plus Henderson's "Homestretch." Overall, this is an underrated, high-quality advanced hard bop date worth exploring."  Scott Yanow

A very good session made all the more important in historical context because it is our last studio session for Woody and now Joe is gone as well. I'm starting a little Joe Henderson fest, some lesser known examples of his art. I invite the guys to join in - I imagine we can all find some gems.

That's The Way I Feel Now - A Tribute To Thelonious Monk (vinyl rip)

"Two years after the death of pianist-composer Thelonious Monk, this very unusual and quite memorable double-LP tribute was put together. Producer Hal Willner's most successful project, the 23 interpretations of Monk originals all feature a different group of all-star players and stretch beyond jazz. Some of the performances are fairly straightforward while others are quite eccentric; certainly the crazy duet on "Four in One" by altoist Gary Windo and Todd Rundgren (on synthesizers and drum machines) and the version of "Shuffle Boil" featuring John Zorn on game calls (imitating the sound of ducks) are quite unique. There are many colorful moments throughout the project and the roster of musicians is remarkable: Bobby McFerrin with Bob Dorough, Peter Frampton, Joe Jackson, Steve Lacy, Dr. John, Gil Evans, Randy Weston, Roswell Rudd, Eugene Chadbourne and Shockabilly, the Fowler Brothers, NRBQ, Steve Khan, Carla Bley, Barry Harris, Was (Not Was) and many others. There is not a slow moment or uninteresting selection on this highly recommended set."

Richard 'Groove' Holmes - Shippin' Out

Once again, a brand new rip - MUCH better than the old one.

Richard 'Groove' Holmes - Shippin' Out
Muse 5134, 1978
 recorded 1977

1) Feelings
2) Windows
3) Stella By Starlight
4) Where or When
5) Shippin' Out

Groove Holmes organ, David Schnitter tenor sax, Steve Giordano guitar, Idris Muhammed drums, Bobby Caldwell conga

Are those the twin towers of the World Trade Center I see off in the distance on this cover shot? I guess this one is pretty rare since I can't even find mention of it on google. I found my copy at a discogs vendor who specializes in punk rock and when I received it the vinyl looked like some punk rockers had played frisbee with it. After a good cleaning, a re-rip and a pass through Izotope RX3, I think it sounds awesome!

This is a nice record -- Groove is well, Groove and Schnitter and Giordano give fine performances on tenor and guitar in support. and as it says in the liner notes: "The players are fine. The music is fine. The recording is excellent. These are the facts."

Ted Curson - The Trio (1979) [vinyl>flac]

Review by MikeShera, Jazz Journal November 1979:
The acidic trumpet of Curson is combined well with the strong bass of Ray Drummond, and the complex and intricate drumming of Roy Haynes, to produce an album rarely descending to the commonplace. The trio work extremely well together as a unit, dominated by a bass player whose dexterity and strength is not unfortunately matched by an attractive tone. Roy Haynes' drumming has never been more intricate though he also remembers to swing as well. The exoticism of Curson, whether playing trumpet or fluegel horn, certainly ensures that the listener never goes to sleep, but equally he can never be accused of being too relaxed in his approach! My personal preference is for the second side of this album, where Straight Ice is the closest performance on the record to what could be described as a straightforward piece, and Round Midnight which receives the expected pungent treatment. Only on Pent-Up House is there anything resembling the work of the late Clifford Brown, Curson's early influence.

1. Snake Johnson
2. Pent-up House
3. Quicksand
4. Straight Ice
5. 'Round Midnight

Ted Curson (t/pic-t/flh/pc); Ray Drummond (b); RoyHaynes(d).
NYC, January 3, 1979.
(Interplay IP 7722)

Gil Evans & Gary McFarland - Dedication Series IX – The Great Arrangers

A great 2LP set – with two classic albums on Impulse! First is Gil Evans' Out Of The Cool – a pivotal session for Gil – one that brought his genius to the American public strongly and successfully, without the help of Miles Davis! Sure, Gil had recorded albums as a leader before this one – but the sparkling quality of this set is right up there with the charts he handled for Miles, and the quality of the players in the group make the performance every bit as great. Gil's band includes trumpeter Johnny Coles, plus Ron Carter on bass, Elvin Jones on drums, Budd Johnson on tenor, and Ray Crawford on guitar. Titles include "Stratusphunk", "Sunken Treasure", "La Nevada", and a great reading of Kurt Weil's "Bilbao Song". Next is Gary McFarland's Profiles – a great little jazz record by Gary – very different than his groovy/easy albums on Verve, and with a dark sound that shows his strength as a composer and arranger. The group features McFarland in the lead on vibes, plus reed work by Phil Woods, Zoot Sims, and Richie Kamuca, and lots of rhythm backing by the likes of Richard Davis, Gabor Szabo, Sam Brown, and others. Willis Conover does a bit of narration, and tracks include "Sage Hands", "Milo's Other Samba", "Winter Colors", and "Bygones & Boogie"

Frank Butler: The Stepper (1977) [vinyl>flac]

I've posted a link for this at Kubla's Crib but few seem to have noticed it...

Review by Ken Dryden, All Music Guide:
Frank Butler's first record date as a leader came about a few years following a self-imposed sabbatical to take care of his battle with drug addiction. Known especially for his work in the Curtis Counce Group and a brief tour with Miles Davis, the drummer is in top form on this quartet date with pianist Dolo Coker, tenor saxophonist Jack Montrose and bassist Monty Budwig. He never loses the listener's attention during his two long drum solos, which are the focal points of the nearly twenty minute "The Stepper" and "Urbane," both composed by Coker. Montrose and Coker share the spotlight in the one standard on the date, "Easy Living." Budwig's introduction to Charlie Parker's "Au Privave," as well as his great comping in support of Coker's solo, is a refreshing switch from the obvious focus on the saxophone, which is omitted entirely from this track. One of only two sessions which Butler recorded as a leader and out of print since the demise of Xanadu, this LP should be snapped up without delay by bop fans.


1 The Stepper - 19:58 (Charles 'Dolo' Coker)
2 Au Privave - 4:43 (Charlie Parker)
3 Easy Living - 5:38 (Leo Robin, Ralph Rainger)
4 Urbane - 8:36 (Charles 'Dolo' Coker)
5 Captain Kidd - 5:51 (Charles 'Dolo' Coker)

Jack Montrose (ts), Dolo Coker (p), Monty Budwig (b), Frank Butler (d)
Los Angeles, CA. November 19, 1977

Freddie Hubbard (w Art Pepper) - Mistral (1980) [vinyl>flac]

New link in comments.

Review at Sound Insights:
Recorded for the Japanese label East World (and later issued in the US by Liberty, an EMI label hardly known for issuing jazz), there is a slick West Coast feeling to this album that's as endearing as it is enjoyable. Perhaps it is the addition of legendary West Coast alto saxist Art Pepper into a mix that finds pianist George Cables, bassist Stanley Clarke and drummer Peter Erskine in the rhythm section. All the tunes have a relaxed, laid-back feeling (what Scott Yanow snidely refers to as "no one sounds like they're sweating"), even on the up-tempo "Bring It Back Home." While there is a casual air of familiarity in the program, all involved sound as if they are enjoying themselves and each other's company.
Hubbard has never sounded better. His playing is confident, definitive, nearly poetic, and his engagements aren't limited merely to Pepper, who seems to be just another guy in the band here. Hubbard is musically caressed by the pianist, his old comrade George Cables, but is more notably poked, prodded and provoked by bassist Stanley Clarke, who is simply outstanding here, doing things throughout that are worth paying attention to.

1. Sunshine Lady - 7:18
2. Eclipse - 7:08
3. Blue Nights - 7:17
4. Now I've Found Love - 6:53
5. I Love You - 7:27
6. Bring It Back Home - 7:55

Freddie Hubbard (t,flh) Phil Ranelin (tb) Art Pepper (as) George Cables (p,el-p) Peter Wolf (synth) Roland Bautista (g) Stanley Clarke (b,el-b) Peter Erskine (d) Paulinho da Costa (pc)
Ocean Way Recording, Hollywood, CA. September 15, 17, 18 and 19, 1980

Jack Walrath - The Muse Albums

1. The Serpent's Kiss 15:36

2. Jump Monk 10:56

3. Adagio for Strings and Organ 9:01
4. Gagaku (Fourth Movement of Sept Haikai) 7:06
5. Blues in the Guts 9:07
6. Faith 17:56

Jack Walrath - trumpet
Carter Jefferson - tenor & soprano sax
Mike Cochrane - piano
Anthony Cox - bass
Ronnie Burrage - drums

Recorded live at Merkin Concert Hall, NYC, on September 10, 1990

Jack Walrath and The Masters Of Suspense - Out of the Tradition
Muse Records 5403

Jack Walrath - Trumpet, Flugelhorn, Mouthpiece
Benny Green - Piano
Larry Coryell - Guitar
Anthony Cox - Bass
Ronnie Burrage - Drums

1. Clear Out of This World
2. So Long Eric
3. Stardust
4. Wake Up and Wash It Off!
5. Come Sunday
6. Brother, Can You Spare a Dime?
7. Cabin in the Sky
8. I'm Getting Sentimental over You

Recorded on May 7, 1990

1. Spherious (J. Walrath)

2. (The Last Remaake) I Can't Get Started (V. Duke, I. Gershwin)

3. Killer Bunnies (J. Walrath)

4. Inn The Pit (C. Jackson)

5. Baby, You Move Too Fast (J. Walrath)

6. Spontooneous (J. Madison, C. Jackson, J. Walrath)

JACK WALRATH trumpet, CHIP JACKSON bass, JIMMY MADISON drums

Recorded at Garden Productions, NYC, on March 15 and April1, 1986

MUSE Records 5362

1. Anya and Liz on the Veranda 6:36
2. Get on the Good Foot 5:11
3. Better Get Hit in Yo' Soul 8:06
4. Izlyal E Delyo Haidoutin 7:29
5. Monk's Feet 6:50
6. Decisions 3:04
7. Gloomy Sunday 6:31
8. Weird and Wonderful 8:08

Jack Walrath - trumpet, flugelhorn
Don Pullen - Hammond B3 organ
David "Fuse" Fiuczynski - guitar
Michael Formanek - bass
Cecil Brooks III - drums

Recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey on April 4, 1992

Bob Brookmeyer - Back Again (1978) [vinyl]

Review by Review by Scott Yanow:
This session was valve trombonist Bob Brookmeyer's first jazz date in 13 years after a period writing for the studios and then away from music altogether. Brookmeyer, who is featured in a quintet with cornetist Thad Jones, pianist Jimmy Rowles, bassist George Mraz and drummer Mel Lewis, proves to still be in prime form playing in an unchanged style. Other than the leader's uptempo blues "In a Rotten Mood" and a Latin piece ("Carib"), the quintet sticks to veteran standards. Highlights include "Sweet and Lovely," "Caravan" and "You'd Be So Nice to Come Home To."

Review Dusty Groove:
Gentle genius from Bob Brookmeyer – a 70s session recorded with all the swinging poise of his best work from the late 50s! The group on the set features Bob on valve trombone, next to Thad Jones on fluegelhorn and cornet, Jimmy Rowles on piano, George Mraz on bass, and Mel Lewis on drums. Tracks are all nicely swinging, even on the mellower numbers – and Bob proves once again that his work on the valve trombone is some of the freshest in jazz. Titles include "Carib", "Caravan", "I Love You", "In A Rotten Mood", and "You'd Be So Nice To Come Home To". CD also features a bonus track! (Out of print.)

01 - Sweet And Lovely
02 - Carib
03 - Caravan
04 - You'd Be So Nice To Come Home To
05 - Willow Weep For Me
06 - I Love You
07 - In A Rotten Mood

Thad Jones (flh, cnt) Bob Brookmeyer (v-tb) Jimmy Rowles (p) George Mraz (b) Mel Lewis (d)
Cl Studio, New York City, May 23-25, 1978
(Sonet 778)

Roland Kirk - Now Don't You Cry, Beautiful Edith (vinyl rip)

The second rip on the new turntable!

"Now Please Don't You Cry, Beautiful Edith (about Kirk's wife) was the first of his all groove sides. Out of ten tunes, Kirk composed eight, of the other two, only one was a recognizable jazz tune ("It's a Grand Night for Swinging" by Billy Taylor, who wrote the liner notes) and the other was a pop tune (Bacharach and David's "Alfie"). Unlike Rip, Rig, and Panic from two years earlier in 1965, this set featured an in-the-pocket rhythm section. Adventure was not the name of the game on this date, feeling was -- and for the job he got some of the finest cats working in the groove jazz idiom: drummer Grady Tate, pianist Lonnie Liston Smith, and bassist Roland Boykins. The record opens with "Blue Rol," a standard blues made more beautiful by Kirk's playing three horns throughout except for his tenor solo and Smith's tough comping in the middle register. "Alfie" is another story. Kirk blows his tenor with the same tonal warmth Ben Webster did by reading the melody faithfully and tenderly adding fills with Smith, slipping around him for subtle accents, adding color and dimension even when he picks up the tempo, which is led by a steaming, hard-swinging Tate. The end of the album is very special as well, as the title track features the only outside playing on the disc, but it feels more like it's honking R&B shouting rather than vanguard invention as it gives way to the gorgeous Latin swing of the melody. Finally, on the Taylor tune, after a breathtaking arpeggio orgy on "Stompin' Grounds" between Kirk and Smith, the elegance of the musician shines through, as Kirk's flute sweeps through the rhythm section, carrying the cut-time number through a bop permutation or two before coming back to the blues in his solo. Smith's pianism here is so light, his touch so quick and fluid, Kirk can't help but cruise over the tune. This was the beginning of the exploration that led listeners to Blacknuss and Boogie Woogie String Along for Real, and it is worth every bit as those two recordings." Thom Jurek

Archie Shepp - Black Ballads & Blue Ballads

Hmmmm....we don't seem to have spent any time here exploring the giant talent of Archie Shepp and I am more than a little stunned to have just now noticed this. REALLY?

I think a little journey into the Impulse recordings of Shepp AND Pharoah Sanders may be in the near future......

These two albums are such a logical pairing that I couldn't resist posting them together.

My first experience of Shepp was in the Impulse era and at that time I dismissed him quickly due to foolish prejudices and uneducated ears. Today I hear Ike Quebec and Ben Webster all over even his wildest work.

These two albums feature 2 entirely different, yet equally awesome awesome quartets, each is a deeply sensitive conversation over familiar and beloved ground. If you do not have these PLEASE don't pass them by.

Count Basie - Basie Rides Again

 I really must insist you read the album notes for a great overview of this album. These sides really display everything that made the Basie band so legendary.  We are also treated to some not-so-typical scenarios... 1) Basie directing w/ Oscar Peterson on piano and 2) Oscar Peterson on piano & Basie on organ.  Al Hibbler handles vocals which is another treat.  Overall a really fun time.

I spent top dollar on this US original, it's absolutely minty. This glorious mono recording is what hi-fi is all about and I challenge those of you with remasters to compare.  The dynamics of the full band are enough to bring tears of joy to my eyes.  The brass has such incredible impact - that true musical reach that punches you in the chest.This was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  I hope it helps to shape your weekend... enjoy!!!

Hank Crawford - Help Me Make It Through The Night (1972) [vinyl>flac]

Help Me Make It Through the Night is one of those Hank Crawford albums: large band, many horns, funky chunky Hammond B-3, strings, and polyrhythms dropping all over the arrangements by Don Sebesky and company. This 1972 set by Crawford is an exemplary portrait of his movin' and groovin' style. With the help of Sebesky and Pee Wee Ellis, Crawford provides the deep groove side of his work without reservation. Jazz takes a back seat as the R&B pours forth all sweaty, greasy, and dripping with a raw, honeylike sweetness. With cats like Airto, Eric Gale, Cornell Dupree, Grover Washington, Jr., Pepper Adams, Snooky Young, and Richard Tee in the house, a masterful groove session was to be expected. Listeners get their money's worth after the opener, which is the title track. With the Junior Walker stinging alto countered by the Hammond, the mess is loose and the vibe is pure downtown. Other cuts such as "Imagine," "Go Away Little Girl," "Brian's Song" -- perfect string arrangement by Sebesky -- and "In the Wee Small Hours of the Morning" make this a date of some of the most stellar covers Crawford ever cut. There are no extra notes, but there are plenty of extra beats; the improvisation is red hot, but the strings and supporting rhythm section are out of this world. Help Me Make It Through the Night is indeed one of those Crawford records. ~ Thom Jurek, Rovi

Kudu Records, KU-06, 1972

Recorded January 1972, except #B3 August 1971 at Van Gelder Studios, Englewood Cliff, New Jersey

Personnel:

Hank Crawford - Alto Saxophone, Tenor Saxophone (#B3)

Grover Washington, Jr. - Tenor Saxophone (#B3)

Pepper Adams - Baritone Saxophone (#B3)

Al DeRisi, Eugene "Snooky" Young - Trumpet (#B3)

Wayne Andre - Trombone (#B3)

Richard Tee - Organ (#A1,A4,B3,B4), Piano (#A2,A3), El-Piano (#B1,B2)

Phil Kraus - Vibraphone (#A1,A4,B1)

Cornell Dupree - Electric Guitar

Eric Gale - Electric Guitar (#B3)

Ron Carter - Bass (#A2-A4,B1,B2,B4), Electric Bass (#A1,B3)

Bernard Purdie - Drums

Idris Muhammad - Drums (#B3)

Airto Moreira - Percussion (#B3)

Strings Section [All Tracks, except #B3]:

Bernard Eichen, Felix Giglio, Emanuel Green,
Harold Kohon, Harry Lookofsky, Joe Malin,

Gene Orloff, Max Polikoff, Elliot Rosoff - Violin

Alfred Brown, Theodore Israel, Emanuel Vardi - Viola

Charles McCracken, George Ricci - Cello

Margaret Ross - Harp

Track Listing:

A1. Help Me Make It Through The Night {Kris Kristofferson} (5:53)

A2. Brian's Song {Michel Legrand} (3:24)

A3. Uncle Funky {Hank Crawford} (5:36)

A4. In The Wee Small Hours Of The Morning {Bob Hilliard, Redd Evans} (2:51)

B1. Go Away Little Girl {Gerry Goffin, Carole King} (4:21)

B2. Imagine {John Lennon} (4:07)

B3: Ham {Alfred Ellis} (3:09)

B4. The Sun Died {Ann Grégory, Hubert Giraud, Pierre Delanoë, Ray Charles} (4:09)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger - Don Sebesky, Pee Wee Ellis (#B3)

Album Design - Bob Ciano

Photography - William Cadge

The Bill Perkins Quartet - Journey To The East (1984) [vinyl]

For some strange reason, this doesn't appear to have had a CD reissue.

Review by Scott Yanow
Bill Perkins, a West Coast jazz legend, evolved from a cool-toned tenor into a John Coltrane-inspired player who did not lose his original musical personality. For this fine effort (not yet reissued on CD), Perkins is joined by pianist Frank Strazzeri, bassist Joel Di Bartolo and drummer Peter Donald for seven standards, two Strazzeri songs and one by Alan Broadbent. Perkins uses a saxophone-synthesizer interface that he invented on a few numbers to make the ensembles fuller, but he mostly plays his solos on a regular tenor and flute. Highlights include an emotional version of Billy Strayhorn's "Blood Count," "I'm an Old Cowhand," "'Tis Autumn" and "Invitation." One of Bill Perkins' better sessions.

1. From The Hip
2. Blood Count
3. I'm An Old Cowhand
4. Mendocino Nights
5. Moose The Mooche
6. Journey To The East
7. 'Tis Autumn
8. Invitation
9. You Must Believe In Spring
10. All Through The Night

Bill Perkins (tenor saxophone, flute) Frank Strazzeri (piano) Joel Di Bartolo (bass) Peter Donald (drums)
Granada Hills, CA, November 19, 20 & 21, 1984
[Contemporary 14011]

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1986 - 1993

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1986 - 1993 by Kingcake on Mixcloud

Randy Weston Sextet - Monterey '66

Recorded in Monterey, California. The Monterey Jazz Festival of 1966. "I think this is the best band I've ever had. We were together almost 3 years. It was Booker Ervin on tenor saxophone, Ray Copeland on trumpet; Bill Wood was on bass; Lenny McBrowne on drums, and Big Black on congas. It was very difficult for us to be recorded because it was a very strong African message. I'm talking about around maybe 1963, '64, '65 during that period. So it was hard for us to get gigs, you know. And so finally, our last appearance together was at the Monterey Jazz Festival, the same night as Duke Ellington, the same night as Carmen McRae. So you know we had to play strong. And it was an incredible band because number one, we had Booker Ervin. Booker Ervin, for me, was on the same level as John Coltrane. He was a completely original saxophonist. I don't know anybody who played like Booker. But Booker, he was very sensitive, very quiet-not the sort of guy to push himself or talk about himself. You know what happens with Black artists-they (the industry) can never let too many come out at the same time. There was a big emphasis on Sonny Rollins and John Coltrane. And everybody was into Coltrane but meanwhile Booker Ervin was kind of left out. He was a master saxophonist, and the song I wrote for my mother, Portrait of Vivian, only he could play it; nobody else could play that song.

In fact, the African Cookbook, which I composed back in the early 60's, was partly named after Booker because we (musicians) used to call him "Book," and we would say, "Cook, Book." Sometimes when he was playing we'd shout, "Cook, Book, cook." And the melody of African Cookbook was based upon Booker Ervin's sound, a sound like the north of Africa. He would kind of take those notes and make them weave hypnotically. So, actually the African Cookbook was influenced by Booker Ervin. By the way. Ervin was from Texas and he had the typical big sound from Texas. I don't know why, but for some reason many great tenor saxophonists come from Texas and they have all got this big sound. For instance, Billy Harper is from Texas, Dexter Gordon, Frank Haynes. I could go on and on and on....Randy Weston

Stanley Black and His Orchestra - Place Pigalle (1957)

As ‘Monty Python’ would say “And Now For Something Completely Different”.

As a young boy my parents would often play this album around the home. Upon hearing again today it brings back fond memories of the joy and happiness that it brought to the atmosphere and wellbeing of our family. My mother as an Australian in particular was fascinated by French culture and longed to experience for herself the richness of Parisian life. Fortunately this dream became a reality with an overseas trip in later years. Up until that time she would immerse herself in this wonderful LP and attend to her daily chores.

For the majority of Britons, Stanley Black (1913-2002) needs no introduction. He goes down in their annals as one of their most talented and prestigious pianists, composers, conductors and arrangers of classical music and orchestral jazz. He wrote and arranged many film scores and recorded prolifically for the Decca and London labels. Beginning with jazz collaborations with American musicians such as Coleman Hawkins and Benny Carter during the 1930s, he moved into arranging and recording in the Latin American style and also won awards for his classical conducting. He received for his dedication and contribution s to music an OBE. He was made a life fellow of the Institute of Arts and Letters, and life president of the Celebrities Guild of Great Britain. So it is fitting that something of his legacy can be shared here. Enjoy!

Decca Records, LK 4212, 1957

Track Listing:

A1. Dominó {Ferari} (2:00)

A2. Why Do You Pass Me By {Trenet, Hess} (2:45)

A3. At Last! At Last! {Miles, Trenet} (2:45)

A4. Autumn Leaves {Kosma} (2:48)

A5. C'est Si Bon {Betti, Hornez, Seelen} (2:37)

A6. La Mer [The Sea] {Trenet} (4:08)

B1. Waltz Of Paree {Gerard, Dreajac} (2:15)

B2. Chez-Moi {Misraki} (2:45)

B3. Boom! {Trenet} (2:22)

B4. Mademoiselle {Durand} (2:49)

B5. When The World Was Young {Vannier, Philippe, Gerard} (2:53)

B6. Au Revoir {Olivieri, Poterat, Sosenko} (2:26)

Makin' Whoopee - Sex & the Tenor Saxophone

Lord knows this isn't by any means an original idea, but in my defense I put this one together 15 or 20 years ago. I checked around for covers and discovered that many commercial and private collections used the same theme, but none of them had an even remotely similar playlist. Frankly I think mine's a lot better than any of them. I focused first on the sound of the horn, then on actual songs. Oddly enough, a sort by artist first name yielded a listening experience that was so good, I wasn't tempted to screw with it.

Makin' Whoopee - Sex & the Tenor Saxophone by Kingcake on Mixcloud

 

 

HAPPY VALENTINES DAY

Bill Barron Quartet - Live At Cobi's, Vol. 2 (1985)

As indicated in the previous post, Bill Barron in two distinct quartet formations was recorded ‘Live at Cobi’s’ during the mid to late eighties and made available through SteepleChase Records as two volumes. This is the 2^nd of the two. However, it must be noted that the music found here was recorded earlier and released a year later than the first. In some ways the best was kept till last. Bill is joined by his very talented brother Kenny on piano; Santi Debriano is replaced by the master bassist Cecil McBee whilst Ben Riley maintains his position on drums. Straight away the listener is swept along by the exuberant synergy developed by the brothers’ years of interaction. Kenny’s playing flows beautifully alongside his brother’ soloing. Equally Cecil and Ben offer a solid backing for this wonderful quartet. For this date the majority of the tunes were penned by Bill with one by Kenny and like before two additional well-known standards are showcased. On ‘Tragic Magic’ Bill swaps to soprano, but for the rest of the tracks he is featured on tenor. Any way as before Enjoy!

SteepleChase Records, SCCD 31596, 2006

Recorded 5^th October, 1985 at Cobi's, New York City

Personnel:

Bill Barron - Tenor Sax, Soprano Sax (#5)

Kenny Barron - Piano

Cecil McBee - Bass

Ben Riley - Drums

Track Listing:

1. September 1979 {Bill Barron} (11:22)

2. Spring Thing {Bill Barron} (15:37)

3. What's New? {Bob Haggart, Johnny Burke} (8:50)

4. Interpretation {Bill Barron} (14:57)

5. Tragic Magic {Kenny Barron} (8:23)

6. Cherokee {Ray Noble} (11:18)

Credits:

Producer, Mastering, Restoration, Photography - Nils Winther

Mal Waldron - Manfred Schoof

This is a gorgeous album delivered by an exemplary quintet of jazz pros.  In some ways, on paper anyhow, they almost seem incompatible.  I liken this album and grouping to Benny Bailey's SABA release: Soul Eyes.  What we end up getting is a highly capable group who can take the music to both likely and unlikely destinations.

As we listen, we find out that what really makes this quintet tick - their incredible sensitivity.  It's what allows the music it's interesting flavour, at least as much as their collective talents on their respective axes.

Sonically, this recording is beautiful and the album itself is super minty.  Some of you may have this already as an Enja release.  For those who don't, don't miss it.  This is really adventurous music which never gets boring OR pretentious.  Ripped at 24/96 and dithered to 16/44.1 FLAC... enjoy!!!

Horace Silver - Live 1964 & The Natives Are Restless

Well Grumpy's post of a Silveto album got me looking back through the archives and it has been quite some time since I dragged these gold nuggets out of my stash bag. For me, the discovery of these albums was some kind of jazz wet dream. One of my personal fave periods with monsters everywhere and all captured really well and live....GASP!

All the old guard here at the Crypt will already have these of course, but maybe some new friend will have the same kind of knee buckling experience that WE had back we first heard this stuff. The view into what it was like to hear these wonderful bands in the club is like a magical Way-Back Machine opportunity not to missed!

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1977 - 1985

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1977 - 1985 by Kingcake on Mixcloud

Cecil Payne - Brookfield Andante (1966) [vinyl>flac]

New link now available. Never reissued on CD.

Review by Michael Shera, Jazz Journal, September, 1972:

With the exception of Harry Carney, Cecil Payne probably has a longer pedigree on his instrument than anyone else currently playing. He's paid his dues, and its about time he got some of the recognition. Although he was one of the stars of Dizzy Gillespie's pioneering big band of the forties, he was largely overshadowed as a soloist on his instrument by the brilliance of Serg Chaloff (and I certainly wouldn't care to argue that Cecil was better than Serge). By the early fifties, however, Gerry Mulligan became such a big name (and with such a small talent) that Cecil became almost forgotten. His fans had to be content with occasional, highly treasured records. The early sixties were little better, though a couple of fine Cecil items were issued on the cheap Egmont label ('Plays Bird' and 'Music from The Connection"). In recent years, Cecil has visited these shores [UK] four times, as a single act and with the Herman, Gillespie and Basie bands. The first occasion was in 1966, when during a brief, ill-publicised tour this music was recorded by a local enthusiast, and is now issued only through the persistence of Mark Gardner and Tony Williams. Recording quality is very fair, though the bass is under-recorded and the piano could have done with the attention of a tuner. These minor blemishes aside, there is little doubt in my mind that the album contains the best of Cecil's work by far to be issued to date. Despite the shortest track being over nine minutes, Cecil has no problems producing a series of exciting and melodically interesting ideas which hold the listener's rapt attention. The rhythm section swings hard, with pianist Joe Palin also soloing well. The Opener starts a little slowly, but soon Payne is cooking on this up-tempo riff tune. Brookfield Andante is a beautiful waltz with an engaging melodic line and some of the most lyrical work Cecil has ever put down. Azoff Blues is a superb fast bebop blues, with long and inventive solos by all four members of the group. Sterling Place, another delightful composition by Payne, was originally written for the score of The Connection, and has more virile and melodically strong playing by the leader.
I can end only by urging everyone to rush out and buy this album immediately, and by fervently concurring with annotator Mark Gardner that since this album has been issued ten years after his last one, let's hope we don't have to wait another ten years for the next!

[NB I do not concur with the opinion of Mulligan, expressed by Shera!]

1. The Opener
2. Brookfield Andante
3. Azoff Blues
4. Sterling Place

Cecil Payne (bs) Joe Palin (p) Alan Cooper (b) Ron Parry (d)
Club 43, Manchester, England, November 5, 1966.
(Spollite CP2)

Bill Barron Quartet - Live At Cobi's, Vol. 1 (1987-88)

After studying Bill Barron’s discography, I realised I still hadn’t heard the sets he performed ‘Live at Cobi’s’ recorded between 1985 and 1988 and  released on CD nearly two decades later as two volumes by SteepleChase records. Any way the good news is here we have the first one with the second to follow. Bill’s playing on this date is outstanding; his quartet here is a very tight unit; with Fred Simmons on piano, Santi Debriano on bass and Ben Riley on drums. All players step up to the mark in supporting Bill’s excellent musicianship and lyricism. There is plenty of room for all to display their individual talents with the solos beautifully integrated into the tunes. Most of the compositions are written by Bill and few by his brother Kenny, the remainder being a couple of well-known standards. I ripped the disc to wav reassembling all tracks carefully removing where possible any excessive applause. Overall, if you are a Bill Barron fan like me you will want to have this in your collection. Enjoy!

SteepleChase Records, SCCD 31570, 2005

Recorded 24^th October, 1987 - 4^th March, 1988 at Cobi's, New York

Personnel:

Bill Barron - Tenor Saxophone

Fred Simmons - Piano

Santi Debriano - Bass

Ben Riley - Drums

Track Listing:

1. This One's For Monk {Bill Barron} (13:00)

2. Easy Does It {Bill Barron} (12:15)

3. Confirmation {Charlie Parker} (10:54)

4. Row House {Kenny Barron} (9:44)

5. Angel Eyes {Matt Dennis} (5:52)

6. Voyage {Kenny Barron} (8:40)

7. Until Further Notice {Bill Barron} (9:18)

Credits:

Producer, Mastering, Restoration, Photography - Nils Winther

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1968-1976

In part 3 I find myself disagreeing with Giddens' choices far more often than I'd agree. There is a lot of material in this one that is farther 'out' than my tastes, I find it a difficult listen, primarily due to the Cecil Taylor, and The Revolutionary Ensemble.

I would personally take issue with Giddens near disregard of the rich spiritual jazz and soul jazz traditions of this era in favor of an overemphasis on the avant garde. Only the excellent Art Ensemble of Chicago track even nods in that direction. 

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1968-1976 by Kingcake on Mixcloud

Harold Land - Choma (Burn) (1972) [vinyl]

The oddest of the Hutcherson-Land albums, at times driving mainstream post-bop, as expected, at times 70s jazz-funk fusion, perhaps the influence of Land's son? Personally I'd have preferred more subtlety and indeed suppleness from the drumming but overall there's much to enjoy here if, like me, your a devotee of these two.

1. Choma (Burn)
2. Our Home
3. Black Caucus
4. Up And Down

Harold Land (ts,fl) Bobby Hutcherson (vb, marimba) Bill Henderson, Harold Land, Jr. (p,el-p) Reggie Johnson (b) N'Dugu, Woody Theus(d)
1971

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1960-1967

Hmmmm, Well, maybe THIS part will spark some debate...I guess everyone is okay with Giddin's choices 1944-59? If you take a look at his accompanying essay in the Village Voice, you will see that he expected these picks to be challenged and that he has written a defense, if you will, of each track.

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1960-1967 by Kingcake on Mixcloud

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1944-1959

The beginning of an entirely subjective list of year by year significant jazz tunes - an invitation to debate! 

Here's Gidden's article about the list and it's suggestions

Robert Christgau's review:
" Postwar Jazz: An Arbitrary Roadmap [no label/Weatherbird, 2003] Gary Giddins Jazz, I call it. Not officially for sale and never will be, permissions being the slough of greed, vanity, and indifference they are. But available on the Net to those as know how, I am assured by one of the two nuts of my acquaintance who copied, borrowed, ripped, and otherwise purloined a six-CDR set comprising the 1945-2001 choice cuts our greatest jazz critic annotated for the June 11, 2002, Voice. Beyond the cross-generational ecumenicism Giddins champions--the assumption that jazz musicians are artists for life, so that a supernally lucid summation by 78-year-old Benny Carter takes the 1985 prize--is a music in which intellection harnesses energy and feeling and rides them hard toward the horizon. The selections are sometimes too avant for my tastes, and insufficiently electric (Craig Harris over Blood Ulmer in 1983?!); I wouldn't agree they're all "great records." But the vast majority come close enough. Among the artists I'd never have believed could dazzle me like this are Art Pepper, Gil Evans, Tommy Flanagan, Stan Getz, George Russell, and, I admit it, Sarah Vaughan. Why had I barely heard of Sonny Criss? How the fuck did I miss "Little Rootie Tootie"? A+"

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1944-1959, by Kingcake on Mixcloud

Jaki Byard - Out Front

"Out Front is one of my favorite Jaki Byard albums, though it doesn't really get to his wilder side. I love hearing him play with Bob Cranshaw and Walter Perkins on this track they lay down some serious music. Jaki has a certain way of playing his bebop knowledge, he's able to turn the phrases to make them feel just a bit off. That's to say, he switches the phrase to the other side of the beat with such ease, and then switches it back. Also, I remember him telling me that he wrote this piece with Herbie Nichols' touch in mind. I thought that was such a great way to start a composition, with "touch" in mind."

Reviewer: Jason Moran

Clifford Jordan - Dr. Chicago (1984) [vinyl>flac]

Re-upped from the old Crypt. I couldn't resist a sealed copy of this, so ripped from mint vinyl. On the BeeHive label, a catalogue that has never been issued on CD.

This excellent Bee Hive LP features tenor saxophonist Clifford Jordan on three quartet numbers with pianist Jaki Byard, bassist Ed Howard and drummer Vernel Fournier, welcoming trumpeter Red Rodney to two other selections and taking "If I Had You" as a duet with the very versatile Byard. The repertoire is colorful and diverse (three jazz standards, an obscurity, Jordan's bluesy title cut and Fournier's intriguing "Zombie"), and the very consistent Jordan is up to his usual high level. ~ Scott Yanow

01 Dr. Chicago
02 Something To Live For
03 Zombie
04 Touch Love
05 If I Had You
06 Be Bop

Clifford Jordan (ts) Red Rodney (t, flh) Jaki Byard (p) Ed Howard (b)
Vernel Fournier (d)
Vanguard Studios, NYC, August 3, 1984

Bud Freeman Esq. (1966) [vinyl>flac]

Another rarity, ripped from mono vinyl, which was not in great condition but I've done my best with it. You'll already have an extra track, from the same session, if you downloaded 'Americans in Europe' posted last April.

Review by Gerald Lascelles, Jazz Journal, December 1966:
When Bud Freeman was over here last June he had the opportunity to record with an all-British rhythm section, not the Alex Welsh band with whom he has toured, televised, and worked on several occasions. Dick Katz, former pianist with the Ray Ellington quartet, now better known as an agent, was co-opted as pianist for the session, and those stalwarts of rhythm, Spike Heatley and Tony Crombie, completed the group. The accent was clearly on spontaneity, and no less than five of the tracks on this album were taken down first time through, which is a tribute both to Bud and his men.
With Bud, surely one of the most self-composed and reassuring of all jazzmen, there is no question of a cutting contest, or of trying to catch out the accompanists. What was blown at this session is uncompromising jazz, melodic and tasteful throughout, but he deliberately avoided a shouting session where he might have overwhelmed the group. Instead, he blends carefully, leaving solo spots for the rhythm men, and in return gets exceptionally good support from them all. Dick Katz is a splendid two-fisted pianist, who makes the most of his opportunity to work with Bud. It is certainly good to hear Bud blowing his old perennial Eel again, and Sunday and Indian Summer. I leave no doubts in my mind that he still has plenty to say in terms of jazz.
This turns out to be one of those splendidly swinging sessions which sometimes emerge from our studios, with nothing elaborate to complicate the serious business of playing good jazz. It rides high in my assessment of all the records I have heard this year, and I shall welcome the lime when Bud contributes another session of jazz 'made in England'.

Review by John Postgate, Jazz Monthly, January 1967:
lt is impossible to write unkindly about this record, though the reviewer is bound to admit that not much happens on it. Freeman's talent is indisputable; he has distilled his earlier, probing, hit-or-miss style into a repertoire of highly personal phrases that he passes out with meticulous care and deliberation. His innovations were incorporated into the body of jazz thirty years ago, when accidental sixths and ninths became commonplace, and today he is content to play within the framework he developed then. On this issue he dispenses a sedate programme of standards, including a brisk but gentle re-working of The Eel, and the support provided by his British accompanists is outstanding, particularly the contribution of Spike Heatley. As I said, a likeable record, depicting a perfectionist in a small backwater of our music.

1. Sweet Sue
2. Way Down Yonder In New Orleans
3. Indian Summer
4. Higgins Said No!
5. Mean To Me
6. Tea For Two
7. You Took Advantage Of Me
8. Dinah
9. The Eel
10. Sunday
11. I Could Write A Book
12. I Got Rhythm

Bud Freeman (ts); Dick Katz (p): Spike Heatley (b): Tony Crombie (d).
Fontana Studio, Marble Arch, London, June 1966.
(Fontana TL 5370)

Booker Ervin - That's It!

 That smoldering intensity that was kept largely under the covers in the previous two albums burns through the bed clothes on this date! For me, this is Booker's coming out party, that wonderful slightly unhinged wail is in full throat. It is that tone that first captured MY ear.

I think you would have to call this music pretty advanced for 1961. The four Ervin originals in particular are just glorious. These guys were a regular working unit at the time, they were communicating on a nearly magical level and pushing on into the post-bop frontier.

 "Booker Ervin, who always had a very unique sound on the tenor, is heard in prime form on his quartet set with pianist Horace Parlan, bassist George Tucker and drummer Al Harewood. In virtually all cases, the jazz and blues musicians who recorded for Candid in 1960-61 (during its original brief existence) were inspired and played more creatively than they did for other labels. That fact is true for Ervin, even if he never made an indifferent record. In addition to "Poinciana" and "Speak Low," Ervin's quartet (which was a regular if short-lived group) performs four of the leader's originals; best known is "Booker's Blues."

Frank Butler - Wheelin' And Dealin' (1978) [vinyl]

I first heard this when wil posted an mp3 rip at kublascrib. I liked it so much that I couldn't resist a near mint vinyl copy that came my way! Never issued on CD.

Frank Butler's second and last recording as a leader followed his first by just under one year. He retains the same rhythm section as on The Stepper (Dolo Coker and Monty Budwig), while featuring two tenor saxophonists, Joe Farrell and Teddy Edwards, this time around. Missing are the longer drum solos of the earlier album; instead the focus is primarily on the two saxes. Edwards wrote the opening up-tempo blues "Wheelin' and Dealin'," which turns into an old-fashioned tenor battle, with both men coming out victorious. The ballad medley is split, with Farrell taking "I Got It Bad (And That Ain't Good") and Edwards playing "Tenderly," though the latter's solo gets the nod. Butler is showcased briefly in a snappy treatment of ‘Four" and more extensively in Coker's "Mr. October." Since this long out of print Xanadu LP is a bit more accessible than its predecessor, it will especially appeal to lovers of hard bop.

1. Wheelin' And Dealin' (Teddy Edwards)
2. I Got It Bad (And That Ain't Good) (Duke Ellington, Paul Francis Webster)
3. Tenderly (Walter Gross, Jack Lawrence)
4. Four (Eddie Vinson, Miles Davis)
5. Secret Love (Sammy Fain, Paul Francis Webster)
6. My Cherie Amour (Stevie Wonder, Henry Cosby, Sylvia Rose Moy)
7. Mr. October (Charles 'Dolo' Coker)

Teddy Edwards, Joe Farrell (ts), Dolo Coker (p), Monty Budwig (b), Frank Butler (d)
Los Angeles, CA. October 22, 1978

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.