Tony Scott - Golden Moments

The original rip comes courtesy of our old friend Sotise - this Muse release was a reissue of a little known 1959 session featuring some serious heavyweights.

"Tony Scott was one of the major jazz clarinetists of the 1950s, but his decision to become a world traveler in 1960 has resulted in him becoming rather obscure. This valuable Muse release features the clarinetist in top form on an original blues and four standards (including 12-minute versions of "Walkin'" and "Melancholy Baby") in a quartet that also includes the up-and-coming pianist Bill Evans (who had just left Miles Davis' sextet), bassist Jimmy Garrison, and drummer Pete LaRoca. The bop-oriented improvisations hold one's interest and make one wish that Scott had stayed in New York throughout the '60s; he had much more to say. [Golden Moments was reissued as part of 32 Jazz's double-disc set, At Last, in 1999.]" Yanow, AMG

Xanadu Dreams 2

Xanadu Dreams 2 by Kingcake on Mixcloud

Jackie Paris - The Song Is Paris (1962)

As requested. This is not my rip but is posted in honour of the original uploader who passed away a while ago and is sadly missed by many in jazz blogland - The Jazzman.
This is a copy of his original post:

I found a great article about JP that I thought you would enjoy.

The Village Voice January 17, 1995 Vol. XL No.3
Article by Will Friedwald

Fifteen years after Lenny Bruce's death, his equally legendary mother Sally Marr, came across an unmailed letter amongst her late son's effects. Upon opening the envelope, she found a three page testimonial to the talent's of Jackie Paris, the jazz singer who'd shared a bill with Bruce for several months in 1959.

The comic was writing to implore his agent to sign Paris to a long term contract. "(My last gig in) New York was a gas, and the biggest thrill was working with Jackie Paris," Bruce wrote. "You know how much I dug him before... well, I find out he tap dances great, and plays 'the end' guitar... He is cute as a button and the audience loves him and he gets laughs. Tooo muccchhh!"

"I know he could be a star," Bruce continued, "I've never seen a singer that could talk and command the audience attention like this kid, except Sinatra or Dean Martin, and they talk about booze and broads. This kid [actually Bruce and Paris were both 33 at the time] is a hip Pat Boone."

Bruce was convinced that Paris was going to become the next "big" singer. Little did he suspect that there was no room in this particular American musical moment for a new star who only appealed to the hip and grown-up, and who wasn't part of the youth directed pop explosion. To make matters worse, Paris wasn't even your average pop singer with jazz influences. Rather he was and is an uncompromising jazz singer who happens to have an enormous --albeit unrealized -- pop appeal.

If stardom could be attained as easily as the acclaim of counter-culture landmarks like Lenny Bruce, then Paris would have long since been a jazz circuit headliner. He was also the favorite singer of Charles Mingus, who worked with him in Lionel Hampton's band circa 1949, and three years later wrote several compositions expressly for the singer, which they recorded together on Mingus's own Debut label. Further, Paris was the only singer to tour with the Charlie Parker Quintet (with Miles Davis and Max Roach). Paris was also the vocalist selected by producer Leonard Feather, Thelonious Monk (presumedly), and posterity to introduce the now standard lyrics to "Round Midnight."

It's easy to hear what Bruce, Mingus and Parker found so appealing in Paris's singing. Here is a musician saturated with the virtues of modern jazz--the harmonic sophistication, the cool attitude, the bright clean tone--who never sounds like he's doing anything way-out or complex. His grounding in the blues leads him back to the fundamentals. On a familiar piece like "Wrap Your Troubles In Your Dreams", Paris can come up with the oddest harmony lines exactly where we expect to hear the "straight" melody-as-written. Yet nothing he ever sings strikes us as weird.

Undoubtedly, it was his gift for clarity that led Mingus to concoct some of his most conventionally singable melodies and lyrics specifically for Paris. Mingus could devise as much formless abstraction as he liked--for example the entrancingly meandering "Portrait"--knowing that Paris could "sell " the number as convincingly as Sinatra could put over a Cole Porter showtune. Likewise " Paris In Blue" (included, along with "Portrait" on Charles Mingus: The Complete Debut Recordings) veers off into all kinds of odd directions. Yet Paris effectively anchors all narrative and melodic motion to the blues framework that the piece begins and ends with.

Twenty-two odd years after the 1952 sessions that produced these tracks, Mingus recruited Paris to introduce what became one of the bassist's anthems "Duke Ellington's Sound Of Love" (on Changes Two). Paris also worked steadily with Mingus's Jazz Workshop group for several months during the 60's. One night at the Village Vanguard, he recalls, he witnessed the vitriolic Mingus's temper in full force. "He chased everybody off the stand except (drummer) Paul Motian and me," Paris said in a recent interview in his Park Avenue South apartment. "The three of us just wailed on the blues for about an hour and a half before he called the other cats back."

Paris, who was born in Nutley, New Jersey, was dancing and singing from the time he was three years old. He tapped on the vaudeville circuit around New Jersey and at one point shared the stage with the legendary Bill "Bojangles" Robinson, who told him, "Son, you sure got rhythm for a white boy." It would not be the only instance of racial blur in his career. When singing with the Hampton band, the leader's wife and manager, Gladys Hampton, insisted Paris wear a chalk-white suit while the rest of the band sported what Paris remembered as "horrible orange tuxedos." Once on the road a couple racist small -town cops started harassing the Hamptonians, and Paris in particular. When they asked, "Hey, what are you?"- meaning black or white - he answered,"I'm one of the guys."

Paris first began singing jazz on 52nd street around 1947, with his piano, bass, and guitar trio, The King Cole- style trio enjoyed one of the longest gigs in the history of that center of activity. Paris also made his first singles for MGM around this time. Both Charlie Parker and Lionel Hampton first heard him in 52nd street clubs and invited him to join their groups from there.

The singer considers it a point of honor that he doesn't drastically alter a songwriter's words or music. Most of his repertoire consists of very familiar standards that he totally personalizes, not only through rhythm and phrasing, but also by using harmonies to paraphrase each line. More intimate than, say, Sarah Vaughan's very cerebral inventions, Paris's lines remain close enough to the original's tune to recognize it even without benefit of the words. This kind of respect for the songwriter's original intentions garnered him praise from his collaborators. Hoagy Carmichael, for example, once told a TV talk show host that "a kid by the name of Jackie Paris sings the hell out of 'Skylark'."

Paris came closest to a hit in 1953, when another composer, Redd Evans, presented him with the elemental, folkish ballad, "If Love Is Good To Me." "He gave me an exclusive, but I didn't get a contract or anything," Paris said. "I introduced that song [on Brunswick] and my record had just started to sell. The next thing I know, Redd told me, 'Listen Nat Cole wants to do the song and I can't turn him down.'" Cole had already made hits out of a half dozen Evans songs. "So, Nat recorded it, and though Cashbox picked mine over his. Nat's record became the biggest record in the country."

Paris claims not to be bitter about the cover, especially since Cole had long been one of his favorites. However he delights in how a friend of his who worked for Cole would stroke the singer-pianist's guilty conscience. " 'I love your record, Nat,' he'd say to him, 'but you really like Jackie's version, don't you?'" Paris solidified his relationship with "If Love Is Good To Me" by re-recording it in 1962 for his Impulse! album The Song Is Paris; Evan's tune remains perfect for Paris's sweet yet achingly soulful sound. The sensual way that he bends the coda makes clear what Sarah Vaughan meant when she described Paris as a "kissy" singer.

Paris has made guest appearances on albums by jazz instrumental greats from Mingus to Terry Gibbs to Coleman Hawkins to Donald Byrd. He's also released 10 albums of his own, four in the last dozen years, for the American indie Audiophile (Jackie Paris and Nobody Else But me) and the Japanese major Emarcy (Lucky To Be Me and Love Songs). All four concentrate on Paris's specialty--the luxuriously slow ballad. He still sings remarkably even if his voice isn't as rich and juicy as it was in the 50s and 60s (the effects of aging come through, oddly enough, on up-tempo numbers). All four new sets contain outstanding balladry: "More Than You Know", with its anguished forlorn and particularly compelling treatment of the verse, which through rubato, he invests with as much melody as the central refrain, makes for as classic a Paris perennial as "Skylark."

Strangely Paris's best contemporary album is a 1987 orchestral date that balances exciting if typically busy "up" charts by Michael Abene with haunting and sensitive string arrangements by the late Bobby Scott, including a loving treatment of Jules Styne's "Small World" that'll tear your guts out. Paris is still seeking a home for these tracks. Between gigs, which don't come as frequently as he likes or deserves, he teaches both guitar and voice as part of the New School's Jazz program.

Although his talent vastly outweighs the amount of success he's enjoyed, it's impossible to feel sorry for Jackie Paris - not only because he has the apartment of every New Yorker's dreams, but because both the singer and his music are so upbeat. He still possesses so much voice and charisma that it's easy to believe "it" could still happen for him.

Now, at 68, Paris remains one of the strongest survivors of jazz singing's glory decades, " I never gave in," he says, " 'cause I love it, man. What am I gonna do, get bitter and hate the world and kill myself? For what? I had a lot of fun. I loved every minute of it."

*

by Jason Ankeny
The Song Is Paris pairs Jackie Paris with arranger Bobby Scott, whose simple but effective treatments prove well-matched to the singer's uncommonly direct approach. Because he was never a showy or self-indulgent vocalist, Paris never received the acclaim he deserved, and the subtlety of a record like The Song Is Paris further underlines just how deceptive his music can be -- the album shifts so effortlessly between moods and tempos that its broad range threatens to pass by virtually unnoticed. Paris' nuanced, succinct approach to the material likewise eschews technical acrobatics in favor of sincerity and poignancy -- slowly but surely, the songs work their way deep under your skin. ~ Jason Ankeny, All Music Guide

Tracks

* A1) Duke's Place
* A2) If Love Is Good To Me
* A3) Jenny
* A4) My Very Good Friend In The Looking Glass
* A5) 'Tis Autumn
* A6) Nobody Loses All The Time
* B1) Everybody Needs Love
* B2) Cherry
* B3) Thad's Blues
* B4) Tonight (From West Side Story)
* B5) Cinderella (Stay In My Arms)

Jackie Paris, who died last month at the age of 79, was a favorite of Charles Mingus, Charlie Parker, and Lenny Bruce, but he remained in semi-obscurity for most of his career. He recorded the first-ever vocal version of Thelonious Monk’s “Round Midnight” in 1949, collaborated several times with Mingus, and made LPs for Brunswick (Skylark) and Impulse (The Song Is Paris) that became collector’s items in subsequent decades. (From 2004)

Complete Edmond Hall - James P. Johnson - Sidney De Paris - Vic Dickenson Blue Note Sessions

To say that this limited-edition six-LP Mosaic box is overflowing with classics is an understatement. Included are a variety of small-group sessions (with overlapping personnel) from the early days of Blue Note. The Edmond Hall Celeste Quartet has five songs that are the only existing examples of Charlie Christian playing acoustic guitar; clarinetist Hall, Meade Lux Lewis (on celeste), and bassist Israel Crosby complete the unique group. The king of stride piano, James P. Johnson, is heard on eight solos; other combos are led by Johnson, Hall (who heads four groups in all), trumpeter Sidney DeParis, and trombonist Vic Dickenson (heard in a 1952 quartet with organist Bill Doggett). Among the other key soloists are vibraphonist Red Norvo, pianist Teddy Wilson, tenor great Ben Webster, baritonist Harry Carney, clarinetist Omer Simeon, and trombonist Benny Morton. But more important than the all-star personnel is the fact that the musicians are consistently inspired, and that the performances (ranging from Dixieland to advanced swing) are well-planned yet spontaneous.   Yanow. AMG

This rip is from the 4 CD version

Sonny Stitt - Primitivo Soul (1963) [vinyl>flac 24/48]

A rarity - I can find no evidence of a CD issue?

Side A
1. Slave Maidens
2. Baion Baby
3. Estrellita
Side B
1. Blue Blood Ritual
2. Island Shout
3. Barefoot Ball

Sonny Stitt (alto,tenor saxophone) Ronnie Mathews (piano) Leonard Gaskin (bass) Herbie Lovelle (drums) Marcelino Valdez (congas) Osvaldo "Chihuahau" Martinez (bongos)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, December 31, 1963

Eddie Harris - A Study In Jazz

Still the same base band here, but Harris finally puts the Hollywood themes aside for an album and plays some of his own compositions. The tracks are curiously short (except for the final track), perhaps still seeking to be radio and jukebox friendly I suppose, but still a pretty satisfying album.

Eddie Harris - Breakfast at Tiffiny's

Tenor-saxophonist Eddie Harris's third album features him exploring 11 themes from Henry Mancini's score for Breakfast At Tiffany 's. Harris stretches out the most on "Moon River" and the title cut but he does justice to the nine lesser-known themes. This long out-of-print LP holds one's interest throughout and, although Harris comes up with plenty of fresh ideas, he also never leaves the melody far behind. His unlisted backup group is a septet that includes trombonist Joe Avant, vibraphonist Charles Stepney, pianist Willie Pickens and guitarist Joe Diorio. A fine (if obscure) outing.AMG

Eddie Harris - Mighty Like A Rose

"Mighty Like a Rose was Eddie Harris' follow-up to the smash Exodus to Jazz, and it probably comes as no surprise that it's mightily similar in sound and style. One can hardly blame Harris for taking essentially the same approach; it's not every day that a jazz artist's debut LP makes him a million-selling star overnight. And he struck while the iron was hot, completing the sessions for Mighty Like a Rose a month before the single edit of "Exodus" had even peaked on the pop charts. Perhaps that's why there are only two Harris originals this time around; the rest of the repertoire is mostly standards, plus another movie theme adaptation -- this time of "Spartacus" -- that would prove to be the first of many "Exodus" sequels Harris recorded in his early period (although pop-chart lightning never did strike twice). Harris is once again joined by his regular Chicago backing group of the period -- guitarist Joe Diorio, pianist Willie Pickens, bassist William Yancey, and drummer Harold Jones, who provide solid, appropriately easygoing support. Harris' playing strikes a balance between cool bop and straightforward soul-jazz, though it's possible to hear the influence of Detroiter Yusef Lateef beginning to creep in. It's all well-executed, and Harris' command of the highest ranges of his instrument is as lovely as ever, making this date worthwhile for anyone who loved the sound of Exodus to Jazz." AMG

Lakota Jazz - The Eduring Joy of Jim Pepper

My loving tribute to the late, great Jim Pepper, the Lakota Nation's glorious gift to Jazz.

"Water Spirit feelings running round my head, makes me feel glad that I'm not dead."

This one always brings a tear to my eye, I miss you my brother.

Lakota Jazz - The Enduring Joy Of Jim Pepper by Kingcake on Mixcloud

Bobby Shew Quartet - Breakfast Wine (1983) [vinyl>flac 24/48]

From www.artsjournal.com: Doug Ramsey on Jazz and other matters... Breakfast Wine: Missing Too Long (July 17, 2009)

Bobby Shew’s Breakfast Wine is so rare that it does not appear in the Shew discography on the trumpeter’s own web site. Nonetheless, the PAUSA long-playing vinyl album released in 1985 is a highlight not only of Shew’s recording career but also of all jazz releases in the last two decades of the twentieth century. I lost my copy of Breakfast Wine in a move, so when I was rummaging through the used LP bin in a Seattle store the other day and came across a pristine copy, I gave a whoop. That prompted another customer to amble over and see what the fuss was about. I showed him the cover. He stared at it blankly and went back to the rock section. Good. I didn’t want to have to fight him for the LP.

Shew’s rhythm section on the record included the stalwart drummer Sherman Ferguson, pianist Makoto Ozone and bassist John Patitucci. Ozone and Patitucci were in their early twenties, at the launch points of their substantial careers. They shared with Shew the enthusiasm he had rekindled after deciding to walk away from his career of lead trumpet work with Woody Herman, Buddy Rich and other big bands, and from the Hollywood studios in which he had spent hundreds of lucrative hours.

“After all the Woodys and Mork and Mindys,” he told the liner note writer (full disclosure: I was the liner note writer), “I realized I wasn’t doing what makes the hair stand up on the back of my neck. So I threw it all over, and now I’m playing jazz in clubs and doing clinics for student musicians about 200 days a year. I don’t make the kind of money I used to as a studio musician. But I love everything I do. It’s a self-inflicted eccentricity. And I’ve discovered it works not only in an artistic sense, but in a business sense too. I’m doing what I love and life is good.”

And that, essentially, is what Shew has been doing for a quarter of a century. He has recorded more than two dozen albums as a leader since, but Breakfast Wine has a special place in his output because of the sense of discovery in his playing, the freshness of the emerging Ozone and Patitucci and, not least, because of the title tune. Randy Aldcroft’s intriguing “Breakfast Wine” has made its way into the repertoires of many musicians and into fake books. The recording that introduced it should make its way back into general circulation as a CD reissue.
In the meantime, if you get lucky, as I did, you may find the LP. This web site lists several copies ranging in price from expensive to ridiculous. They include an offer from an outfit in France that will sell you the LP and a CD-R transfer for a mere $78.84 US.

Grumpy: I was lucky picked up a sealed copy for a reasonable price!

1. Breakfast Wine - 8:24
2. Alone Together - 6:13
3. Waltz For Bill Evans - 6:00
4. Softly As In The Morning Sunrise - 6:00
5. I Waited For You - 5:05
6. Shew-In - 8:05

Bobby Shew (flh, t) Makoto Ozone (p) John Patitucci (b) Sherman Ferguson (d)
Sage & Sound Studios, Los Angeles, September, 1983

Ronnie Mathews - Legacy (1979) [vinyl>flac]

New link now available. Ripped from a mint LP in flac with scans.
Aside from the songs on Johnny Hartman's LP "Once In Every Life" that were featured on the "Bridges of Madison County" soundtrack, none of the material released on the Beehive label has been reissued. The man who owns the catalog has resisted repeated urgings to reissue the music himself or to let someone else do it for him. Sad.

Review by Scott Yanow:
Pianist Ronnie Mathews assembled an all-star group (tenor saxophonist Ricky Ford, trumpeter Bill Hardman, bassist Walter Booker, Jr. and drummer Jimmy Cobb) for this hard bop set. Mathews had long been a distinctive but underrated player and is heard in prime form on a varied program including two of his songs, a pair of Tex Allen originals, "Suicide Is Painless," "A Child Is Born" and "Once I Loved." The musicians all live up to their potential, making one wish that the Bee Hive releases of the late 1970s were available on CD.

01 - Legacy
02 - A Child Is Born
03 - Once I Loved
04 - Ichi Ban
05 - Theme From Mash
06 - Loose Suite
07 - Four For Nothing

Ronnie Mathews (p) Ricky Ford (ts) Bill Hardman (t) Walter Booker Jr (b) Jimmy Cobb (d)
Rec: NYC, Setember 21, 1979

Incidentally, 'Ichi Ban' composed by Mathews, is revisited here, having first been released on the marvellous 1963 Prestige recording 'Doin' The Thang', which featured Freddie Hubbard.

Doc Cheatham - It's A Good Life! (1983)

Doc was 77 years old when this album was recorded, but frankly you would never know.  He still had a surprising amount of power and stamina left in him - enviable by anyone's standards.  This album is a wonderful, feel good side with solid playing by all who appear.

In my opinion, its Doc's vocals that keep things interesting and pacing nicely.  He sings on several tracks and much like his horn, has lots of wind for each tune.

Certainly nothing groundbreaking here, but its a great mainstream joint for those of us who dig it.  This album is ultra minty, ripped in 24/44.1 wav and dithered to 16/44.1 FLAC.  I didn't use any editing tools - didn't need to.  Enjoy!!!!

The 77-year-old trumpeter proves to be very much in his prime during this excellent session. In fact Cheatham, who is backed by a fine rhythm section led by pianist Chuck Folds, dominates this set, taking melodic but passionate trumpet solos and contributing charming vocals. His versions of "Struttin' with Some Barbecue" and "You're Lucky to Me" are particularly memorable. - Scott Yanow / AMG

Dancing In the Garden of the Muses #3

Volume 3 covers Muse releases 5037-5055 (5050 & 5051 were never used) -- Most of this music was recorded in 1973 or 1974 (excepting the Dorham 1960, and Vick 1966 titles) -- The set opens with a marvelous Phil Woods track followed by Eric Kloss, Pat Martino, Carlos Garnett, Mark Murphy, Catalyst, Eddie Jefferson, Kenny Barron, Teddy Edwards, Red Rodney, The Visitors, Willis Jackson, Dom Um Romao, Louis Hayes, Kenny Dorham, Harold Vick and Lester Bowie.

Dancing In the Garden of the Muses #3 by Kingcake on Mixcloud

Curtis Amy - Mustang (1967) [re-rip]

A fantastic LP of beautiful modal tracks, played by one of the most underrated reed players ever, during the most fruitful time of his career. At this point, Amy's moved away from his bluesy Texas roots, and has discovered a freer Coltrane-esque sound that works beautifully with his spiritual, strident compositions. Although the record was pushed by Verve with the funkier track "Mustang" (also recorded by Donald Byrd), the record really sounds more like a Nathan Davis record, with a mix of tenor and soprano sax that is extremely spiritual. Tracks include "Mustang" (2 versions), "Shaker Heights", "Enojo", and "Old Devil Moon". © Dusty Groove, Inc.

The Texas Tenor tears it up on this release for Verve from 1966. It's a fantastic LP of beautiful modal tracks, played by one of the most underrated reed players ever, during the most fruitful time of his career. At this point, Amy's moved away from his bluesy Texas roots, and discovered a freer Coltrane-esque sound that works beautifully with his compositions. Although the record was pushed by Verve with the funkier track "Mustang" -also recorded by Donald Byrd- the record really sounds more like a Nathan Davis record, with a mix of tenor and soprano sax that is extremely spiritual. This has never made it to CD or a vinyl re-issue -suprising given the popularity of the very funky title track and the fact it's on Verve. ~ Orgyinrhythm

He might have been known as a Texas tenorman but Amy plays more soprano sax here (probably due to the Coltrane influence of the era). The band is mostly of unknowns (local Texas players?) except for pianist Kenny Barron but create quite a energetic stir often with a Latin tinge. Verve needs to reissue this! It's not easy to find but keep your eyes open in those dusty record bins. ~ RateYourMusic

Verve Records, V6-8684, 1967

Recorded 26^th January, 1967 at Bell Sound Studios, New York

Personnel:

Curtis Amy - Tenor Sax (#A1,B1,B2), Soprano Sax (#A2,A3,B3)

Leroy Cooper - Baritone Saxophone

Jimmy Owens - Trumpet, Flugelhorn

Kenny Barron - Piano

Carl Lynch - Guitar

Edgar Willis - Bass

Bruno Carr - Drums

Eva Harris - Vocals (#B2)

Track Listing:

A1. Mustang [Short Version] {Sonny Red} (3:18)

A2. Shaker Heights {Curtis Amy} (11:51)

A3. Enojo [Peevish] {Curtis Amy} (3:36)

B1. Mustang [Long Version] {Sonny Red} (5:08)

B2. Please Send Me Someone To Love {Percy Mayfield} (3:28)

B3. Old Devil Moon {E.Y. "Yip" Harburg, Burton Lane} (6:07)

Credits:

Producer - Joel Dorn, Jack Shaw

Director Of Engineering - Val Valentin

Remix Engineer - Norman Baker

Cover Design - Acy R. Lehman

Cover Photo - Jon Henry

Eddie Harris - Exodus To Jazz (vinyl rip)

Someone suggested an Eddie Harris series in recent comments so I thought I'd toss this one out for a starter. Harris was a really unusual horn voice at this point in his career - a tone with the airyness of Getz and Desmond but drenched in Chicago Blues.

 I was somewhere around 10 years old when first I heard this one. It was a favorite of my step-father's so it was played often enough that I noticed it even as a kid. I also seem to recall the music showing up on T.V. soundtracks by the mid to late 60's, but I could be wrong there.

Years passed and I forgot the album entirely until a badly re-mastered Collectables two-fer CD reminded me just how good it was. At some point early in the digital ballgame I made a mini-disc rip of a scratchy LP that I think I had borrowed. The mini disc wav files were eventually stored on a CD when I gave up on the medium, and were promptly forgotten. I was going thru a CD wallet with some unmarked discs and tossing most of them out, but these files had been partially tagged on the disc (albeit incorrectly) and I decided to see what I could do with the files.

Isotope RX cleaned up the clicks and pops and resolved the slight clipping issues. A lovely rip emerged after some additional beginning and ending editing on the bit of groove noise there. I'd guess that I had a HiFi Mono version rather than the stereo covers shown here: these I obtained from discogs - it looks like mono in both Audacity and Isotope, and it sounds like High Fidelity Mono to my ears when played. It sounds quite good, but there is no apparent 'sound-stage'. In 1961 the mono version likely sounded better than the stereo anyway.

Houston Person - Chocomotive (1967)

Review by Alex Henderson

"Some jazz improvisers believe that appealing to R&B and pop fans is beneath them, but Houston Person never had that elitist mentality. The big-toned tenor titan was always a communicator; though he has first-rate chops and can easily sail through difficult bop changes, Person doesn't value pyrotechnics over feeling and emotion. Consequently, albums like Chocomotive have managed to reach a lot of R&B and pop fans who don't necessarily buy a lot of jazz. Person was 32 when he recorded this excellent LP, which employs Cedar Walton on piano, Bob Cranshaw on bass, Frankie Jones on drums, and Alan Dawson (who was primarily a drummer) on vibes. No organist is employed, but even without the mighty Hammond B-3, Chocomotive is a fine soul-jazz/hard bop date. True to form, Person is as expressive on ballads (including "You're Gonna Hear From Me" and Neal Hefti's "Girl Talk") as he is on a hard-swinging blues like the title track. And the saxman really pours his heart into a blues-drenched performance of Buddy Johnson's "Since I Fell for You." Person also tackles the Fifth Dimension's corny "Up, Up and Away," but don't snicker -- after he gets through with the tune, it becomes a swinging soul-jazz instrumental. Even if "Up, Up and Away" isn't your favorite Fifth Dimension hit, you have to admire Person's ability to give it an interesting makeover. In 2001, Fantasy reissued five of this LP's seven tracks on a 78-minute CD titled Trust in Me (Prestige 24264), which also contains the Trust in Me LP in its entirety. Due to space limitations, "Girl Talk" and "Up, Up and Away" were omitted from Fantasy's Trust in Me CD. And for that reason alone, collectors who have this LP should hold on to it."

01 - Chocomotive
02 - You're Gonna Hear From Me
03 - Close Quarters
04 - Girl Talk
05 - Since I Fell For You
06 - Up, Up And Away
07 - More

Houston Person (ts) Cedar Walton (p) Bob Cranshaw (b) Alan Dawson (d, vib) Frankie Jones (tp, d)
NYC, June 14, 1967

Dancing in the Garden of Muses #2

Dancing In the Garden of the Muses #2 by Kingcake on Mixcloud

Charlie Haden & Quartet West - Jazz Baltica 1999

Another fine unpublished live recording; this one from one of the most important quartets in jazz over the last 2o + years. It's hard for me to believe that Quartet West was some 13 years together by this point. Seems like yesterday I heard that first album and was knocked out. This beautiful recording features tunes from at least 4 different albums, all of them played if anything better than the originals. I actually listen to this more often than all the regular releases put together. Bless those European radio broadcasts.

Charlie Haden & Quartet West Live at Jazz Baltica 1999
Unpublished live recording

1 Hello, My Lovely
2 Child's Play
3 First Song
4 The Long Goodbye
5 Segment
6 Body and Soul

Charlie Haden bass
Ernie Watts tenor sax
Alan Broadbent piano
Lawrence Marable drums

Kublah's Xanadu Dreams #1

Xanadu was established in 1975 by former Prestige exec Don Schlitten both as a vehicle to continue publishing the artists he had spent a career with at various labels and to re-issue impossibly rare recordings going back to the birth of BeBop. Like Muse, Mainstream, Flying Dutchman and the other big players of the 70's, Xanadu actually benefited to some degree by the alleged 'Death of Jazz' in that they no longer bothered to angle for commercial success but instead catered to the real but reduced market with high quality jazz with a primary focus on BeBop.

Kublah's Xanadu Dreams #1 by Kingcake on Mixcloud

Conversations with Charlie Haden

The new restrictions here in the U.S. make tribute posts considerably more difficult, but by using three long tracks from a live show at the 1990 Montreal Jazz Fest I think you'll find this half hour well spent.

Charlie was one of the ultimate conversationalists amongst bassists. A player perfectly suited to smaller format groups where he could stretch out with his beautiful melodic statements that always kept the 'song' well within sight. Even his free jazz rarely strayed too far from the melody which gave Ornette Coleman the freedom to go as far out as he wished, knowing that Charlie was there like a life line.

Jim Hall and Charlie played together in duets several times between 2000 and Jim's death last year, but this is the earliest time that I have come across. I wonder why this was never added to the Montreal Tapes box set? As far as I can tell, it has never been released.

Conversations With Charlie Haden by Kingcake on Mixcloud

Dancing in the Garden of the Muses vol 1

Muse Records was an American record label active circa 1972 to 1996 which released jazz and blues music. Muse was founded by Joe Fields, previously an executive for Prestige Records in the 1960s. The label became a haven for producers who were leaving their failing major labels. Often they brought their musician relationships with them, as well as session tapes, some of the resulting releases were reissues from the failed labels, but most was new music.

We all have a special affinity for the music of our late teens and 20's. For me that includes a strong love of the independent Jazz labels of the 70's like Muse, Xanadu, Strata East and Black Jazz. These 16 tracks come from the first 18 albums issued by Muse (2 didn't work, but I had them!). Artists include James Moody, Roy Brooks, Jimmy Raney, Don Patterson, Eric Kloss, Jaki Byard, Tiny Grimes, Al Cohn/Zoot Sims, Pete LaRoca, Kenny Baron, Cecil Payne/Duke Jordan, Cedar Walton, Grant Green, Sonny Stitt, and Dom Um Romao.

Dancing In the Garden of the Muses #1 by Kingcake on Mixcloud

Charlie Haden & Hampton Hawes - As Long as There's Music (1976)

I don't normally post CDs here, but this seems out of print. It's my memorial for Charlie Haden who passed away recently, and features him in duets with my favourite pianist. From the Verve CD reissue which includes three alternative takes.

Review by Scott Yanow:
Although one would not immediately associate bassist Charlie Haden with pianist Hampton Hawes, they had performed together on an occasional basis since first meeting in 1957. This Artists House LP, a set of five duets, was their last opportunity to play together because Hawes would pass away the following year. The music includes a fairly free improvisation on "Hello/ Goodbye," the duo's intepretation of the title cut, a collaboration on "This Is Called Love" and two originals from the pianist. This quiet and often lyrical set contains a great deal of thoughtful and subtle music by two masters.

01 - Irene
02 - Rain Forest
03 - Turn Around
04 - As Long As There's Music
05 - This Is Called Loved
06 - Hello Goodbye
07 - Irene (Alternative)
08 - Turnaround (Alternative)
09 - As Long As There's Music (Alternative)

Kendun Recorders, Burbank, CA, January 25, 1976
and
The Village Recorder, Los Angeles, CA, August 21, 1976

Hampton Hawes (piano) Charlie Haden (bass)

Real Live Jazz #3: These Are Soulful Days

More Real Live Jazz! This set with Melvin Sparks 2003, Herbie Hancock & Michael Brecker 1988, Dave Holland Quintet 2000, Don Grolnick with Joe Henderson 1991, Pat Martino with Joey DeFrancesca 2002, Charlie Haden Quartet West 1999, Bobby Hutcherson Quintet 1996, The Cookers 2009, Carla Bley w/ Paulo Fresu 2007, Brian Blade Fellowship 2008, and Wallace Rooney Sextet 2000.

Real Live Jazz #3: These Are Soulful Days by Kingcake on Mixcloud

John Patton - Along Came John (1963) [vinyl>flac]

Along Came John is the debut album by American organist John Patton, recorded in 1963 and released on the Blue Note label. ~ Wiki.

An excellent John Patton album and one that's got a two-tenor lineup for an extra-heavy soul jazz sound! Fred Jackson and Harold Vick are on the dual reeds, and Grant Green brings up the rear on guitar. Over it all is John Patton's searing organ, and Ben Dixon grooves nicely on drums. Most of the tracks are by Patton and Dixon, and titles include "Gee Gee", "Pig Foots", "Spiffy Diffy", "Along Came John", and the classic modal groover "The Silver Meter". Great stuff and one of Patton's best albums! ~ Dusty Groove Inc.

These original compositions may not all be memorable, but the band's interaction, improvisation, and solos are. Tenor saxophonists Fred Jackson and Harold Vick provide good support, as well, but the show belongs to Patton, Green, and Dixon, who once again prove they are one of the finest soul-jazz combos of their era. ~ Stephen Thomas Erlewine, AMG.

Blue Note, BST 84130, 1963

Recorded 5^th April, 1963 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

John Patton - Organ

Harold Vick - Tenor Saxophone

Fred Jackson - Tenor Saxophone

Grant Green - Guitar

Ben Dixon - Drums

Track Listing:

A1. The Silver Meter {Ben Dixon} (5:40)

A2. I'll Never Be Free {Bennie Benjamin, George David Weiss} (5:02)

A3. Spiffy Diffy {Ben Dixon} (5:59)

B1. Along Came John {John Patton} (6:01)

B2. Gee Gee {John Patton} (6:01)

B3. Pig Foots {Ben Dixon} (5:42)

Credits:

Producer - Alfred Lion

Recording Engineer - Rudy van Gelder

Artwork [Cover Design] - Reid Miles

Photography [Cover] - Francis Wolff

Liner Notes - Joe Goldberg

Phil Woods - Greek Cooking (1967) [vinyl 24 bit]

Review by Ken Dryden:
Probably one of the more unusual recordings in Phil Woods' considerable discography, Greek Cooking features the alto saxophonist leading a tentet with a distinctly Greek flavor, including four Greek musicians. None of them have become household names in jazz, though oud player George Mgrdichian later sat in with the Dave Brubeck Quartet during a few concerts. While the addition of instruments like the dumbeg and buzukie add a new twist, the annoying fender bass and the material chosen make the LP sound rather dated. "A Taste of Honey" is given a modal-like arrangement and it's hard not to break into a broad grin when hearing the lively "Zorba the Greek." A musical curiosity that's been out-of-print for a long time, it should appeal to Woods' fans because of his ability to make the best of the material with his powerful, never dull playing.

01 - Zorba The Greek
02 - A Taste Of Honey
03 - Theme From Antony And Cleopatra
04 - Got A Feelin'
05 - Theme From Samson And Delilah
06 - Greek Cooking
07 - Nica

Phil Woods (alto saxophone) William Costa (accordion, marimba) George Mgrdichian (oud) Stuart Scharf (guitar) Chet Amsterdam (electric bass) Bill LaVorgna (drums) Souren Baronian (drums, cymbals) Seymour Salzberg (percussion) Iordanis Tsomidis (buzukie) John Yalenezian (dumbeg) Norman Gold (arranger)
NYC, January 31 & February 1, 1967

Real Live Jazz #2: You'll Know When You Get There

Real Live Jazz #2: You'll Know When You Get There by Kingcake on Mixcloud

Bud Shank At Jazz Alley (1986) [Vinyl 24/48]

A Japanese 1987 issue is the only CD I'm aware of, and I could never locate a copy, so I was very pleased to pick up this mint LP

Review by Scott Yanow:
Altoist Bud Shank celebrated his move to the Seattle area by utilizing two talented Seattle players (pianist Dave Peck and bassist Chuck Deardorf) plus drummer Jeff Hamilton for this fine live set. On a well-rounded program of originals, an obscurity and a couple of standards ("A Nightingale Sang In Berkeley Square" and "I Loves You Porgy"), Shank is in top form, really stretching himself on the frequently challenging material. A good example of Bud Shank's playing in the 1980s.

The liner notes are much more interesting than Scottie's review!

01 - A Nightingale Sang In Berkelet Square
02 - Seaflowers
03 - Too Long At The Fair
04 - Arion
05 - Song For Lady Lynn
06 - I Loves You, Porgy
07 - Wales
08 - Bud's Theme

Bud Shank (alto saxophone) Dave Peck (piano) Chuck Deardorf (bass) Jeff Hamilton (drums)
"Jazz Alley", Seattle, WA, October 16, 17 & 18, 1986
Contemporary LP C 14027

Real Live Jazz!

From my too rarely visited 'Live and Unreleased' vault, I am always startled when I see how much STUFF is in there, of course in today's world some of what was once unreleased may have seen some issue or other since - oft times the full shows are way too much and 25 minute songs can be excessive so I think with judicious selecting and editing, the material lends itself quite well to this format.

(I think I feel a series coming on...either that I ate too much.)

Let's hear some real live Jazz from Harold Land - 1958, Lucky Thompson Octet - 1961, Booker Ervin - 1966, Roland Kirk - 1967, Pat Martino - 1969, Dave Pike Set - 1969, Yusef Lateef - 1971, Louis Hayes/ Junior Cook Quintet -1976, Bobby Hutcherson Quartet - 1977, Red Rodney, Ira Sullivan, Jack Wilkins -1980, Sonny Stitt & Red Holloway - 1981, and Mal Waldron w/ Charlie Rouse - 1984. Whew!

REAL LIVE JAZZ!! by Kingcake on Mixcloud

Lament For Horace Silver

I was surprised that the sun could show it's face today, surely the sky should be grey and weeping for we have lost our dear brother Horace and we shall not know his like again!

This is a personal collection assembled this morning with the pain still fresh and tears in my eyes. Goodbye old friend.

I first intended this as a mixcloud but they have changed the rules in the US and we can no longer use more than 3 tracks of any individual in a mix which has kind of killed all my tribute posts.

Doin' The Thing: Understanding The Legacy Of Horace Silver

Doin' The Thing: Understanding The Legacy Of Horace Silver by Poppachubby on Mixcloud

Road Hardened: Classic Working Bands

Lest We Forget Vol. 9 / Road Hardened: Classic Working Bands by Poppachubby on Mixcloud

Hank Crawford - Don't You Worry 'Bout A Thing (1974) [vinyl>flac]

"Don't You Worry 'Bout A Thing" by Hank Crawford was released in 1974 on Kudu Records, a subsidiary of the CTI label. On this his fourth Kudu release, Crawford showcases three original compositions alongside two Stevie Wonder tunes; "Don’t You Worry 'Bout A Thing" and “All In Love Is Fair.” Bob James handles the string arrangements and also shares electric keyboards with Richard Tee. James' arrangements don't smother Hank but instead instill a light touch of classiness, perfectly blending Crawford’s rhythm & blues phrasing. Joining him on this date is quite an impressive array of soul-jazz and modern jazz performers, including Pepper Adams, Randy Brecker, Ron Carter, Idris Muhammad, Joe Farrell, Jon Faddis, Bernard Purdie, and Hugh McCracken. As usual it is beautifully engineered by van Gelder; another significant slice of Hank’s discography to immerse even the most discerning jazz aficionado, Enjoy!

Sweet soulful jazz from reedman Hank Crawford - one of his killer Kudu sessions from the 70s - all of which really helped Hank redefine his sound! The setting here is large and full - put together beautifully by Bob James, with that sense of space for the soloist that makes his CTI/Kudu arrangements so crucial - and light years ahead of what other arrangers were doing at the time. The tracks are longish, but never overdone - and the record has all the soulful alto sounds of Crawford's 60s work at Atlantic, but with a definite 70s bent overall. James plays Fender Rhodes, Arp, and clavinet - and other players include Joe Farrell on tenor and flute, Idris Muhammad and Bernard Purdie on drums, and Richard Tee on additional keyboards. Titles include "Jana", "Sho Is Funky", "Don't You Worry 'Bout A Thing", "Groove Junction", and "All In Love Is Fair". ~ Dusty Groove, Inc.

Kudu Records, KU 19 S1, 1974

Recorded June, 1974 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Hank Crawford - Alto Saxophone

Alan Rubin, Jon Faddis, Randy Brecker - Trumpet, Flugelhorn

Pepper Adams, Romeo Penque - Baritone Saxophone

Jerry Dodgion, Joe Farrell - Flute, Tenor Saxophone

Dave Taylor - Bass Trombone

Bob James, Richard Tee - Keyboards

Hugh McCracken - Electric Guitar

Gary King - Bass (#A1-A3,B1)

Ron Carter - Bass (#B2)

Bernard Purdie - Drums (#A1,A3)

Idris Muhammad - Drums (#A2,B1,B2)

Ralph MacDonald - Percussion

Strings:

Lewis Eley, Max Ellen, Alexander Cores, Paul Gershman, Emanuel Green,
Matthew Raimondi, Charles Libove, Harry Lookofsky, David Nadien - Violin

Charles McCracken, George Ricci - Cello

Al Brown, Manny Vardi - Viola

Track Listing:

A1. Don't You Worry 'Bout A Thing {Stevie Wonder} (8:49)

A2. Jana {Hank Crawford} (5:08)

A3. All In Love Is Fair {Stevie Wonder} (4:46)

B1. Sho Is Funky {Hank Crawford, Bob James} (12:41)

B2. Groove Junction {Hank Crawford} (3:32)

Credits:

Producer - Creed Taylor

Arranger - Bob James

Recording Engineer - Rudy van Gelder

Design - Bob Ciano

Illustration - Pierre Le-Tan

Richie Cole's Alto Madness (new Rips)

 Richie Cole – New York Afternoon
Muse 5119, 1976

A1 Dorothy's Den
A2 Waltz For A Rainy Be-Bop Evening
A3 Alto Madness
B1 New York Afternoon
B2 It's The Same Everywhere
B3 Stormy Weather (Trenton Style)
B4 You'll Always Be My Friend

Richie Cole alto sax, Eddie Jefferson vocals, Vic Juris guitar, Mickey Tucker piano, Rick Laird bass, Eddie Gladden drums, Ray Mantilla congas

 Richie Cole – Alto Madness
Muse  5155, 1978
Richie Cole : Alto saxophone, Eddie Jefferson : vocals, Eddie Gladden : drums, Harold Mabern : piano, Rick Laird : bass, Steve Gilmore : bass, Vic Juris : guitar, Ray Mantilla : percussion, Produced by Eddie Jefferson

A1 Cole's Nocturne 6:11
A2 The Price Is Right 7:13
A3 The Common Touch 2:23
Vocals – Eddie Jefferson
A4 Last Tango In Paris 4:40
B1 Island Breeze 5:20
B2 Big Bo's Paradise 5:29
B3 Remember Your Day Off 5:15
B4 Moody's Mood '78 2:59

Dave Burns - Warming Up! [Vinyl rip/FLAC]

When poppachubby posted this a couple years back, I had just purchased a new sealed copy which actually stayed that way until a few days ago. Obviously I've opened it and ripped a fresh copy. Sounds pretty damn good to me! Not only is the ripping rig much improved but I've learned some new tricks too!

Vanguard (VRS-9143)
1964

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

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

Charles McPherson - New Horizons (New LP rip/FLAC)

There have been major upgrades to my ripping system, this is a FAR superior rip to my previous attempts. The dynamic range, soundstage and realism are off the charts.

"If you're a hardcore be-bopper, this probably won't suit your fancy quite as well as Live In Tokyo, but if you're a child of that 70s period of Jazz, this is about as good as it gets. Tucker is in top form as a sideman (his strongest role, IMHO) and McBee is unconscious, as usual. This is a great period for McBee, and while maybe a step past prime for Freddie Waits, he's still burning and this is a very solid, straight ahead Jazz date during a period when the Rhodes and crossover were favored. McPherson is sort of the forgotten soldier -- no one seems to discuss him much and he's always been under recorded. There are no anthems here, and I won't use the word 'clinic' to describe this music because there is nothing clinical about it (a fault much of the 70s/80s Jazz seems to suffer from). This is honest, productive, interesting and enjoyable Jazz, the way it was intended to be." Lost Soul blogspot

  I couldn't see how I was going to do anything but parrot that review so thanks to Lost Soul.

Charles McPherson - New Horizons
Xanadu 149, 1977

1. Promise
2. I'll Never Stop Loving You
3. Night Eyes
4. Horizons
5. Samba D'Orfeo
6. Dee Blues

Charles McPherson - alto sax
Mickey Tucker - piano
Cecil McBee - bass
Freddie Waits - drums

Recorded September 28, 1977

George Robert/Tom Harrell - Sun Dance (1987) [vinyl>flac]

The AMG review of this is very lukewarm and very wrong. This is a terrific album with great playing from both Robert and Harrell with a cooking rhythm section. Harrell is well known but Robert seems to be unheard of in comparison. I recommend a trip to: http://new.georgerobert.com/Biography.html

1. Solad
2. Moon Alley
3. Cancun
4. Sun Dance
5. Because I Love You
6. Viking's Theme

Tom Harrell (t,flh) George Robert (as,ss) Dado Moroni (p) Reggie Johnson (b) Bill Goodwin (d)
Lausanne, Switzerland, March 29 & 30, 1987
(Contemporary LP C 14037)

This has had a CD reissue although I couldn't find a copy. Once again this is from mint, sealed vinyl.

Ray Charles Presents David Newman - Fathead (1958) [vinyl>flac]

Fathead: Ray Charles Presents David "Fathead" Newman (also referred to as Ray Charles Sextet) is the debut release of jazz saxophonist David "Fathead" Newman. Teamed with Ray Charles, ‘Bennie’ aka Hank Crawford and others; this sextet really gets down and plays a number of great tunes, three of which are written by Hank and one by David himself “Fathead”; the rest fine standards, enjoy!

The talented David Newman, who alternates on this album between tenor and alto, made his debut as a leader at this session. Since he was in Ray Charles' band at the time, Newman was able to use Charles on piano along with Hank Crawford (here called "Bennie Crawford") on baritone, trumpeter Marcus Belgrave, bassist Edgar Willis, and drummer Milt Turner. The music is essentially soulful bebop, with the highlights including "Hard Times," "Fathead," "Mean to Me," and "Tin Tin Deo." Everyone plays well and this was a fine start to David "Fathead" Newman's career. ~ Scott Yanow, AMG.

Atlantic Records, SD 1304, 1960

Recorded 5^th November, 1958 at Atlantic Recording Studios, New York City

Ray Charles Sextet:

David "Fathead" Newman - Alto Sax (#A1,A3,B3), Tenor Sax (#A2,A4,B1,B2,B4)

[Bennie] Hank Crawford - Baritone Saxophone

Marcus Belgrave - Trumpet

Ray Charles - Piano

Edgar Willis - Double Bass

Milton [Milt] Turner - Drums

Track Listing:

A1. Hard Times {Paul Mitchell} (4:41)

A2. Weird Beard {Bennie Crawford} (4:48)

A3. Willow Weep For Me {Ann Ronell} (4:57)

A4. Bill For Bennie {Bennie Crawford} (4:15)

B1. Sweet Eyes {Bennie Crawford} (3:44)

B2. Fathead {David "Fathead" Newman} (5:21)

B3. Mean To Me {Fred Ahlert, Roy Turk} (4:14)

B4. Tin Tin Deo {Gil Fuller, Chano Pozo} (5:19)

Credits:

Supervision - Nesuhi Ertegün, Jerry Wexler

Recording Engineer - Tom Dowd

Cover Photo - Lee Friedlander

Cover Design - Marvin Israel

Booker Ervin - Booker N' Brass (lp rip to flac)

I know that I've posted the cd version of this (which came from our old friend Ron The Jazzman) on a couple of previous occasions, but I came upon a vinyl copy a while back and couldn't resist. It was an original Pacific Jazz pressing and in the store it looked really clean.....It wasn't....my old eyes deceived me. Fortunately there have been some serious upgrades to both hardware and software on the KCC ripping rig. It took some work, I think it sounds better than the cd. It feels more dynamic to me. Vinyl ripping freaks please let me know what ya think.

Midnight Trumpet Tales

Some late night trumpet without any Miles or Chet and without anyone playing Round Midnight! This one was enough fun assembling that it may well require a second volume! My goal here was not only a great 'mood', but also to offer some trumpet voices that not everyone will know.

Midnight Trumpet Tales by Kingcake on Mixcloud

The Musical Courage of James Spaulding

Lest We Forget Vol. 8 / The Musical Courage of James Spaulding by Poppachubby on Mixcloud