Brazil, Roots, Samba (vinyl/flac)

 My rip, a truly lovely album...

Nelson Sargento

"Real Rio samba sounds like this: fine small groups, seemingly a bunch of friends in a corner bar, mostly with the little cavaquinho guitar well to the fore, as well as (of course) the usual jubilant percussion. Some of the bands heard on Brazil -- Roots -- Samba sound professional, some semi-professional, but they're all pretty close to the street. Ten minutes of this stuff would be preferable to an hour of the trendies anytime." AMG Review by John Storm Roberts

Wilson Moreira

Whew, as useful as they are, sometimes AMG can stagger you with what they don't know or even bother to look up. The first sentence is fine, the last sentence is fine, but oh that middle one! Far from being semi-professional the tracks on this album come from some of the greatest samba masters the world has ever known!

Velha Guarda da Portela

Nelson Sargento, Wilson Moreira, and the group Velha Guarda da Portela are far from obscure street performers as you can see by clicking the links behind these names. In fact had Mr. Roberts even bothered to check the data base that he was contributing to he would have acquired a fairly good idea that he was, in fact, listening to an astonishing compilation of the founding fathers of Samba, all giants! What I find even more confusing is the lack of any other reviews of this glorious album except for the raves of every Amazon customer who had the good sense to buy it. This is a very appropriately named record, you get exactly what's advertized!

Altamiro Carrilho, Zé Bodega, Raul de Souza , Jorge Mari - Turma da Gafieira

"Turma da Gafieira was a highly original all-star band which released only two albums, both in 1957. The cast is not entirely verified, but the debut album Turma da Gafieira presumably features João Leal Brito ‘Britinho’ and Paulinho (Paulo Lima de Jesus?) on piano, Zé Bodega on tenor saxophone, Raul de Barros on trombone, Maurílio Santos on trumpet, Altamiro Carrilho on flute, Sivuca on accordion, Nestor Campos on guitar, Jorge Marinho on bass and Édison Machado on drums. The successor Samba em Hi-Hi supposedly features João Leal Brito ‘Britinho’ and/or Paulinho (Paulo Lima de Jesus?) on piano, Zé Bodega and Cipó on tenor saxophone, Raul de Souza on trombone, Altamiro Carrilho on flute, Sivuca on accordion, Baden Powell on guitar, an unidentified bass and Édison Machado on drums. While the debut featured compositions by Altamiro Carrilho only, the second album was a mix of sambas and popular songs like Conceição, Cauby Peixoto‘s no. 1 hit of 1956. The groups final release in 1962, Melodia… Ritmo… Alegria… Turma da Gafieira, was a compilation of the two original albums.
As members of Turma da Gafieira, Édison Machado introduced his ‘samba no pratos’, the samba rhythm using cymbals, and Sivuca played his scats on the accordion for the first time. Both techniques, although annoying some purists at first, became acclaimed characteristics of these musicians.
Turma da Gafieira’s historical value for Brazil’s popular music is of great importance, since for the first time improvised jazz was recorded to genuine samba rhythms. When bolero, samba-canção, fossa and tango were the dominating styles for ballads, and samba in its many varieties for up-tempo songs, the mixing of jazz improvisations with Brazilian rhythms was way ahead of time. Bossa nova was yet to come, not to mention the subsequent forms of samba-jazz and hard bossa." Brazilliance

Erskine Hawkins - The Hawk Blows At Midnight

Maaaaaaaaaaan oh man...

I don't even know where to start with this one - this happens when I am excited to share.  This album was Erskine's first small group recording, being legendary in the big band dept., and it proved to be a real gem.  Not knowing what to expect, I assumed it would be a solid mainstream affair.  It certainly is, but, there is alot of colour all around to make it not quite so typical.

Hawkin's choice of songs and sidemen produce an album with clear blues and R&B influences.  I mean, Bobby Smith and Shep Sheperd!?!?!  Fuh'geddaboudit... These guys make every single tune interesting and upbeat, even tackling a ska approach on the main lick in Someone's Rocking My Dreamboat.  They infuse a similar approach into a couple other tunes, such as Things Ain't What They Used To Be, but only as a quick bridge.

I guess it's fair to say that this album surprised the hell out of me.  It's a fun, swingin and colourful set of tunes which also happened to be recorded really well.  The transfer you are getting is a stereo version - and it's solid gold.  Wonderful fidelity with great balance and diplomacy between all the instruments.  That said, the horns have an incredible immediacy about them so that when the solos come in, they hit real, real hard.  Of course this was ripped in 24/48 wav and converted to 24/48 FLAC.  The wax is quite clean and you'll find there's little analog distraction.  I spent some extra time with this one to guarantee that it's a special event... enjoy!!!

Decca DL-74081
1961

Erskine Hawkins - trumpet;  Bobby Smith - sax;  Leroy Kirkland - guitar;  Ernest Hayes - piano;
Lloyd Trotman - bass;  Shep Sheperd - drums.

George Benson - Body Talk (1973)

With an eye and ear on what was happening on the soul charts -- James Brown in particular -- Benson made a decided swerve toward R&B on this release. Indeed the JB's Pee Wee Ellis turns up as a big band arranger on three tracks, and he no doubt had a direct influence on the distinct JB groove of one of the non-big-band tunes, "Dance." It should come as no surprise by now that this formidable guitarist has no problem handling any kind of groove, although the mixed rhythm section of Jack DeJohnette, Ron Carter, electric pianist Harold Mabern, and percussionist Mobutu sometimes sends mixed messages. Earl Klugh has a few tasty moments on his own, and there are some reconnaissance flights back to the jazz side of George, which he handles with his usual confident aplomb. ~ by Richard S. Ginell, AMG.

CTI Records, CTI 6033, 1973

Recorded 17^th (Side B) & 18^th (Side A) July 1973 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

George Benson - Guitar

Frank Foster - Tenor Saxophone (#A3-B2)

Waymon Reed - Flugelhorn, Trumpet (#A3-B2)

John Gatchell - Flugelhorn, Trumpet (#A3-B2)

Jon Faddis - Flugelhorn, Trumpet (#A3-B2)

Dick Griffin - Trombone (#A3-B2)

Gerald Chamberlain - Trombone (#A3-B2)

Harold Mabern - Electric Piano

Earl Klugh - Guitar

Gary King - Electric Bass

Ron Carter - Bass

Jack DeJohnette - Drums

Mobutu - Percussion

Track Listing:

A1. Dance {Alfred Ellis, George Benson} (10:30)

A2. When Love Has Grown {Donny Hathaway, Gene McDaniel} (5:01)

A3. Plum {George Benson} (5:28)

B1. Body Talk {George Benson} (8:21)

B2. Top Of The World {George Benson} (9:56)

Credits:

Producer - Creed Taylor

Arranger, Conductor - Pee Wee Ellis

Recording Engineer - Rudy van Gelder

Design - Bob Ciano

Cover Photograph - Pete Turner

Hicks/Williams/Hayes - On The Wings Of An Eagle

Power trio time! I've been doing a lot of Russian torrents lately and upgrading a whole mess of albums by my favorite artists. I used to favor mp3s for reasons I can no longer explain and so many, many things I had and sold or lost have needed replacement. In the course of looking for some Buster Williams titles, I came across this beauty. A really beautiful album and recording, thanks to the original sharer.

"The passing of pianist John Hicks in 2006 marks the loss of one of the quintessential New York pianists. And this, perhaps his last recording, is a stunning example of a fully developed bebop piano trio in flight.

Hicks gained the spotlight working with Art Blakey, Betty Carter and Woody Herman in the 1960s and '70s. He then migrated to avant-garde saxophonists Pharoah Sanders and David Murray before returning to the hard bop sounds of his Keystone Trio (with George Mraz and Idris Muhammad) and Power Trio (with Elvin Jones and Cecil McBee). In the 1990s he could also be found at the keyboard for the weekly gig of the Mingus Big Band. He recorded a string of CDs, dedicated to the likes of Mary Lou Williams, Sonny Clark, Errol Garner, Billy Strayhorn, and Earl Hines. None of these tribute discs would be mistaken for the honored player, as Hicks (to his credit) could never play with anything but his beautiful sound.

The recording On The Wings Of An Eagle is part of Chesky Records' ongoing New York Sessions series of single-point recordings that employ no overdubs, no signal path compression, no multi-tracking and no mixing desk. These audiophile discs playable on a regular CD player and, as an SACD, are the type of discs you take to a stereo component shop to test new speakers for reproduction of the seemingly live experience.

Paired with veterans Buster Williams and Louis Hayes, Hicks kicks off with the jaunty Gigi Gryce track "Minority, taken at near breakneck speed. The ease with which Hicks could maneuver his way around a keyboard is evident throughout and Buster Williams plays with his ever-present stoicism. Bebop flies its flag high on Dexter Gordon's "Cheese Cake and "As Birds Fly. The only track written by Hicks, "As Birds Fly is his dedication to Cedar Walton, his contemporary in swing and piano demeanor.

Two ballads penned by Williams, "Christina and "Stiver's Jewels are both meditative narratives with the bassist alternatively bending notes and walking us through some deeply felt moments. Sammy Cahn's "Dedicated To You showcases Hicks' ability to play just a handful of notes yet express a loving tribute to this classic song.

The choice of the seldom heard Thelonious Monk tune "Balues-Bolivar-Balues-Are is a chance for all three musicians to shine. After they state the theme, Williams propels a walking line over Hick's mimicking Monk-like jabbed strokes and Louis Hayes drops some smart bombs.

The pianist will be sorely missed, but he does leave us with a lengthy catalog of fine sessions to remember him by." Michael Corroto, AAJ

Jim Pepper - Comin' And Goin' [flac]

Review by Michael G. Nastos

Of the limited discography offered to us by Jim Pepper, this is his finest contemporary recording, done with the pianist Kenny Werner's trio and several special guests. A fine representation of this Native American's work especially as a collaborator, check out the vibrant "Lakota Song," the title track, and especially "Malinyea" in tandem with pocket trumpeter Don Cherry. A reflection of his time in Woodstock at the Creative Music Studio, Pepper creates world jazz fusion with a twist relating to his heritage, something that perhaps nobody else has done, or is capable of. Of course his magnum opus "Witchi-Tai-To" is included in this inspired and inspirational set, which is highly recommended.

Zim Ngqawana - Vadzimu

It is a little bit sad to read this glowing review after Zim's untimely passing, but it is so good I simply had to use it.

"Zim Ngqawana has a penchant for naming records after himself. The South African saxophonist followed up his first record, 1998's Zimology, with Zimphonic Suites in 2001. Nothing wrong with a little creative word play, for sure, especially from a man who honestly has little interest in self-promotion or glory. He seems to be using these titles to formally integrate himself into the music. Maybe they sell records too... who knows. Who cares.

Now Vadzimu takes the same idea deep into Xhosa territory, emphasizing a word that means "spirit" or "ancestors." Nothing could be more descriptive of the music on the record. Zim Ngqawana's roots in tribal music and the South African tradition play equal roles with New World styles including bop, funk, the avant-garde, tango, son, and samba. He's never believed in provincialism, and that's one reason Vadzimu is a masterpiece.

That's never a word to be taken lightly, so some justification is clearly in order. Ngqawana composes music in suites, each with its own coherent thematic focus and style (or mix of styles). Four such suites appear on Vadzimu : "Satire," devoted to his South African roots; "Diaspora," drawing upon the New World branches of the African musical tree; "Liberation Suite," celebrating the joys of freedom and revelation; and three relatively dark Noctures which dwell in the wee hours of the night.

Zim's always looked toward an orchestral sound, which he accomplishes here with fourteen players, though you won't ever hear them all playing at once. His three solo piano nocturnes at the end occupy the low end of the spectrum, rumbling through "Umoya," slashing wildly through "Vadzimu," and coming to reconciliation on "Thula Sizwe." It's a nice change of pace from Zim's regular pianist, Andile Yenana, who appears elsewhere on the record and insistently combines a strong sense of lush South African vocal harmony, shifting blocks of chordal sound, and pulsing rhythmic cycles. Various combinations of horns, strings, and drums (in abundance) appear here and there to enrich texture and timbre.

A brief gust of pattering drums may lull you into tranquility on the opening track, but that's soon shattered with sharp, overblown vocal cries (followed by repeated shouts and group chanting). This is the past and the future: centuries old but somehow avant-garde at the same time. That leads into "Kubi," a lush and fertile backdrop for more melodic and restrained vocals, and the syncopated stomping mineworkers' dance on "Gumboot Dance"—tap done South African style, recorded somewhere real close to the floor. The suite closes with a return: warm, uplifting slow swing with vocals.

The Diaspora suite offers the greatest mix and some of the most inspired music on the record. "Zanusi" hits New Orleans funk very lightly and from an oblique angle, connected by the leader's long flute lines. Then it's off to Cuba with richly layered percussion, authentic vocals, and lyrical flowing melodies from the brass. "Dirge" swings with perky energy, returning to the South African jazz theme that permeates the record.

Zim Ngqawana has taken this opportunity to combine compositional focus, an extended group concept, and creative improvisation. If you don't have an open mind to energy and cross-cultural fusions, don't waste your time with this record. Otherwise, I cannot recommend it highly enough. It's the best recording that has come out of South Africa in recent years. If the international jazz community doesn't open its ears to the music of Zim Ngqawana... well, that's its loss." All About Jazz 2003

Benny Maupin - Slow Traffic to the Right & Moonscapes

Boy they made us wait a long time for these baby's eh? I was a fan of the Mwandishi band and I've followed the members of the original band, forwards and backwards, ever since. Not everything was a winner, I acknowledge (not a big Gleason fan), but usually it was worth putting ears on. These two were albums I played a lot in their time and in the digital age I have lived with pretty crappy copies for far too long. Imagine my joy to finally see these packaged together as they should be and finally remastered to cd. It only took 30 years or so.

Houston Person - The Big Horn (1979) [re-rip]

Reliable soul jazz, nicely played ballads, and good standards are tenor saxophonist Houston Person's forte, and he demonstrates that repeatedly on this '76 quintet set. Pianist Cedar Walton is the type of no-nonsense, consistent player whose skills are often taken for granted, while bassist Buster Williams and drummer Grady Tate are equally unassuming veterans. ~ by Ron Wynn, AMG.

Muse Records, MR 5136, 1979

Recorded 20^th May, 1976 at Blue Rock Studio, New York City

Personnel:

Houston Person - Tenor Saxophone

Cedar Walton - Piano

Buster Williams - Bass

Grady Tate - Drums

Buddy Caldwell - Congas

Track Listing:

A1. Bluesology {Milt Jackson} (10:00)

A2. This Love Of Mine {Sol Parker, Henry W. Sanicola, Frank Sinatra} (5:33)

A3. Gee, Baby Ain't I Good To You {Andy Razaf, Don Redman} (5:29)

B1. The More I See You {Mack Gordon, Harry Warren} (6:52)

B2. Memories Of You {Eubie Blake, Andy Razaf} (4:18)

B3. I Concentrate On You {Cole Porter} (10:35)

Credits:

Producer - Michael Cuscuna

Recording Engineer - Ed Korvin

Design [Album] - Ron Warwell

Liner Notes - Tom Reed (Music Critic, Los Angeles Sentinel)

Photography [Cover] - Hugh Bell

Zim Ngqawana - Zimology

The first solo album from a South African musician who left this world far too soon (2011) at the age of 52. There weren't any reviews to borrow from that I could find so you are stuck with me this morning.

As I sit and listen this morning to this marvelous album, I am struck with a feeling very similar to my first experience with the great Abdullah Ibrahim. Very beautiful and familiar feeling melodies, yet they speak of a different world. The first 5 tracks are a suite followed by a series of elegies and an epilogue. In other words, the entire album is a composed piece presented in 'chapters' and the titles suggest to me that the theme is the struggle for freedom in South Africa and the final triumph of Nelson Mandela. I don't know if any of this particular music was presented at Mandela's inauguration, but I do know that Zim played in front of 1,000 drummers at the event. One can only imagine how powerful THAT was.

Here he plays in a quartet setting with Ingebrigt Håker Flaten - Double Bass, Paal Nilssen-Love - Drums, Percussion, Andile Yenana - Piano and Zim plays Flutes, Saxes, Piano, Sings and produces. Ngqawana's vision and joie de vivre more than make up for any shortcomings that you may occasionally perceive in his sax work. I have found that to be true in both of the albums that I've heard. I also have a mp3 version of his album 'Vadzimu' that I'd be happy to post if there is any interest; I'd also like to encourage anyone who has any other recordings from this special artist to leave me links in the comments here and I will happily post them as well. Please give this one a listen, you will not be disappointed.

Os Cobras - O LP 1964

My copy of this one is a gift from my friend Robert Celier who was at the actual recording session and who wrote some of the original liner content. This was something of a Brazilian super group in it's day. The band was formed around Raul de Souza at the behest of some RCA honcho. An earlier 1960 version of the band included the previously posted Moacyr Silva and the second track here is a luminous version of Moacir Santos' 'Nana', his most famous song.

" A landmark session of bossa jazz – about as great as you can get for the genre! This little beauty was recorded in 1964 – and it features work by some of Brazil's greatest bossa musicians of the time: Milton Banana on drums, Tenorio Jr on piano, Raulzinho on trombone, and Paulo Moura on saxes. The group's incredibly tight – and despite the individual fame of the players, they come together as a seamless unit, one in which the egos of each is put aside for the sake of the bossa grooves! Brilliant stuff throughout – and essential for any collection." dusty groove

 Tenorio Jr. (piano)
José Carlos "Zezinho" (bass)
Milton Banana (drums)
Raul de Souza (trombone)
Hamilton (trumpet)
Meirelles (sax alto, flute)
Paulo Moura (sax alto)

Special Guests

Jorginho (flute)
Aurino (sax baritono)
Cipó (sax tenor)
Roberto Menescal (guitar on 10 & 12)
Ugo (vibraphone on 10 & 12)

Moacyr Silva - Sax Sensacional No 5

Another Brazilian sax player with a very similar name. "Moacyr Pinto da Silva (1918-2002) was probably Brazil’s busiest sax player releasing about 40 albums in just 14 years from 1956 to 1970 under his own name, and one with the alias of Ted Fleming. The about 20 albums with the alias of Bob Fleming are special as Moacyr Silva shared this alias with Zito Righi. In fact, only the first two Bob Fleming albums were recorded by Moacyr Silva whereas the subsequent albums featured Zito Righi.

Apart from his own albums, Moacyr Silva also appeared as a session player on numerous recordings as well as in groups such as Os Cobras (the 1960 outfit) and the American Dancing Quartet. He recorded collaboration albums with singers Elizeth Cardoso, Marisa Gata Mansa, Francineth and Mara Silva, besides being a composer, arranger, conductor and producer.

His father was the conductor of the municipal orchestra in Moacyr Silva’s hometome. He played the piccolo at a local club at the age of ten and started to learn the tenor saxophone shortly after. At 17, after his family moved to Rio de Janeiro, he joined a military band. He was invited to play at parties and subsequently played bigger venues such as the casinos in Rio de Janeiro where he became musical director of the Copacabana Palace. In 1953 he formed his own group with Sacha Rubin on piano, Célio on bass and Dom Um Romão on drums, performing in nightclubs for Dolores Duran and Francineth. In the late fifties, Nilo Sérgio, owner of the label Musidisc, suggested to record an album with international hits, and invented the alias of Bob Fleming for it. In the sixties Moacyr Silva started his fifteen year stint as artistic director with the Copacabana label, but from 1970 his presence has diminished considerably."

Dizzy Gillespie no Brazil com Trio Mocoto 1974

 Dizzy Gillespie was one of the most influent jazz trumpeters because he was the header, along with Charlie Parker and Thelonious Monk, of the bebop's verve, which large changed the genre around the forties. Therefore, some critics asks themselves what's the impact in universal music if the Dizzy Gillespie and Trio Mocotó's album had had released in that faraway year of 1974.Only a few months ago the Biscoito Fino Records released this phonographic pearl. In fact, Dizzy recorded this work through joining between the Verve Records and the Brazilian Philips, and took the master tape as soon as it was recorded, in eight hours of rehearsals, to go to stores in 1975.
Even until now, nobody knows why Dizzy didn't release that material. He rehearsed other songs with Brazilian musicians, but decided to lock them. Lucky for us, the big friend of the trumpeter, the Swiss Jacques Muyal, had found that master in 2009 and made contact with the Trio Mocotó's percussionist João Parayba, who catches more information about the album credits.
After a long research in the Brazilian's radio station Eldorado and months mixing that material in Los Angeles, Muyal signs the production and made sure to release it as soon as possible.
What about the results? Fascinating, if compared to fusions between samba and jazz. Could be smoother – and even easier - if had taken ride in a Bossa Nova vehicle. But the bebop's freedom-pungency is more explored, as we can see perfectly in "Dizzy's Shot (Brazilian Improvisation)". This track suffers instrumental variations up to fall to the cool jazz.
But the insane aura of the album is present in "Rocking With Mocotó", marked with a fast bebop's measure reached by the high-notes played by Dizzy. Mickey Roker was really inspired on drums, creating a Carnival set raised by the splendid speed from the Fritz Escovão's cuíca. This track is remarkable if we can imagine the perfect union between two rhythms punctuated by the urgency and virtuosity (also, we can dance with this song).
Here, it's evident the divergent influences from Dizzy. Despite his musical path, he was a big fan of Brazilian music, from Samba's School battery until Bossa Nova's smooth. Of this syncretism, Dizzy approach that bridges, remembering the Bossa Jazz Trio in "The Truth" and the jazz-singing in "Evil Gal Blues", which made great success on Dinah Washington's voice and was write by Lionel Hampton and Leonard Feather. In Dizzy Gillespie no Brasil, the song was interpreted by Mary Stallings's deep voice – also with Dizzy taking risk on vocals.
Dizzy Gillespie no Brasil brings two paradigms: to know much more one of the greatest jazz musicians of all time and cognize how the trumpet sounds fuzzy when intersperse on samba's roots. The wedding of jazz and samba didn't occur only on bossa nova. Maybe the whole Brazilian music had followed other paths if the album was released in the seventies.

Written by Tiago Ferreira.

Moacir Santos - Carnival Of The Spirits 1975

If you read the notes on the previous Santos post then you are aware that Moacir came to America in 1967 and by 1968 he released his first U.S. album "The Maestro" which was picked up by Blue Note in 1972 as the first of a 3 album contract. A second album "Saudade"followed in 1974, and the final of the set (this album) followed in 1975. If anyone wants to offer up those first 2 Blue Note releases, you have only to click on my blogger profile to get my email.

 "A sublime 70s session from Moacir Santos – a set that mixes the complex grooves he forged in 60s Brazil with the warmly jazzy sound of American fusion – all in a result that's totally unique! The album's quite different than any other electric Brazilian sets recorded in the US at the time – a complex album that's filled with soul and imagination – and not just an electrification of earlier styles from Brazil. Santos' vision here is wonderful – and he works with his own arrangements, and key help from producer Dale Oehler – who knows how to bring in all the right electric elements without losing the edge of Moacir's music. Players are great too – and include Jerome Richardson on soprano sax, Oscar Brashear on trumpet, Don Menza on tenor, Gary Foster on alto, Larry Nash on Fender Rhodes, Clare Fischer on piano, and Jerry Peters on organ. The sound builds and swirls in nice chunks, while the soloists creep in and lay down some horn parts – and a few vocalists, including Santos, add some slight lyrics from time to time. Titles include "Tomorrow Is Mine", "Jequie", "Coisa No 2", "Quiet Carnival", "Sampaguita", and "Anon"."  © 1996-2015, Dusty Groove, Inc.

Carter Jefferson - The Rise of Atlantis (24/48 vinyl rip)

An new 24/48 rip with considerably improved results, at least I think so.

Carter Jefferson - The Rise of Atlantis
Timeless Muse 309, 1979

a-01 Why - 7:40 (Victor Lewis)
a-02 The Rise Of Atlantis - 6:55 (Carter Jefferson)
a-03 Wind Chimes - 7:25 (Clint Houston)

Carter Jefferson (ldr), Carter Jefferson (ss, ts), Terumasa Hino (t, fh), Harry Whitaker (p), Clint Houston (b), Victor Lewis (d), Steve Thornton (cga, per), Lani Groves (v) December 23, 1978

b-01 Changing Trains - 5:05 (Carter Jefferson)
b-02 Song For Gwen - 7:22 (Carter Jefferson)
b-03 Blues For Wood - 6:18 (Ronnie Mathews, Woody Shaw)

Carter Jefferson (ldr), Carter Jefferson (ss, ts), Shunzo Ono (t), John Hicks (p), Clint Houston (b), Victor Lewis (d) December 27, 1978

"Tenor saxophonist Carter Jefferson made somewhat of a name for himself when trumpeter Woody Shaw chose him as a member of his first working quintet. Shaw is the producer of this album, Jefferson's fine debut (and evidently only) recording as a leader. Taking a cue from Shaw, the saxophonist sticks essentially to a quintet of trumpet and sax backed by all-star rhythm sections. Three of the tracks include hard bop trumpeter Terumasa Hino while the other three feature little-known Japanese trumpeter Shunzo Ono. Most of the tunes are firmly in the school of hard bop, the sort of music that Woody Shaw played so well. While there is not any new ground broken, it is all performed competently enough. While not as emotionally charged as his work with Shaw, Jefferson impresses with a fluid, mobile attack that shows a solid grasp of his material. If the groups seem to be sometimes merely going through the motions, there are nonetheless enough fine moments to make this a worthwhile purchase. " AMG

WOW - How hard was this guy trying to be critical? How about this...when I first heard Bacoso's mp3 rip of this a few years ago I was immediately taken with the album so I was pretty tickled the day I found it in the stacks at Louisiana Music Factory. This is some fine post-bop listening and having Terumasa Hino on one side and Shunzo Ono on the other is interesting - they are more different than I realized. Clint Houston reminds me of all the reasons why I consider him to be so under-rated; he and Victor Lewis cook on this date. Far from lacking passion, Jefferson plays beautifully and the compositions are inventive and entertaining. If you enjoyed the Woody Shaw, Sonny Fortune or Bobby Hutcherson work of this era, then you will certainly enjoy this.

Tony Dagradi - Lunar Eclipse (24/48 vinyl rip)

Tony Dagradi - Lunar Eclipse
 Gramavision 1981

1) Les Deux Couleurs
2) Heart to Heart
3) Duplicity
4) Lunar Eclipse
5) Whirl

Never let it be said I don't support my New Orleans home boys. I posted this on an mp3 years ago from other sources but this one here is FLAC  from my own crispy clean vinyl.

This is de-facto the first Astral Project album. Here is the band as it then performed in New Orleans (1981), minus vocalist Bobby McFerrin. The Beast, David Torkanowsky, is on piano. Dave is of Russian and Cuban descent and both his parents were professional musicians, his dad a classically trained and regularly employed one (a conductor I believe). He also grew up hanging at the French household in the Treme (Bob and George's dad Poppa Albert led the original Tuxedo Brass Band). The result of this is that Dave can play any damn thing in the world pretty much as well as anyone in the world. I get a real kick out of listening to this 31 year old picture of Jim Singleton and Johnny Vidacovich (a bass and drum pair we will send up against any in the world) and see how just how freaking good they were even 30 years ago. These are two guys who have always been really good but have never stopped getting better. I've had many nights where they sent us all home at the end walking on a cloud and talking about it for days. Steve Masakowski is still a couple years away from joining the band but here they have a really nice Cuban percussionist in Mark Sanders. Mark has since left town and lives and works in New York City. Oh yeah, Tony? Well you should KNOW he's a bad-ass from his time in the Carla Bley Band.

Moacir Santos - Coisas 1965

"Moacir Santos (1924–2006) was a Brazilian composer, multi-instrumentalist and music educator. Baden Powell de Aquino and Wilson das Neves both studied under him. As a composer, Santos worked with Nara Leão, Roberto Menescal, Sérgio Mendes and Lynda Laurence, among others." wiki

" One of the main Brazilian arrangers, having renovated the country's harmonic language in the '50s, the underrated Moacir Santos had nevertheless a highly influential role as he had as his pupils, in the '60s: Paulo Moura, Oscar Castro-Neves, Baden Powell, Maurício Einhorn, Geraldo Vespar, Bola Sete, Sérgio Mendes, Dom Um Romão, João Donato, Roberto Menescal, Carlos Lyra, Dori Caymmi, Airto Moreira, and Flora Purim, among others.

In 1968, he was admitted into Henry Mancini's cinema music writing team and, four years later, he launched his first album in the American market, The Maestro, which was nominated for a Grammy award; it was followed by Saudade (1974), Carnival of the Spirits (1975), and Opus 3, No. 1 (1979).
Owner of a distinctive Brazilian style as a composer and arranger, Santos' most-known tunes are "Nanã" (written with Mário Teles), which had over 150 different recordings (including those by Herbie Mann and Kenny Burrell); and "Coisas" (number one to 12); not to mention a series of compositions with Vinicius de Moraes ("Triste de Quem," "Menino Travesso," "Se Você Disser Que Sim," "Lembre-Se"), who praised him in his "Samba da Benção." Having written the arrangements for, among others, Vinicius de Moraes e Odete Lara (1963), Santos also composed the soundtracks for the films Love in the Pacific, Seara Vermelha (an adaptation of Jorge Amado's novel, directed by R. Aversa), Ganga Zumba (Cacá Diegues), O Santo Médico (Sacha Gordine), and Os Fuzis (Ruy Guerra), among others." AMG

***This album has been quite rare for a long time - the original Forma vinyl sells for over $1,000 and the cd reissue disappeared rather quickly so it sells for big bucks as well. This album made the New York Times 100 essential Jazz albums!***

The Cedar Walton Trio w/ Clifford Jordon - A Night at Boomer's, Vol 2 Muse 5022, Vinyl LP

Per a request from one of our old friends.

The Cedar Walton Trio w/ Clifford Jordon - A Night at Boomer's, Vol 2
Muse 5022, Vinyl LP
1) Naima
2) Stella by Starlight
3) All The Way
4) I'll Remember April
5) Blue Monk
6) Bleeker Street Theme

Cedar Walton - piano, Sam Jones - bass, Louis Hayes - drums, special guest Clifford Jordan - tenor sax

When I went to rip this, I found that this very long album had been mixed in a way that each side was a contiguous whole; it was possible to split the tracks using fade ins and outs but I just couldn't see the point, this is how the album was meant to be heard so I leave to each of you if you want to take on that task.

Where volume One featured originals that had the feel of standards, volume Two features standards given fresh life through interpretation by four masters of the art. This is wonderfully beautiful music and the warmth and charm of the night club manages to be communicated without interfering with the music.

Eric Kloss - Essence [new 24/48 vinyl rip]

Even better than the last and in 24/48 Flac too!

 Eric Kloss - Essence
Muse 5038, 1974

A1 Love Will Take You There 15:38
A2 Affinity 8:57
B1 Essence 16:36
B2 Descent 3:40

Alto Saxophone, Tenor Saxophone – Eric Kloss
Bass – Buster Williams
Drums – Ron Krasinski

Piano, Electric Piano – Mickey Tucker
Trumpet – Marvin 'Hannibal' Peterson

 I have always really adored this one and personally I think the new rip sounds audibly better. Kloss plays tenor on side one, alto on side two. The more I examine Eric's work, the more I've come to believe that tenor was his strongest axe; his alto work is more Cannonball influenced and as such less original, while his tenor work seems to express his personal voice more convincingly. The rhythm section is exceptional, Buster and Mickey both shine. I remember that at the time, for me, the revelation of this album was Marvin 'Hannibal' Peterson who sparkles throughout this modal post-bop romp.

Dave Pike - Let The Minstrels Play On (1978) [vinyl]

Here is another dynamic group led by Dave Pike with a consistent array of tunes primarily set to expose a fusion of jazz ranging from bop through to some samba styled beats. Joined with him again as on "On A Gentle Note" is Ron Escheté on guitar, Luther Hughes on Bass and along with Tom Rainer on keyboards things really start to swing. Rainer turns his hand to Alto on "Groovin' High". A favourite of mine is "Icarus" by Ralph Towner where we get to hear some wonderful bowed Piccolo bass work by Luther Hughes. The use of Musical Box by Ted Hawke on "Swan Lake" adds an interesting intro and exit to the tune. The rhythm section with powerful drumming coming from Ted Hawke and percussion from Don Williams backs Pike's vibes to the tee. The album continues on from the previous delivering this time a broader repertoire of tunes exhibiting the skills of an imaginative and gifted musician and leader.

Muse Records, MR 5203, 1978

Recorded 22^nd & 23^rd March, 1978 at Sage & Sound Studio, Hollywood, California

Musicians:

Dave Pike - Vibraphone, Percussion

Tom Ranier - Keyboards, Alto Saxophone (#A3)

Ron Escheté - Guitar

Luther Hughes - Bass, Cello, Bass [Piccolo] (#B2)

Ted Hawke - Drums, Percussion, Musical Box (#B1)

Don Williams - Percussion

Carol Escheté - Vocals

Tracks:

A1. Spirit's Samba {Ron Escheté } (6:50)

A2. Professor Porno's Romanc {Dave Pike} (6:04)

A3. Groovin' High {Dizzy Gillespie} (7:08)

B1. Swan Lake {Tchaikovsky} (9:27)

B2. Icarus {Ralph Towner} (5:26)

B3. Rabbi Mogen's Hideout {Dave Pike} (6:52)

Credits:

Producer - Bill Metz

Engineer - James Mooney

Dave Pike - On A Gentle Note (1978) [vinyl]

After 1966, vibraphonist Dave Pike was primarily heard on European labels until he made his first album for Muse in 1975. His second effort for the label teams Pike with a variety of top L.A. players: Tom Ranier on electric piano (he plays alto on "Scrapple from the Apple"), guitarist Ron Eschete, bassist Luther Hughes, drummer Ted Hawke, and the obscure Rudolph Johnson on tenor. There are some unaccompanied solos (Eschete on "Everytime We Say Goodbye," Ranier's keyboard on "Gigi," and Pike on "Visions of Spain") and a fair amount of variety in the rhythms (ranging from straight-ahead to Latin and rock), making this a generally unpredictable (if now hard to find) LP. ~ by Scott Yanow, AMG.

Muse Records, MR 5168, 1978

Recorded November & December 1977 at United Audio Studio, Santa Ana, California

Musicians:

Dave Pike - Vibraphone

Tom Ranier - Electric Piano, Alto Saxophone

Rudolph Johnson - Tenor Saxophone

Ron Eschete - Guitar

Luther Hughes - Bass

Ted Hawke - Drums, Percussion

Tracks:

A1. Lazy Afternoon {John Latouche, Jerome Morass} (9:29)

A2. Gigi {Alan Jay Lerner, Frederick Loewe} (2:59)

Tom Ranier - Electric Piano [Soloist]

A3. Regards From Freddie Horowitz {Dave Pike} (7:58)

B1. Secret Mystery Of Hensch {Dave Pike, Volker Kreigel} (9:23)

B2. Everytime We Say Goodbye {Cole Porter} (2:23)

Ron Eschete - Guitar [Soloist]

B3. Scrapple From The Apple {Charlie Parker} (6:01)

Tom Ranier - Electric Piano [Soloist]

B4. Visions Of Spain {Dave Pike} (1:58)

Dave Pike - Vibraphone [Soloist]

Credits:

Producer - Bill Metz

Engineer - Evan Williams

Art Direction, Design [Cover Illustration] - Tamar Zinn

George Braith - Laughing Soul (24/48 vinyl rip)

The first of the two albums that Braith made for Prestige after his Blue Note contract was done. He has nearly the same band with him as his BN days though! The record wasn't in the best of shape, but all in all it sounds pretty good. 

Musically I think it actually surpasses the Blue Note albums and I think George compensated for the lack of practice time at Prestige by using musicians he was already well familiar with and they with him. Patton is especially tasty and he and Green were sonically in each others pockets at this time. A totally dynamite album!

Steve Kuhn - Non-Fiction (1978) [vinyl>flac]

Steve Kuhn is the all-purpose element: his presence heightens any musical concoction. Like no jazz pianist I know, he is aware of the negative spaces between his notes and shapes those spaces to suit the emotional needs of the tune. And what a set of tunes we have in Non-Fiction, a sorely out-of-print firecracker in dire need of a digital fuse. Speaking of conflagration, nothing singes our brow in any Kuhn project quite like “Firewalk,” which, despite its characteristically spacious feel, is clear and present (I bow to the uncredited engineer on this one). Kuhn accolades aside, it’s the sopranism of reedman Steve Slagle that really sets these coals to glowing and cradles every assured step in the liberation of play. Bob Moses and Harvie Swartz - an ideally suited rhythm section if there ever was one - lock the “Random Thoughts” that follow into lively traction. Slagle opts for flute and alto sax over a constantly shifting sonic palette. Whenever he isn’t breathing, he keeps his hands busy with additional percussion. (Unfortunately, the latter comes across as intrusive to my ears during headphone listening. External speakers will remedy this.) “A Dance With The Wind” and “The Fruit Fly” reverse the scales with a collective dose of whimsy and nostalgia. Swartz is simply fantastic here, weaving deftly through Kuhn’s canvas of vamps with distinct yet harmonious brushstrokes of its own. If anything has been missing so far, we find it all collected in “Alias Dash Grapey,” which has it all: a sweeping piano intro, replete with unrestrained cries from Kuhn, a spirited collage of solos (Moses ever palpable), and a deep sense of communication.

This is a tight album with plenty to unpack through repeated listening. Its energies fluctuate in volume, but always to the beat of Kuhn’s erudite dictation. As worth tracking down on vinyl as it is waiting for an appearance on CD. ~ ECM Reviews

An interesting set of inside/outside music with a bit more energy than the more stereotypical ECM set, this set of five originals is performed by pianist Steve Kuhn (who was really developing his own original sound around this time), Steve Slagle (heard on alto, soprano and flute), bassist Harvie Swartz, and drummer Bob Moses. This is a fine release that was soon overshadowed by Kuhn's collaborations with singer Sheila Jordan. ~ by Scott Yanow, AMG.

ECM Records, ECM 1124, 1978

Recorded April, 1978 at Tonstudio Bauer, Ludwigsburg, Germany

Personnel:

Steve Kuhn - Piano, Percussion

Steve Slagle - Alto & Soprano Saxes, Flute, Percussion

Harvie Swartz - Bass

Bob Moses - Drums

Track Listing:

A1. Firewalk {Harvie Swartz} (7:54)

A2. Random Thoughts {Steve Kuhn} (8:03)

A3. A Dance With The Wind {Harvie Swartz} (5:43)

B1. The Fruit Fly {Steve Kuhn} (5:51)

B2. Alias Dash Grapey {Steve Kuhn} (11:49)

Credits:

Producer - Manfred Eicher

Layout - Barbara Wojirsch

Photography - Deborah Feingold

Cover Photo - Klaus Frahm

Post-Trane Philly Jazz

I think we all have a special attachment to the music that was important to us in our teens and 20's, for me that is 70's post-bop, blues and southern soul. One sound that caught my attention back then was the fusion jazz coming out of the Philly/Pittsburgh area. (I add Pittsburgh because Eric Kloss and Pat Martino were key players in this sound and they were actually from Pittsburgh, but they played with the Philly guys.) The twin shadows of Trane's spiritual post-bop and Miles' new electronic fusion funk-jazz hang heavy over this music...it was a good time! This was one of my first mixcloud posts more than a year ago, but it went largely unnoticed due to my lack of an audience, some poor editing and a couple bad song choices. Here it is polished up and done right and if you dug the Black Jazz compilation, then this one should move you too. Those two young men on the cover are Trane's nephews, the Grubbs brothers, aka The Visitors.

Post-Trane Philly Jazz by Kingcake on Mixcloud

Ted Curson + Jazz Live Trio - Live In Zürich (1975)

Here we have a great broadcasted concert by the late great trumpeter Ted Curson. On this date he is joined by the Jazz Live Trio, a tight combo headed by Klaus Koenig on Piano, Peter Frei on bass and drummer Peter Schimdlin. The live concerts at the radio studio in Zurich started in 1969 and took place regularly until 1984 and documented the intense situation in Jazz in Switzerland in this period. The Trio are featured on TCB 02362 Swiss Radio Days Jazz Live Concert Series Volume 36 working with the likes of Johnny Griffin, 1975, Hal Singer, 1980, Leszek Zadlo, and Ferdinand Povel, 1978. So it’s no wonder that they could hold their ground up against Ted’s mighty sounds. The tunes from this session are all penned by Ted and include many that he used across a number of albums, including Live At La Tête De L'Art, Cattin' Curson, Jubilant Power and Quicksand. Enjoy!

FM Broadcast

Recorded 18^th October, 1975 at Zürich, Radio DRS, Studio, Switzerland

Personnel:

Ted Curson - Trumpet

Klaus König - Piano, Electric Piano

Peter Frei - Bass

Peter Schmidlin - Drums

Track Listing:

1. Ida's Tune {Ted Curson} (11:56)

2. Playhouse March {Ted Curson} (13:09)

3. Quicksand {Ted Curson} (13:08)

4. Marjo {Ted Curson} (11:15)

Note:

The original recording taken from Dime was of average sound quality and needed some TLC whilst editing announcements and excess applause.

(Keno Duke) Jazz Contemporaries - Reasons In Tonality (1972

A re-post request fulfilled. 

This one was a gift from our friend wid who hasn't been around for quite awhile now.

(Keno Duke) Jazz Contemporaries - Reasons In Tonality (1972 Strata-East 1972-2)

01 - Reasons In Tonality
02 - 3-M.B.

George Coleman - Tenor Sax
Julius Watkins - French Horn
Clifford Jordan - Tenor Sax
Harold Mabern - Piano
Larry Ridley - Bass
Keno Duke - Drums
John Sadler - Recording Eng.

Recorded Live at the Village Vanguard, NYC, Feb. 13, 1972One of the greatest Strata East albums, and one of the few albums ever by Keno Duke (and all of them are great). Duke leads a crack group of soul jazz players, featuring Clifford Jordan and George Coleman on tenor, plus Julius Watkins on French horn, and Harold Mabern on piano, who is in excellent excellent form, and who really drives the whole thing with beautiful crashing chords. Two extended tracks, both of them over 20 minutes in length. Beautiful!

The Three Sounds - Out Of This World (1962) [vinyl>flac, 24 bit/48 khz]

Out of This World relies less on originals than before, concentrating on standards which sound startlingly fresh. It's the loose, flexible groove that's the key. Simpkins and Dowdy keep things on track, while Gene Harris plays -- he can be nimble, he can pound, but he keeps the music flowing at a nice, easy pace. He has a good sense of the groove, and he stays within the groove even as he plays a lot of notes; it's truly an individual style. Despite the R&B-flavored arrangements on "Girl of My Dreams" and the swinging, gospel-inflected "Sanctified Sue," Out of This World is a particularly light and breezy record from the Three Sounds. They're just as comfortable stretching out with the groove as they are with keeping things short, simple, and concise -- either way, it's thoroughly enjoyable music. But no matter how easy the group is to enjoy, they have true style, as Harris' bluesy flourishes and the rhythm section's supple support illustrate. It's hard to sound this light and easy, and the Three Sounds pull it off with grace. ~ by Stephen Thomas Erlewine, AMG.

Go out of the world with The Three Sounds on this sweet little set for Blue Note - as the trio are at their early best, and working with a care of craft that you won't find on other 60s albums for labels like Verve or Mercury! The mighty Gene Harris is in the lead on piano, moving between a great blend of lyrical and more soul-based styles - given great accompaniment from Bill Dowdy on drums and Andy Simpkins on bass - the latter of whom is an overlooked genius, with this round tone and solid touch that really holds the group together! Titles are a nice mix of exotic standards and gutbuckety originals - and tunes include "My Silent Love", "Just In Time", "Out Of this World", "Out Of the Past", "Sanctified Sue", and "Girl Of My Dreams".  © Dusty Groove, Inc.

Blue Note, BST-84197, 1965

Recorded 4^th February (#A1,A3,B3), 7^th March (#A4,B4)
and 8^th March (#A2,B1,B2), 1962 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Gene Harris - Piano

Andrew Simpkins - Bass

Bill Dowdy - Drums

Track Listing:

A1. Girl Of My Dreams {Sunny Clapp} (2:59)

A2. Out Of The Past {Benny Golson} (6:29)

A3. Just In Time {Betty Comden, Adolph Green, Jule Styne} (6:19)

A4. I'll Be Around {Alec Wilder} (3:39)

B1. My Silent Love {Edward Heyman, Dana Suesse} (6:58)

B2. Sanctified Sue {Gene Harris} (3:34)

B3. Out Of This World {Harold Arlen, Johnny Mercer} (6:32)

B4. You Make Me Feel So Young {Mack Gordon, Josef Myrow} (4:20)

Credits:

Producer - Alfred Lion

Recording Engineer - Rudy van Gelder

Photography [Cover] - Reid Miles

Design [Cover] - Reid Miles

Liner Notes - Leonard Feather

Notes:

American Model on Cover Lee Henderson

Gigi Gryce/Hall Overton/Duke Jordon - Signals (24/48 vinyl rip)

A new rip in 24/48! Sounds pretty good to me.


The story of these rather extraordinary records dates back to a short lived label called Signal (thus the title). Signal was the brain child of Jules Colomby, brother of Harold Colomby who was Monk's manager. Colomby had the idea that they would make records of a soloist over a crack rhythm section and put that on one side of the record, while on the other side the soloist would be deleted, leaving space for the home player to now play over the rhythm section. Kind of a cool idea. Jules got his brother Harold and Don Schlitten to become his partners and they found a silent partner investor for capitol. The investor eventually wanted his money back and the label was folded and sold to Savoy.

Sides one and two here are the quartet sides from Jazz Laboratory - Do It Yourself Jazz, volumes 1 and 2. On side one Gryce plays in front of the jaw dropping rhythm team of Duke Jordon, Oscar Pettiford and Kenny Clarke! Side two features Phil Woods in front of Hall Overton, Teddy Kotick, and  Mick Stabulas. Both sessions are quite nice but I think Phil's tone sounds a bit muddy next to Gryce's.

The second record gets REALLY interesting. I'm not sure if these two sessions were ever presented in the format described above or even intended to be, but each is half a record so who knows what they had in mind. Side three is a lovely large band set with Gryce sounding glorious in front of a large portion of the Oscar Pettiford Orchestra of that time. Side four is the BIG payoff though...four tracks of Gryce in a quartet with Thelonious Monk, Percy Heath, and Art Blakey!!! Can you imagine if they DID make a second side without Gryce and you got to try to play over those guys? This second record was later released as Nica's Tempo.

Gigi Gryce - Duke Jordan - Hall Overton – Signals
Label:Savoy Records – SJL 2231, Format:2 × Vinyl, LP, Reissue
Country:US, Released:1978, Genre:Jazz, Style: Bop, Swing

A1         Sometimes I'm Happy        
A2         Embraceable You        
A3         Jordu        
A4         Oh Yeah!        
B1         Pennies From Heaven        
B2         Yesterdays        
B3         It's Only A Paper Moon       
B4         You'd Be So Nice To Come Home To        
C1         Speculation        
C2         In A Meditation Mood        
C3         Social Call        
C4         Smoke Signal        
C5         (You'll Always Be) The One I Love        
C6         Kerry Dance        
D1         Shuffle Boil        
D2         Brake's Sake        
D3         Gallop's Gallop        
D4         Nica's Tempo        

   Alto Saxophone – Gigi Gryce (tracks: A1 to A4, C1, C2, C4, C6, D1 to D4), Phil Woods (tracks: B1 to B4)
    Baritone Saxophone – Cecil Payne (tracks: C3, C5), Danny Bank (tracks: C1, C2, C4, C6)
    Bass – Oscar Pettiford (tracks: A1 to A4, C1, C2, C4, C6), Percy Heath (tracks: D1 to D4), Teddy Kotick (tracks: B1 to B4)
    Drums – Art Blakey (tracks: C3, C5, D1 to D4), Kenny Clarke (tracks: A1 to A4, C1, C2, C4, C6), Mick Stabulas* (tracks: B1 to B4)
    Executive Producer – Steve Backer
    French Horn – Gunther Schuller (tracks: C1, C2, C4, C6), Julius Watkins (tracks: C3, C5)
    Mastered By, Recorded By [Original Recording] – Rudy Van Gelder
    Piano – Duke Jordan (tracks: A1 to A4), Hall Overton (tracks: B1 to B4), Horace Silver (tracks: C1, C2, C4, C6), Thelonious Monk (tracks: D1 to D4)
    Producer [Original Sessions] – Jules Colomby
    Reissue Producer – Bob Porter
    Trombone – Eddie Bert (tracks: C3, C5), Jimmy Cleveland (tracks: C1, C2, C4, C6)
    Trumpet – Art Farmer (tracks: C1, C2, C4, C6)
    Tuba – Bill Barber (tracks: C1, C2, C4, C6)
    Vocals – Ernestine Anderson (tracks: C3, C5)

Side 1 Recorded In Hackensack. March 7, 1955.
Side 2 Recorded In Hackensack. February 8, 1955.
Side 3 Recorded In Hackensack. October 22 & 30, 1955.
Side 4 Recorded In Hackensack. October 15, 1955.