Ralph Towner - Open Letter (1992)

It might be tempting to dismiss this Ralph Towner effort as New Age fluff, but the music is so gorgeous that any such considerations fall to the wayside. Yet the wayside is precisely where Towner sets his sights, which is to say that his interest lies in edges where musical idioms meet. He explores these lines, not unlike the blotted cover, with an ease of diction at the fret board that is recognizable and comforting. Drummer Peter Erskine shares the bill, but Towner adds a few synth touches for broader effect, as in “The Sigh,” which opens the session in a cleft of fluid energy. There are two sides to this album. One is resplendent, exemplified in the congregation of 12-string and cymbals that is “Adrift.” This resonant vessel shares waters with “Magic Pouch” and “Alar” (a tympani-infused concoction that is one of Towner’s finest), both of which blossom in a tropical climate and funnel their tide-swept secrets into “Magnolia Island.” Any possible tourist traps therein are elided by Towner’s ever-imaginative picking. The other side comes through Towner’s solos. The jazzy riffs of “Short’n Stout” pair well with the intimate geographies of “Waltz For Debby,” while the blissful “I Fall In Love Too Easily” lobs us into the goodness of “Nightfall.” Towner is as astute as ever in his execution. Whether it’s a standard or his own musical vision, we get the feeling that everything he plays is an open letter. ~ ECM Reviews

"Ralph Towner's a difficult case. The snoozy noodlings of his former band Oregon can be downright stupefying, but his solo work is often, though not always, quite a bit more interesting. Open Letter walks both sides of the line, but succeeds more often than it fails. ~ by Rick Anderson, AMG.

ECM Records, ECM 1462, 1992

Recorded July 1991 and February 1992 at Rainbow Studio, Oslo, Norway

Musicians:

Ralph Towner - Classical & 12-String Guitars, Synthesizer

Peter Erskine - Drums

Track Listing:

A1. The Sigh {Ralph Towner} (5:09)

A2. Wistful Thinking {Ralph Towner} (3:49)

A3. Adrift {Ralph Towner} (6:06)

A4. Infection {Peter Erskine, Ralph Towner} (3:15)

A5. Alar {Ralph Towner} (7:10)

B1. Short 'N Stout {Ralph Towner} (3:01)

B2. Waltz For Debby {Bill Evans} (4:10)

B3. I Fall In Love Too Easily {Sammy Cahn, Jules Styne} (4:11)

B4. Magic Pouch {Ralph Towner} (5:01)

B5. Magnolia Island {Ralph Towner} (4:28)

B6. Nightfall {Ralph Towner} (6:24)

Credits:

Producer - Manfred Eicher

Engineer - Jan Erik Kongshaug

Design - Dieter Rehm

Photography [Cover] - Gabor Attalai

Coleman Hawkins and his Friends at a Famous Jazz Party Vol 2 (1958) [vinyl]

From the danair vinyl collection.

Enigma is a very apposite name for this record label: Personnel : unknown apart from indicated above, Recording date & location: unknown
But then the producer of the album "took great delight in confounding collectors and discographers, whom he regarded as the bean counters of jazz." Try googling "Boris Rose" for more information.

So many thanks to Luis for supplying this:

SIDE 1:
Art Ford's Jazz Panty : Theme Harlem 1928-1938 : Henry "Red" Allen (tp,vcl) Dicky Wells (tb) Buster Bailey
(el) Coleman Hawkins (ts) Willie "The Lion" Smith (p,vcl) Danny Barker (g,bj-l,el-g-2) Vinnie Burke (b)
Sonny Greer (d) Mae Barnes (vcl)
"Art Ford's Jazz Party", Newark, N.J., November 6, 1958

Running wild
Stompin' at the Savoy
Somebody loves me
St. James infirmary (hra + band vcl)
Solitude
Memphis blues
Love is just around the corner

SIDE 2:
5 June 1958 Rex Stewart (c) Charlie Shavers (t) Wilbur De Paris(tb) Woody Herman (cl,v)
Georgie Auld (ts) Joe Roland (vib) Marty Napoleon (p) Chuck Wayne (elg) Chubby Jackson
(b) Don Lamond (d) Jimmy Rushing (v), ADD: Barry Miles (vib,d)-1

Bugle Call Rag -Shavers & Stewart feature, with Auld & rhythm only
Boy Meets Horn -Stewart feature
The Best Things In Life Are Free -Shavers feature
Goin' To Chicago/I'm Gonna Move To The Outskirts Of Town -1 -vJR

Sept.1958 Red Allen (t) J.C.Higginbotham (tb) Ed Hall (cl) King Curtis (ts) Stan Freed (p) Dick
Thompson (g) Vinnie Burke (b) Joe Tarto (bb on (2+10)) Sonny Greer (d) Teddy Charles (vib)
Chris Connors (v) Art Ford(narr) all on RA-CD-32

Sweet Georgia Brown
Basin Street Blues feat. Higginbotham

Recording quality is definitely not hi-fi but perfectly acceptable.

Arnett Cobb - More Arnett Live At Sandy's [24/48 vinyl rip]

One of six albums recorded at Sandy's Jazz Revival in Beverly, Massachusetts during a two-day period and the second one led by Arnett Cobb has plenty of exciting music. Cobb takes "Smooth Sailing" as his feature, teams up with fellow tenor Buddy Tate on "Go Red Go" and "Flyin' Home #2," and welcomes both Tate and altoist Eddie "Cleanhead" Vinson to "Blues for Lester" (a blues version of "Lester Leaps In"). With assistance from pianist Ray Bryant, bassist George Duvivier and drummer Alan Dawson, Cobb's enthusiastic and extroverted tenor wins honors on this jam session-style set. Fortunately all of the music in this LP (and four of the five songs from the first Cobb set) has been reissued on CD.

Bill Hardman – Home (1978) [vinyl 24/48]

Newly ripped from the danair vinyl collection.

Review by Mike Hennessey, Jazz Journal, November 1980:
Bill Harman has spent a good part of his musical career with various editions of Blakey's Jazz Messengers and in more than 30 years on the jazz scene has scant opportunity to record under his own name. This Muse album is thus a welcome release — the more so because Hardman probably comes closer than most trumpet players of his generation to capturing the spirit and attack of his great idol, Clifford Brown.
This is a fine album. Hardman has assembled an excellent team of musicians and the soloists have a good chance to stretch out. Victor Jones isa splendid drummer, and with forceful and ever-creative Hampton storms through the date with tremendous zest; Junior Cook can rarely have been heard to better effect, Mickey Turner comps and solos with unflagging energy and invention and Hardman crackles away on trumpet and flugel horn in the best Brownie tradition.
Samba Do Brilho — the sort of music to play in your pad? — has excellent solos from the front line; Jones's driving drums give tremendous lift to Once I Loved and there is magnificent solo work from Hardman, a powerful contribution from Cook, playing in what could be described as a "Rolltrane" style, and a fluent, vigorous solo from Hampton.
My Pen Is Hot (a Tucker original whose title may or may not be connected with the fact that the band includes a Hampton and a Hardman) doesn't quite work as a jazz vehicle because the chord sequence is too tricky and militates against continuity of line. The solos are nevertheless impressive again, with Tucker in distinctly Silverish mood.
Rancho Cevarro is another Tucker composition with rapid changes of texture and rhythmic foundation. Tucker certainly has a flair for unexpected changes and the horn players cope remarkably well.
I Remember Love is a forgotten Dameron song which features Hardman on flugel horn — though still with that crackling, biting tone. He gives it a moving reading and sets a lustrous seal on a very fine album.

1. Samba Do Brilho
2. Once I Loved
3. My Pen Is Hot
4. Rancho Cevarro
5. I Remember Love

Bill Hardman It, flhl; Junior Cook Its); Slide Hampton (tb); Mickey Tucker (p); Chin Suzuki (b); Victor Jones (d); Lawrence Killian (perc).
RVG. New Jersey, January 10, 1978.
(Muse MR 5152)

Art Hodes & Milt Hinton - Just The Two Of Us (1981) [vinyl>flac]

Art Hodes, jazz pianist, who played with such greats as Louis Armstrong and Benny Goodman and in the 1940s had his own record label, radio show and magazine. Born in Nikoliev, the Ukraine, Hodes came to Chicago as an infant and spent most of his life performing there. But during the 1940s, he lived in New York, presenting a weekly radio program for WNYC, founding his own record label, JazzRecord, and editing a critically acclaimed magazine of the same title. He also organized and led his own bands. Hodes was host of a television series called "Jazz Alley" in the 1960s, taught at the Lake Forest Conservatory, and throughout his career did much to popularize traditional jazz styles.

"Throughout his long career, Art Hodes was a fighter for traditional jazz, whether through his distinctive piano playing, his writings (which included many articles and liner notes), or his work on radio and educational television. Renowned for the feeling he put into blues, Hodes was particularly effective on up-tempo tunes, where his on-the-beat chordings from his left hand could be quite exciting. Born in Russia, he came to America with his family when he was six months old and grew up in Chicago. Hodes had the opportunity to witness Chicago jazz during its prime years in the 1920s, and he learned from other pianists. In 1928, he made his recording debut with Wingy Manone, but spent most of the 1930s in obscurity in Chicago until he moved to New York in 1938. He played with Joe Marsala and Mezz Mezzrow before forming his own band in 1941. Hodes recorded for Solo Art, his Jazz Record label, Signature, Decca, and Black & White during 1939-1942, but he made more of an impression with his heated Dixieland recordings for Blue Note during 1944-1945 (all of which have been reissued on a Mosaic box set). During 1943-1947, Hodes edited the important magazine the Jazz Record, had a radio show, and became involved in the moldy fig versus bebop wars with Leonard Feather and Barry Ulanov; jazz on a whole lost to the latter. In 1950, he returned to Chicago, where he remained active locally and made occasional records. Hodes hosted a television series, Jazz Alley, for a time in the 1960s, wrote for Downbeat, and was a jazz educator. Art Hodes recorded frequently during the 1970s and '80s, and was widely recognized as one of the last survivors of Chicago jazz. His later recordings were for such labels as Audiophile, Jazzology, Delmark, Storyville, Euphonic, Muse, Parkwood, Candid, and Music & Arts. ~ Scott Yanow"

01 - Willow Weep For Me
02 - Winin'
03 - I Would Do Most Anything
04 - Low Down N' Below
05 - Bye & Bye
06 - Down Home Blues
07 - Randolph Street Blues
08 - Here Comes Cow Cow
09 - Miss Otis Regrets
10 - Milt Jumps

Art Hodes (p) Milt Hinton (b)
The Cabbage Patch, Nyc, August 26, 1981

Richie Cole and Art Pepper - Return To Alto Acres (1982) [vinyl 24/48]

From the danair vinyl collection.

Review by Scott Yanow:
On his first LP for Palo Alto, Richie Cole got to meet up for the only time on record with altoist Art Pepper. Together with pianist Roger Kellaway, bassist Bob Magnusson and drummer Billy Higgins, Cole and Pepper play four basic originals, "Things We Did Last Summer" (Cole's feature) and "Broadway." What is particularly unusual about this date is that Cole not only plays alto but tenor and baritone while Pepper also gives listeners a taste of his clarinet. The historic bebop encounter has unfortunately been long out-of-print since Palo Alto is long defunct.

Return To Alto Acres
The Things We Did Last Summer
Art's Opus #2
A&R
Palo Alto Blues
Broadway

Art Pepper (alto saxophone, clarinet) Richie Cole (alto,baritone saxophone) Roger Kellaway (piano) Bob Magnusson (bass) Billy Higgins (drums)
Los Angeles, CA, February 16, 1982

Vic Juris - Roadsong (1978) [vinyl>flac]

Here's another bit of Muse Magic!

A great album by 24-year old guitarist Vic Juris which was released on Muse Records in 1978, his first as a leader, players are Barry Miles on keyboards, Terry Silverlight on drums, Rick Laird and John Burr on bass and Richie Cole on alto saxophone. Six of the eight selections are Juris originals (the other two songs include Wes Montgomery's "Road Song" and drummer Terry Silverlight's "Vic's Theme". Richie Cole plays on two tracks and John Burr on bass substitutes Laird on another. The album was produced by Richie Cole and engineered by Rudy Van Gelder. This rip is from an LP as this album is yet to be reissued on CD.

Another of my favourite guitarists, the Canadian Vic Juris; this disc, 1978 brings Vic in his (awesome) early years, a musician of a melodic talent and virtuosity that still scares me. Much influence of bop but still contains the fusion typical seventies innovations (at a time when the Pat Metheny still playing timidly in his Metheny Group). There's nothing to discuss: Stunning an Animator! Production is Richie Cole and the mix of the magician Rudy van Gelder (which pros uninitiated was the guy behind several of the most classic jazz recordings). Along with Vic are Barry Miles, Richard and Rick Laird Silverlight and Richie Cole. ~ A Minha Confusão...

“Roadsong” touches several basses, but it's hardly an exercise in untrammelled eclecticism; the sure, clear direction that Vic Juris exercises on each tune insures that. It also ties the album together with a sense of completeness that many established musicians strive for in vain. There are some who may find that a preternatural quality for a 24-year old guitarist that they've never heard of, but, as your ears will prove, it's anything but science fiction. In fact, don't be all that surprised if the next generation's guitar corps features a few clones of Vic Juris himself. ~ Extract from Liner Notes by Neil Tesser.

Muse Records, MR 5150, 1978

Recorded 19^th & 21^st September, 1977 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Vic Juris - Guitar

Richie Cole - Alto Saxophone (#B1,B4)

Barry Miles - Keyboards

Rick Laird - Bass

John Burr - Bass (#A3)

Terry Silverlight - Drums

Track Listing:

A1. Roadsong {Wes Montgomery} (5:46)

A2. Portabelo Market {Vic Juris} (7:21)

A3. Leah {Vic Juris} (4:46)

A4. Vic's Theme {Terry Silverlight} (3:17)

B1. In Between {Vic Juris} (4:00)

B2. One For Sonny {Vic Juris} (4:48)

B3. Free Bird {Vic Juris} (4:54)

B4. Two Lovely People {Vic Juris} (5:27)

Credits:

Producer - Richie Cole

Recording Engineer - Rudy van Gelder

Art Direction and Photography - Carol Friedman

Liner Notes - Neil Turner

Brazilian Adventure

Brazil 1958-1969 by Kingcake on Mixcloud

Eddie Cleanhead Vinson - Live at Sandy's [24/48 vinyl rip]

"Muse recorded six albums during one week at Sandy's Jazz Revival, a club in Beverly, MA; two of them (this one and Hold It Right There) feature the blues vocals and alto solos of Eddie "Cleanhead" Vinson. Some of the songs also have the tenors of Arnett Cobb and Buddy Tate in a supporting role but this album is largely Vinson's show. Backed by a superb rhythm section (pianist Ray Bryant, bassist George Duvivier and drummer Alan Dawson), Vinson takes four fine vocals and plays many swinging alto solos including one on "Tune Up," a song he wrote that has been mistakenly credited to Miles Davis for decades." Yanow

Arnett Cobb - Live at Sandy's [24/48 vinyl rip]

New 24/48 vinyl rip
Arnett Cobb - Live at Sandy's
Muse 5191 (1978)

01 - Just a Closer Walk With Thee
02 - Blue and Sentimental
03 - On the Sunny Side of the Street
04 - September Song
05 - Broadway

During a two-day period in 1978, Muse Records fully documented a jam session featuring the tenors of Arnett Cobb and Buddy Tate, altoist Eddie "Cleanhead" Vinson, pianist Ray Bryant, bassist George Duvivier and drummer Alan Dawson. Six records resulted, two apiece headed by the three saxophonists. On this first LP, (which except for "Broadway" has been reissued on CD), Cobb has four features with the trio (highlighted by "Just Aa Closer Walk with Thee" and "September Song") before welcoming his fellow saxophonists to participate in a rousing version of "Broadway." All of the sets in this rewarding series are recommended to straightahead and mainstream jazz fans.
Review by Scott Yanow

Walt Barr ‎– East Winds (1979) [vinyl 24/48]

A1 Cafe De La Rue 5:37
A2 Always Tomorrow 6:10
A3 East Winds 6:11
A4 Postlude 1:43
B1 Zamba 4:13
B2 Last Night Out 5:06
B3 Free Spirit 5:18
B4 Creepin' 4:47

Guitar, Arranged By – Walt Barr
Piano – Steve Haberman
Synthesizer – Roy Braverman
Bass – Bill Kuhne
Drums – Mark Leon
Percussion – Jack LeCompte
Vocals – Julie Long (tracks: B3, B4)
Westworld Recorders, March 1979.

I know nothing about Barr apert from this being his second album for Muse. To my inexpert ear a very skillful guitarist playing very much in the jazz-fusion style so redolent of the 70s.
With thanks to danair for providing the LP for me to rip.

Buddy Tate - Live At Sandy's [24/48 vinyl rip]

"One of the six Muse albums recorded at Sandy's Jazz Revival in Massachusetts during an engagement in 1978, this is essentially tenor veteran Buddy Tate's set although altoist Eddie "Cleanhead" Vinson and tenor Arnett Cobb join in on the closing blues "She's Got It." Tate is in fine form on the other four songs which includes an outing on clarinet for "Blue Creek," a warm version of the ballad "Candy" and two lengthy jams with pianist Ray Bryant, bassist George Duvivier and drummer Alan Dawson. Consistently swinging music and one of the better Buddy Tate recordings currently available." Yanow

Woody Shaw Quintet - Seattle 1979: Live At Parnell's

Here's a really exciting live show from the zenith of Shaw's legendary quintet.  It's a bootleg, but of considerable quality.  The mix is fantastic and as far as bootlegs go, excellent.  The original uploader is unknown, as are the details surrounding the recording - it was an FM broadcast.  I was able to capture the audio in full WAV format, and then transferred it to FLAC 16/44.1.  This concert is another example of how not only Woody Shaw, but his entire quintet came to be masters of the form.  The musicianship is second to none while the band interaction is almost psychic in its depth.  This is jazz at its finest... enjoy!!!








Parnell's,
Seattle, WA USA
November 21, 1979

01. Intro
02. Rosewood
03. Why
04. Body and Soul
05. Stepping Stones
06. In Your Own Sweet Way

Personnel:

Woody Shaw - trumpet
Onaje Allan Gumbs - piano
Carter Jefferson - tenor sax
Clint Houston - bass
Victor Lewis - drums

Ran Blake - Film Noir [24/48 vinyl rip]

"Ran Blake's dark piano style and dramatic improvisations make for a perfect match with the mood of film noir. This memorable set not only has Blake performing vivid explorations of six songs from films (including melodies from All About Eve, Pinky, A Streetcar Named Desire and The Pawnbroker), but five originals that somehow musically sum up the plots of other films (including Spiral Staircase and Touch of Evil). Blake is heard in a variety of settings ranging from solo and a duet with trumpeter Ted Curson up to an 11-piece band. Utterly fascinating interpretations that add up to a memorable gem." Scott Yanow

Chet Baker - In New York (1958) [vinyl>flac, 24-bit/48khz]

Chet Baker's West Coast cool comes to the Big Apple on Chet Baker in New York. The project would be Baker's first -- in a four album deal -- with the Big Apple-based Riverside Records. The bicoastal artist incorporates his decidedly undernourished sound and laid-back phrasing into the styling of Al Haig (piano), Johnny Griffin (tenor sax), Paul Chambers (bass), and Philly Joe Jones (drums). The results are uniformly brilliant as Baker's cool-toned solos fly and bop with authority around the equally impressive supporting soloists. Conversely, the same cohesive unity continues on the introspective numbers that are more akin to Baker's California cool. Undoubtedly one of the charms of this collection is the distinct choice of material. Running the gamut from the relaxed and soothing "Polka Dots and Moonbeams" and equally serene "Blue Thoughts" at one end of the spectrum to the percolating and driving intensity of "Hotel 49" on the other. This track features each quintet member taking extended solos corralling together at the head and again at the coda for some intense bop interaction. Especially ferocious is Philly Joe Jones, who could easily be mistaken for Keith Moon, Ginger Baker, or even Gene Krupa with his cacophonous solo that never strays from the beat or loses its sense of swing. Perhaps the best meshing of styles can be heard on the Miles Davis composition "Solar." This "best-of" candidate refers to both Chambers' and Jones' concurrent involvement with Davis. The churning backbeat likewise propels the melody and ultimately the performers into reaching beyond their individual expertise and into an area of mutual brilliance. Chet Baker in New York is a highly recommended entry into Baker's catalog. It should also be noted that these same sides were issued in 1967 as Polka Dots and Moonbeams on the Jazzland label. ~ by Lindsay Planer, AMG.

One of my favourite Chet Baker LPs, all players are marvellous, Enjoy in HD sound.

Riverside Records, RLP 12-281, 1959

Riverside Records, 888072359116, 2014

Recorded September, 1958 at Reeves Sound Studios, New York

Personnel:

Chet Baker - Trumpet

Johnny Griffin - Tenor Saxophone (#A1,A3,B2)

Al Haig - Piano

Paul Chambers - Bass

Philly Joe Jones - Drums

Track Listing:

A1. Fair Weather {Benny Golson} (6:55)

A2. Polka Dots And Moonbeams {Jimmy Van Heusen, Johnny Burke} (7:55)

A3. Hotel 49 {Owen Marshall} (9:50)

B1. Solar {Miles Davis} (5:50)

B2. Blue Thoughts {Benny Golson} (7:34)

B3. When Lights Are Low {Benny Carter, Spencer Williamson} (6:51)

Credits:

Producer, Liner Notes - Orrin Keepnews

Recording Engineer - Jack Higgins

Cover Photo - Paul Weller

Design - Paul Bacon

Bill Grauer Productions Inc., New York City

Mike Nock Almanac 1967 [24/48 vinyl rip]

When you consider that this little post-bop miracle was recorded in 1967, you can't help but be impressed with how modern this music sounds. Perhaps that is why Improvising Artists, a label thoroughly devoted to free jazz, would have bought an already finished album that did not fit their profile at all. Nock and Marshall would soon be 1/2 of The Forth Way, Bennie would soon be with Miles and Herbie, and Cecil would soon be making countless superior recordings at Strata East, ECM and more. This album serves as a lovely snap-shot of a Bay Area jazz scene in the period just months before the Summer of Love.

I came across an near mint copy of this one a couple weeks ago!

Count Basie - Dance Along With Basie

Hey gang!!  More from our look at the "Atomic Band"... Basie during his Roulette years.  This offering is interesting for a few reasons, but overall, it's a solid and excellent album.

Looking at the tracklist, it's easy to deduce that this record is tackling pop/dance tunes of the day.  Unlike many of the other albums we've listened to thus far, there's no guest arranger here.  So the first "interesting" item is the fact that Basie himself has interpreted these songs, with input from Teddy Reig presumably.

I would say the other difference on Dance Along is the clear absence of that blues influence that is a staple of this band's sound.  The swing is always there, and heavy at times, but there's really no blues approach to this material.  I will let you ponder the reasons for that.  That said, there's a ton of extended and incredible soloing throughout all of these tunes.  The mood manages to stay upbeat, even through a ballad like Misty.

My record is near mint, and luckily, in glorious mono.  The dynamics and soundstage are everything they should be on a Basie album - HUGE!!!  I know you guys are gonna love this one.  Ripped at 24/48 and transferred to FLAC for your convenience... enjoy!!!

Roulette Records R-52036
1960

Blue Note 1957, pt 3

BlueNote1957, pt 3 by Kingcake on Mixcloud

Liebman, Beirach, Mraz & Foster - Quest (24/48 vinyl rip)

Came across a sealed copy of this one!

"Quest was the name of the quartet that Dave Liebman (who is heard here on soprano and alto flute) had with pianist Richie Beirach, bassist George Mraz and drummer Al Foster.

"Dr. Jekyll and Mr. Hyde," Foster's tribute to Miles Davis, sounds nothing like the trumpeter's music but builds up expertly in passion and intensity with Liebman's soprano taking honors. Mraz's "Wisteria" is a memorable ballad, Lieb's soprano is explosive on "Softly s in a Morning Sunrise" and Beirach's tender ballad "Elm" (a tribute to the late violinist Zbigniew Seifert) gets fairly adventurous during its latter half. Liebman's hyper "Napanoch" and an atmospheric and floating version of Ornette Coleman's "Lonely Woman" complete this superior postbop release." Yanow

Walter Norris and Geoge Mraz - Hues Of Blues 1995

A conversation renewed two decades later with all those subsequent experiences and insights stirred into the mix. There was so much great stuff coming out on Concord in the 80's and 90's that it is not surprising this one was kind of lost in the shuffle. The recording and mastering are fabulous and the music is outstanding....just lovely stuff!

George Lewis - George Lewis (1978) [vinyl>flac]

This is the 2nd album of George Lewis on Black Saint. As intelligent musician, together with friends of AACM, he expands the experimental world in music wider and deeper. Every title has different combination players and instruments. Muscial pointillism, which Roscoe Mitchell was questing in one time, becomes strong and apparent. ~ freethemusic-olatunji

George Lewis recorded one of his first albums, Shadowgraph, in 1977. It was released on Black Saint in 1978. Now I suspect that everything that could be said has been said about this album. Nonetheless my blogs are in part an odyssey of my listening experiences in time, and if I do not address some of that there will be an imbalance, a lack of representative things I do listen to that perhaps nobody seems to send to me in the form of promo copies. So. . .

I am not sure why or how I missed this release when it first came out, except to say that 1978 began a long and somewhat distracting (to the music) journey I took in educational enlightenment and, later, protracted wage slavedom, which wasn't so bad because I managed to eat every day and pay the rent.

So there we are. Shadowgraph has an impressive lineup of musicians: Lewis, Douglas Ewart, Leroy Jenkins, Abdul Wadud, Anthony Davis, Muhal Richard Abrams, Roscoe Mitchell...many of them prime AACM cats, all of them important Afro-American improvisers and most of them also important composers of the music.

The four pieces put down onto tape and assembled for the album are in the free-form chamber improvisation-jazz mode. Lewis introduces electronics in addition to his trombone and tuba, and everyone contributes. It is wonderfully subtle music. It sounds to me like one of the gems of that year, certainly. The sound color sculpting on this one is just superb, as is the very intelligent utilization of space by everyone involved.

Now if someone tells you that the '70s were a bust for "Jazz," play them this one and then send them packing. The fact is that the '70s were incredibly important years for the music. And George Lewis was right there in a central position. He's a fabulous trombonist, sure, but a composer-conceptualist of the very highest sort as well.

Perhaps my quick take on Shadowgraph will not satisfy those looking for detailed musical description. Well that's been done. This posting serves mostly as a reminder that one should not miss this recording if one has serious designs on understanding improvisation and its development in our era. ~ by Grego Applegate Edwards.

Black Saint, BSR 0016, 1978

Recorded at Generation Sound Studios, New York City in 1977

Track Listing:

A1. Monads (13:24)

George Lewis - Alto & Tenor Trombones

Roscoe Mitchell - Soprano Saxophone

Douglas Ewart - Bass Clarinet

Anthony Davis - Piano

Leroy Jenkins - Violin

Abdul Wadud - Cello

                  

A2. Triple Slow Mix (8:48)

George Lewis - Sousaphone

Muhal Richard Abrams - Piano [Left Channel]

Anthony Davis - Piano [Right Channel]

                  

B1. Cycle (6:32)

George Lewis - Synthesizer [Moog], Trombone [Tenor], Tuba [Wagner]

Douglas Ewart - Clarinet, Bassoon, Sopranino Saxophone, Percussion

B2. Shadowgraph, 5 [Sextet] (11:44)

George Lewis - Trombone [Tenor], Tuba [Wagner], Sousaphone, Other [Sound-Tube]

Douglas Ewart - Flute, Flute [Ewart Bamboo], other [Cassette Recorder/Recitation], Percussion

Muhal Richard Abrams - Piano

Leroy Jenkins - Viola

Abdul Wadud - Cello

Credits:

Producer - Giacomo Pelliciotti

Producer [Assistant] - Timothy Marquand

Engineer - Tony May

Written-By - George E. Lewis

Artwork - Bruno Milano

Photography By, Artwork - Giuseppe Pino

Blue Note 1957, pt 2

Assembling part 2 made me aware of a pattern at Blue Note that I hadn't noticed before...if you look back to 1955 sessions you will see that Horace Silver is the 'house pianist', showing up on many of the sessions, in 1956 it was Tommy Flanagan who was filling that chair....here in 1957 it is the great Sonny Clark who is positively ubiquetous. I hadn't really noticed what a large percentage of 57 Blue Notes featured Sonny until this project.

 

Blue Note 1957, pt 2 by Kingcake on Mixcloud

Walter Norris - Drifting [flac]

I am a big fan of the 'conversational' aspect of Jazz; that point where the interaction of the players is clearly more than just a formula or a chart or (the worst) a prearranged simulatiuon. It is a level of the art most frequently exhibited in duo and trio settings where there is plenty of room for all. I think, perhaps, that we might do a whole little recurring segment for a bit on the art of duo, I'm leading off with this one and we will see how the guys respond (I haven't discussed it with anyone, just occured to me now). I've got other things in the cue right now, but this strikes me as a theme that we could visit regularly.

I have loved this album from the very first day I heard it some 30+ years ago. Beautiful and sensative playing from both pianist Walter Norris and bassist George Mraz are an unwavering constant throughout the set and the recording quality is exceptional....two thumbs and two big toes up!

I've seen at least 3 different covers for the album, this is the one that I first heard...over time 2 extra tracks have surfaced and those are included here as are the other covers.

Art Farmer with Joe Henderson - Yama (1979) [vinyl>flac, 24-bit/48khz]

Many critics have looked upon the majority of CTI recordings as a ploy to commercialise jazz, Scott Yanow being no exception. However, when approached again with newer ears and less prejudice, Creed Taylor has certainly left a legacy of some very fine albums. This album in particular finds Art Farmer playing beautifully alongside Joe Henderson’s solid tenor; producing some very powerful Jazz-Funk/Fusion interpretations. It is an LP which I have relished for many a year. Ripped to FLAC at 24-bit/48khz I hope you also will find it just as fascinating and enjoyable.

Trumpeter Art Farmer has recorded six albums in his name for the CTI label whose enigmatic "Guanabara" with Brazilian singer Ithamara Koorax, which was never published. It is also found on the album of Bob James' BJ4 "and that of Yusef Lateef" Autophysiopsychic ". His lyrical breath, his balanced phrasing, his game while retaining, at times reminiscent of Chet Baker. Throughout his career, he faced several music styles without losing his soul or his talent, as demonstrated by this recording from 1979 with a funky rhythm section. As usual, he plays in a duo orchestra. We remember the wonderful "Big Blues" with Jim Hall recorded a year earlier. But this time, the saxophonist Joe Henderson, another jazz legend, who shares the bill. His quick game lets out moments of incredible sweetness. The texture of his sound is unique in these moments. Despite the presence of excellent classmates (Steve Gadd, Will Lee, David Spinozza, John Tropea ...), the result is rather mixed. Vibraphonist Mike Maineri, in control for the first time, seems to fail creating a real osmosis between all these musicians.  ~ ctifanblog.

Flugelhornist Art Farmer's fourth and final LP for CTI also features tenor-saxophonist Joe Henderson. The material (which includes originals by Clare Fischer, Joe Zawinul, Don Grolnick and Mike Mainieri) is not the most memorable and the funky rhythm section (which is greatly expanded) does not really blend all that well with the styles of Farmer and Henderson so this set is not as exciting as one might hope. A decent but largely forgettable effort. ~ by Scott Yanow, AMG.

CTI Records, CTI 9000, 1979

Recorded and Mixed April 1979 at Power Station Studios, New York

Personnel:

Art Farmer - Flugelhorn

Joe Henderson - Tenor Saxophone

Don Grolnick, Warren Bernhardt, Fred Hersch - Keyboards

Mike Mainieri - Synthesizer, Vibraphone, Arranger

David Spinozza, John Tropea - Guitar

Eddie Gomez - Bass

Will Lee - Electric-Bass

Steve Gadd - Drums

Sammy Figueroa - Percussion

Suzanne Cianni - Synthesizer Programming

Track Listing:

A1. Dulzura {Clare Fischer} (8:21)

A2. Stop [I Think Again] {Barry, Robin & Maurice Gibb} (4:08)

A3. Young And Fine {Joseph Zawinul} (6:26)

B1. Lotus Blossom {Don Grolnick} (6:43)

B2. Blue Montreux {Mike Mainieri} (7:12)

Credits:

Producer - Creed Taylor

Associate Producer, Arranger - Mike Maineri

Engineer - Neil Dorfsman

Mastering - Rudy Van Gelder

Cover Illustration - Susannah Kelly

Cover Design & Photography [inside] - Alen MacWeeney

Design - Neal Pozner

Calligraphy - Bernard Maisner

The Visitors - Neptune [24/48 vinyl rip]

The first record from the nephews of John Coltrane, originally released on Cobblestone, later on Muse.

"The Visitors were a modern jazz quintet out of Philadelphia led by saxophone-playing brothers Carl Grubbs (alto) and Earl Grubbs (tenor and soprano) and also featuring Sid Simmons on piano, John Goldsmith on drums, and a young Stanley Clarke on bass. Carl and Earl actually took sax lessons in the mid-'50s from none other than John Coltrane, who just happened to be dating their cousin Naima (Coltrane later married her). To say that Coltrane was an influence would be an understatement, and when the brothers formed the Visitors in the early '70s, observers noted that the group sounded like two Coltranes playing at once. The Visitors recorded four interesting albums for Muse Records between 1972 and 1975: Rebirth, In My Youth, Neptune, and Motherland. Earl Grubbs passed in 1989. Carl Grubbs has continued as an active jazz performer, composer, and educator, and runs his own record label, B&C Productions."

The Visitors – Rebirth – 24/48 vinyl rip

A repost request for this, the best of the Visitors albums. 

"Wonderful work from the vastly-overlooked team of Earl and Carl Grubbs – two incredibly soulful players from Philly who really carried on a tremendous post-Coltrane legacy. Earl plays tenor and Carl plays alto – and the record shines with that rare Traneish approach to free creative soloing and spirituality, in a mode that we'd reserve for an elite group of work, such as the early albums by Gary Bartz on Milestone, or some of the better 70s group recordings of Andrew White. The whole album's fantastic – with backing by Kenny Barron, Buster Williams, and Albert Heath – and it's got a sense of majesty that's simply stunning for two players who've never really made the pages of jazz history as well as they should have. Titles include "Gone Are The Days", "Glad to Be Sad", "Black Smoke", "Love Is Magic", and "Two Wives"."

Count Basie - Easin' It: Music From The Pen Of Frank Foster

I hope you guys are excited to see this one here today... God knows I am excited to be sharing it.  More from our look at Basie's Roulette years.  This album has NEVER been issued on CD, with the sole exception of the Mosaic box set.  As you can see from the title, these compositions come from Frank Foster.  There's no doubt that this album remains in relative obscurity in spite of the overall quality and the fact that the title track was a huge hit for Basie's live show during this time.  I would say that "Kansas City Suite", an album of Benny Carter tunes, trumps this album in popularity.  That said, I prefer this LP in both compositions and performance - its excellent!!!

The band heard here is at its height as a unit, "The Atomic Band" as some like to call it.  As much as I love the old two track mono LPs, this stereo version does alot to showcase the power and nuance of this band.  I've said it on previous reviews:  Basie was a master of subtlety and could make his orchestra sound both like a freight train passing, or like a pin dropping in a quiet room.  As time continues to pass, his music ages like a fine wine.  The appreciation for exactly what his orchestra was capable of grows and grows.  This well oiled machine is firing on all cylinders on Easin' It.  

Personally I think the tenors win the day here.  Its fitting of course as the music was penned by a tenor player!!  The countless solos are as riveting as they are appropriate - always tasteful and suited to the mood.  Another stand out characteristic is Freddie Green's guitar.  The mix really favours him here and he can be heard really well.  Overall I find this album ebbs and flows much like "Kansas City Suite", so much that its hard to believe that it's not a suite itself.  This stereo LP was ripped at 24/48 and transferred to FLAC for your convenience.  The near mint, flawless transfer will have your jaw on the floor - gorgeous hi-fi sound, exactly what a stereo album should be.  Full hi-res scans are included at 300dpi...  enjoy!!!!!

Roulette Records ‎– SR-52106
1963

A1 Easin' It - Basie

A2 Brotherly Shove
A3 Blues For Daddy-O
B1 Four, Five, Six
B2 Misunderstood Blues
B3 Mama Dev (Blues)
B4 It's About That Time

Tracks A1 to A3 recorded in New York City, December 14 & 15, 1960.
Track B1 recorded in New York City, July 1, 1962.
Tracks B2 to B4 recorded in New York City, July 25 & 26, 1962.

Alto Saxophone – Frank Wess, Marshall Royal

Baritone Saxophone – Charlie Fowlkes
Clarinet – Marshall Royal
Composed By – Frank Foster
Double Bass – Art Davis (tracks: B1), Eddie Jones (tracks: A1 to A3), Ike Isaacs (tracks: B2 to B4)
Drums – Louis Bellson (tracks: B2 to B4), Sonny Payne (tracks: A1 to B1)
Flute – Eric Dixon (tracks: B1 to B4), Frank Wess
Guitar – Freddie Green
Piano – Count Basie
Tenor Saxophone – Billy Mitchell (tracks: A1 to A3), Eric Dixon (tracks: B1 to B4), Frank Foster, Frank Wess
Trombone – Al Grey (tracks: A1 to A3), Benny Powell, Henry Coker, Quentin Jackson (tracks: B1 to B4)
Trumpet – Al Aarons (tracks: B1 to B4), Flip Ricard (tracks: B1 to B4), Joe Newman (tracks: A1 to A3), Snooky Young (tracks: A1 to A3), Sonny Cohn, Thad Jones

Bill Coleman - In Milan with Lino Patruno & His Friends (1972) [vinyl>flac, re-rip]

Back on 23^rd April 2012, I posted this gem at the old Crypt saying:

Here we have another great musician backed by an impressive Italian jazz group. In 1972, Bill Coleman (1904-1981) trumpeter extraordinaire linked up with Lino Patruno and his band for a once in lifetime session. The resulting album showcases Bill in full swing singing and blowing away on his trumpet and flugelhorn. The atmosphere is of overall joy and entertainment with all the musicians giving it their best interpreting some classic old jazz standards. The guitar and bass work by Lino Patruno is exemplary. Other players of note include Mario Rusca on piano, Bruno Longhi on clarinet and Sergio Rigon on flute. A highlight is certainly “I Want A Little Girl”. These tracks are taken from the veteran Italian Durium label. Under the suggestion of PoppaChubby, I finally got around to re-rip this beauty, now presented with greater fidelity. Quite a task considering this LP has been a well-loved and often played album, Enjoy!

DURIUM Records, ms. A 77313, 1972

Recorded 1st & 2nd December, 1972 at the Durium Studio, Milan, Italy

Personnel:

Bill Coleman - Trumpet, Flugelhorn, Vocals

Lino Patruno - Guitar, Bass (#A1,A3,B4)

Gianni Acocella - Trombone

Bruno Longhi - Clarinet

Sergio Rigon - Tenor Saxophone, Flute

Paolo Tomelleri - Tenor Saxophone (#B2,B4)

Mario Rusca - Piano

Giancarlo Cinti - Bass

Giorgio Vanni - Drums

Track Listing:

Side A

A1. Basin Street Blues {Spencer Williams} (6:24)

A2. Honeysuckle Rose {Fats Waller, Andy Razal} (5:15)

A3. I Want A Little Girl {Billy Moll, Murray Mencher} (7:20)

Side B

B1. Pennies From Heaven {Johnny Burke, Arthur Johnston} (4:03)

B2. I've Found A New Baby {Jack Palmer, Spencer Williams} (5:16)

B3. Out Of Nowhere {Johnny Green, Edward Heyman} (3:27)

B4. Perdido {Juan Tizol} (5:50)

Credits:

Sound Technician - Piero Bisleri

Liner Notes - Ennio Vitanza

Coleman Hawkins - Thanks for the Memory (1944) [vinyl]

From the danair vinyl collection.

Review by Scott Yanow:
On this fine LP Hawkins is heard on four separate sessions from 1944, only one of which has since been reissued on CD. The latter is his encounter with fellow tenors Georgie Auld and Ben Webster; that date led to the little-known original recording of "Salt Peanuts." In addition he is heard with the Esquire All-Stars of 1944, on a date actually led by saxophonist Walter "Foots" Thomas" and in a matchup with trumpeter Charlie Shavers and Hawk's greatest disciple, Don Byas. Hot swing that looks forward toward the rapidly emerging bebop.

Leonard Feather's All Stars: Buck Clayton (tp) Edmond Hall (cl) Coleman Hawkins (ts) Leonard Feather (p) Remo Palmieri (g) Oscar Pettiford (b) Specs Powell (d)
New York, December 1, 1944

1. Esquire Jump 2:46
2. Thanks For The Memory 3:08
3. Esquire Stomp 2:54
4. Scram! 3:05

Charlie Shavers (tp) Ben Webster (cl-1,ts-2) Georgie Auld (as-3,ts-4) Coleman Hawkins (ts) Billy Rowland (p) Hy White (g) Israel Crosby (b) Specs Powell (d) unknown (vcl)
New York, May 17, 1944

5. Salt Peanuts 2:56
6. Porgy 3:02
7. Pick-Up Boys 3:01
8. Uptown Lullaby 3:20

Cozy Cole And His Orchestra: Charlie Shavers (tp) Hank D'Amico (cl) Walter "Foots" Thomas (as,ts) Coleman Hawkins (ts) Clyde Hart (p) Tiny Grimes (g) Slam Stewart (b) Cozy Cole (d)
New York, November 14, 1944

9. Look Here 2:43
10. A Ghost Of A Chance 3:01
11. Take It On Back 2:41
12. Willow Weep For Me 2:46

Cozy Cole And His Orchestra : Charlie Shavers (tp) Hank D'Amico (cl) Don Byas (ts) Coleman Hawkins (ts) Johnny Guanieri (p) Tiny Grimes (g) Slam Stewart (b) Cozy Cole (d)
New York, November 21, 1944

13. Comes the Don (Take 1) 2:28
14. Comes the Don (Take 2) 2:42
15. When Day is Done 2:51
16. Memories Of You 2:49
17. The Beat 2:32

Coleman Hawkins - Jazz Tones 1954 (24/48 vinyl rip)

A nice, clean 24/48 rip of the Xanadu Gold LP.

"This 1954 studio date by Coleman Hawkins finds the tenor saxophonist in great form, joined by a fine group that includes pianist Billy Taylor, bassist Milt Hinton, drummer Jo Jones, trombonist Eddie Bert, and trumpeter Emmett Berry. Hawkins' boppish take on "Cheek to Cheek" moves at a fast clip, though he never exhausts himself of ideas. The full sextet is heard on a portion of the session, including a lush but brisk take of "Lullaby of Birdland," a snappy run through "Get Happy," and the old swinger "Blue Lou." There are many strong solos by the supporting cast, but it's difficult to eclipse the sound of Hawkins' tenor when he is in top form." AMG

Ramsey McLean - History's Made Every Moment - New Orleans Now [24/48 Vinyl rip]

 Another rare album snapshot of the early 1980's jazz scene in New Orleans from the old album closet of my friend 'guitar scott'.

David Liebman - Sweet Hands (1975) [vinyl>flac]

Fascinatingly eclectic, Sweet Hands finds Dave Liebman’s band Lookout Farm exploring different styles such as funk, free jazz, Indian music, song forms, and even a surprisingly successful reharmonization of George Harrison’s Within You Without You from The Beatles’ 1967 album, Sgt. Pepper’s Lonely Hearts Club Band.

Listening to Sweet Hands makes you nostalgic for a time when music executives had enough respect for the public that they supported the creation of music that didn’t have an instantly exploitable marketing hook.

Probably the standout is the opening track, Dr. Faustus. The inspiration for the tune, originally titled “Anxiety,” was an episode between Dave Liebman and his record label at the time. It opens with a free chromatic melody, tweaked for maximum dissonance, leading into a jazz rock vamp over which Liebman wails, egged on by Richie Beirach’s itchy clavinet. The pounding bass line that underlies the tune is meant to suggest, according to the liner notes, “New York City where so many high pressured situations are dealt with constantly.”

The next tune, Dark Lady, is by Richie Beirach. The tone of the piece is fittingly ruminative, being a portrait of one of Richie’s female acquaintances. An A section is played by Richie alone, followed by a B section of simpler harmonic material, which is used as material for Liebman’s improvisation. A C section follows, a canon based on material from the B section. Finally the A section is reprised, ending the track.

The next piece is an (unintentionally) humorous tune that combines an Indian rhythm supplied by Badal Roy with funk, courtesy of the bass and a rhythmic figure by Liebman’s overdubbed saxophones. It is not entirely successful, but it is hard not to applaud the group’s spirit of adventure, and at a brisk 4:11, it doesn’t overstay its welcome.

Within You Without You, retitled Ashirbad, is treated to Badal Roy’s percussion before Liebman starts in with the theme, which Beirach reharmonizes on electric piano, under which the bass plays an E pedal point, with occasional countermelodies. Given that Liebman is particularly fond of Harrison’s lyrics, which he finds profound, one is grateful that Liebman’s musical taste far exceeds his literary judgement.

Napanoch starts with a completely improvised duet between Liebman on tenor and Beirach on electric piano which segues into a section with a straight ahead jazz feel based on the F# Locrian mode, over which Liebman solos freely, accompanied by Beirach, who spontaneously reharmonizes to support Liebman’s melodic variations. While Liebman and Beirach continue to burn, swingtime is suspended and the rhythm becomes free, drawing the tune to a close.

To summarize, Sweet Hands is quite an adventurous and almost entirely successful date from David Liebman and his band Lookout Farm. Now, the bad news, Sweet Hands is only available on LP. ~ Jazzbo

Horizon Records, SP-702, 1975

Recorded 25th, 27th, 29th & 30th July, 1975 at Kendun Recorders, Burbank, California

Personnel:

David Liebman - Tenor Sax (#A1,A3,B3), Soprano Sax (#A1,A2,B2,B4), Alto Flute (#A2,A3,B1,B2), Wind Chimes (#B2)

Richard Beirach - Piano (#A2), Electric Piano (#A1,B2,B3), Clavinet (#A1,A3), Bell Tree (#A2), Wind Chimes (#B2)

John Abercrombie - Electric Guitar, Acoustic Guitar (#A1-A3,B4)

Charlie Haden - Acoustic Bass (#A3,B1,B2)

Frank Tusa - Electric Bass (#A1,A3), Acoustic Bass (#A2,B1,B2,B3)

Jeff Williams - Drums (#A1-A3,B3,B4)

Don Alias - Congas, Bells, Tambourine, Shaker, Cymbal [Finger] (#A1-B4)

Badal Roy - Tabla, Ektare, Vocals (#A3,B1,B2)

Arooj Lazewal - Sitar (#B1,B2)

Gita Roy - Tambura (#B1,B2)

Track Listing:

A1. Dr. Faustus {David Liebman} (10:49)

A2. Dark Lady {Richie Beirach} (7:52)

A3. Sweet Hand Roy {Badal Roy, David Liebman} (4:09)

B1-B2. Ashirbad {Badal Roy}/Within You Without You {George Harrison} (12:13)

B3. Napanoch {David Liebman} (5:27)

B4. Leane {David Liebman} (4:12)

Credits:

Producer - Ed Michel

Recorded By, Mixed By - Baker Bigsby

Engineer [Assistant] - Larry Quinn, Peter Chaiken

Mixed By - David Liebman, Ed Michel, Richard Beirach

Creative Director - John Snyder

Art Direction - Roland Young

Design - Phil Shima

Cover [Front Cover] - Kenneth McGowan

Liner Notes - Badal Roy, David Liebman

Woody Herman Phillips Recordings

Hey gang!!!  Sorry for my absence, but I come baring gifts.  These two albums come from a much less examined period of Herman and his Herd - but an equally rewarding one to be sure.  I have two distinctive sides of Woody on offer today, a quiet quartet session and a roaring big band set.

Mosaic Records offered a small glimpse into this period with one of their 4 album, "Mosaic Select" sets.  This should send some indication to the importance and excellence of the music.  That said there will be no digital remastering here - just good old wax as we all know and love.

The album "1964" cleaned up wonderfully, but the quartet album still has some blemishes.  Both are in glorious mono sound, infact, they are excellent examples of just how incredible mono can be.  Lots of dynamic punch and space within the soundstage.  They have been ripped at 24/48 and transferred to FLAC for your convenience.  Of course, the full scans are included at 300 dpi... enjoy!!!

Swing Low, Sweet Clarinet

Herman took time off from leading his big band to participate in this unusual quartet session. Sticking exclusively to clarinet (although never on the same level as Benny Goodman and Artie Shaw), he shows himself to be a fine improviser and an expressive player who gives fresh interpretations to a variety of standards, some closely associated with BG and Shaw. Nat Pierce leads the fine rhythm section on this out-of-print but worthy LP. - Scott Yanow / AMG

Phillips PHM 200-004
1962

Woody Herman, clarinet;  Nat Pierce, piano;  Chuck Andrus, bass;  Gus Johnson, drums.

A1 Swing Low, Sweet Clarinet 3:10
A2 Rose Room 2:10
A3 Sweet Lorraine 3:01
A4 Blue Moon 3:15
A5 Begin The Beguine 2:57
A6 Pee Wee Blues 3:03
B1 Don't Be That Way 2:55
B2 Someday Sweetheart 3:25
B3 Mood Indigo 3:21
B4 Summit Ridge Drive 3:02
B5 On The Sunny Side Of The Street 2:12
B6 Alexandra 2:53

______________________________________________________________________

Woody Herman : 1964

All of Woody Herman's recordings for Philips (which regrettably remain out-of-print and unissued on CD) are excellent. He was leading one of the finest orchestras of his long career, playing both current and older tunes with creativity (helped out greatly by Nat Pierce's arrangements) and featuring such talented soloists as trumpeter Bill Chase, trombonist Phil Wilson and tenor great Sal Nistico. The release ranges from "Deep Purple" and "After You've Gone" to Oscar Peterson's "Halleluah Time" and even "A Taste of Honey"; everything works. - Scott Yanow / AMG

Phillips PHM 200-118
1964

Baritone Saxophone – Nick Brignola
Bass – Chuck Andrus
Drums – Jake Hanna
Leader, Clarinet, Alto Saxophone – Woody Herman
Piano – Nat Pierce
Saxophone – Sal Nistico
Tenor Saxophone – Carmen Leggio, John Stevens
Trombone – Henry Southall, Kenny Wenzel, Phil Wilson
Trumpet – Bill Chase, Billy Hunt, Danny Nolan, Gerald Lamy, Paul Fontaine

A1 Hallelujah Time 3:23

A2 Deep Purple 3:42

A3 Jazz Hoot 4:30

A4 A Taste Of Honey 3:13

A5 Satin Doll 3:18

B1 After You've Gone 5:08

B2 The Strut 3:07

B3 My Wish 3:28

B4 Cousins 5:53