Piano Trios ABC

Piano Trios ABC by Kingcake on Mixcloud

Jerome Richardson - Jazz Station Runaway (1997, TCB)

It is a real shame that a guy who makes such good albums, makes so few. This is the last of the 4 that I have, if anyone has another by all means send it in! Interesting enough for this album Jerome sticks primarily to alto sax, an instrument that wasn't featured much on the previous posts.

"Jerome Richardson, a valuable reed player since the mid-'50s, has been on a countless number of recordings, often in an anonymous or barely featured role. He has led very few record sessions of his own throughout his career, yet has long been a talented soloist on alto, tenor, flute, and soprano. In 1996, when he had the opportunity to lead a date, Richardson made the most of the opportunity. Although the music is mostly straightforward, no-nonsense bebop, eight of the numbers are Richardson's; the others are Dizzy Reece's midtempo blues "Con Man" and a pair of Duke Ellington ballads ("Warm Valley" and "In a Sentimental Mood"). Of the originals, only "Groove Merchant" (easily Richardson's best-known song) has been around a while. The newly composed pieces each have catchy and hummable melodies, along with viable chord changes. Pianist David Hazeltine, who sometimes plays in more modern settings, comes across here as a classic bebop player in the style of Barry Harris. The rhythm section includes bassist George Mraz and either Lewis Nash or Dennis Mackrel on drums; they swing supportively under the occasional solos from either Russell Malone or Howard Alden on guitar. Richardson is mostly heard on alto but also playing a bit of soprano and flute; whether jamming bop, putting plenty of warmth into "Warm Valley," or interacting with the rhythm section, he has rarely sounded better." Scott Yanow

Ted Curson - Flip Top (1964,66) [vinyl>flac,24b/48k]

The first half of this release is from the same session that resulted in Ted Curson's Tears for Dolphy. The three selections (performed by the trumpeter in a pianoless quartet with tenor saxophonist Bill Barron, bassist Herb Bushler and drummer Dick Berk) are of the same high quality as the other cuts, highlighted by Curson's "Searchin' for the Blues." The second half of the program features Curson with the Zagreb Radio Orchestra at the 1966 Yugoslavian Jazz Festival. Zita Carno provided the arrangements to three of the trumpeter's originals (including "Quicksand" and "Flip Top") and Curson plays (in his own words) with "one foot in avant-garde, one foot in mainstream." A recommended and consistently stimulating release. ~ Scott Yanow, All Music Guide.

Seventies reissue of two sets of sparkling material from one of Ted Curson's best periods ever! Side one is classic Ted Curson/Bill Barron quartet stuff, with the two of them swinging, going out, and then hitting the money back again. Side two is some rare Eastern European stuff with a large group, and includes great workings of "Quicksand" and "Straight Ice", two of our favorite tracks by him! © Dusty Groove America, Inc.

Ted's audience now is young, something that continually surprises him. His music is so vital especially now, so many of Ted's constituents have died during his tenure (he will be 42 this year). The death of Booker Ervin is something Ted will never get over. The drug scene has eluded him totally for the simple reason that Ted thinks of his body as a shrine, his influences were Johnny Splawn, Clifford Brown and Miles Davis' lyricism. Charles Mingus was definitely the pivot point in his career, every musician around would listen to that band. With all the frustration Ted has gone through his positive attitude prevails. Although he hasn't reflected on what is happening to him now, he is really wired! "I like this album even better than my new one, because it seems to me that I'm getting closer to that big band sound". Ted is definitely ahead of his time and knows it, but with the release of this LP, the pieces finally fit. ~ Extract from Liner Notes by Mary Lou Webb, 1977

Arista/Freedom, AL 1030, 1977

Side A:

Tracks:

A1. Searchin' For The Blues {Ted Curson} (7:43)

A2. Desolation {Bill Barron} (8:42)

A3. Light Blue {Bill Barron} (3:40)

Musicians:

Ted Curson - Trumpet

Bill Barron - Tenor Saxophone

Herb Bushler - Bass

Dick Berk - Drums

Recorded 1st August, 1964 at Acousti Studio, Paris, France

Side B:

Tracks:

B1. Quicksand {Ted Curson} (6:17)

B2. Straight Ice {Ted Curson} (4:59)

B3. Flip Top {Ted Curson} (4:19)

Personnel:

Ted Curson - Trumpet

with Unnamed Members of The Zagreb Radio Orchestra

Miljenko Prohaska - Conductor

Arranger - Zita Carno

Recorded at the Seventh Yugoslavia Jazz Festival, Ljubljana, Yugoslavia

Date: Summer 1966

Label: [Private Recording]

Credits:

Producer - Alan Bates

Additional Production - Michael Cuscuna

Cover Art - Guy Billout

Photography - David Gahr

Art Direction - Bob Heimall

Dave McKenna, Scott Hamilton, Jake Hanna - No Bass Hit (1979) [vinyl>flac]

Most pianists are dependent on a bassist to keep the rhythm unless they are playing unaccompanied solos, but not Dave McKenna. McKenna, who has the ability to consistently set a fire under tenor saxophonist Scott Hamilton, teams up with Hamilton and drummer Jake Hanna for this superlative trio set. The eight standards (which include “If Dreams Come True,” “Drum Boogie,” “I Love You, Samantha,” and “Get Happy”) consistently swing hard, and there is plenty of excitement. Highly recommended, particularly to lovers of mainstream jazz.

Concord Jazz, CJ-97, 1979

Recorded and Remixed March, 1979 at Normandy Studios, Warren, Rhode Island

Musicians:

Dave McKenna - Piano

Scott Hamilton - Tenor Saxophone

Jake Hanna - Drums

Track Listing:

A1. But Not For Me {George & Ira Gershwin} (4:57)

A2. If Dreams Come True {Benny Goodman, Irving Mills, Edgar Sampson} (3:50)

A3. Long Ago And Far Away {Jerome Kern, Ira Gershwin} (3:48)

A4. Drum Boogie {Gene Krupa, Roy Eldridge} (6:56)

B1. I Love You, Samantha {Cole Porter} (5:50)

B2. I'm Gonna Sit Right Down And Write Myself A Letter {Joe Young, Fred Ahlert} (6:07)

B3. Easy To Love {Cole Porter} (5:23)

B4. Get Happy {Ted Koehler, Harold Arlen} (3:51)

Credits:

Producer - Carl E. Jefferson

Recording and Remix Engineer - Wil Morton

Cover Photo - Bruce Burr

Art Direction - DH Studio

Liner Notes - Charlie Drago

Melvin Sparks - Sparkling (1981) [re-rip]

Melvin Sparks, prior to this album's release, spent a lot time as popular sideman throughout the late 60's and early 70's. Later he turned his interest towards funk which he admits; "I made a mistake, but it just didn't work. That's when I learned that a person should do what he does best." What Sparks does best is heard to good effect right here on Sparkling, his first feature album for Muse. He has put together a crack band, including Neal Creque on Piano, Buster Williams on bass and Idris Muhammad on drums, and assembled a set of material that allows him to use all of his experience without losing sight of what we're all here for: good, swinging jazz.

Guitarist Melvin Sparks makes it clear just who's running this show in a hurry -- about half a dozen bars into the first tune, in fact -- as he jumps into a solo introduction to "Misty" as if he'd written the tune himself. He darts in and out of the melody, assaying swift, biting single-note runs and chord-melody sections with equal dexterity, and maintaining all the while a certain bluesy edge. It is indeed a sparkling performance. ~ Excerpts from Liner Notes.

Muse Records, MR 5248, 1981

Recorded 18^th February, 1981 at Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Musicians:

Melvin Sparks - Guitar

Neal Creque - Piano (#A1-B2)

Buster Williams - Bass (#A2-B2)

Idris Muhammad - Drums (#A2-B2)

Tracks:

A1. Misty {Erroll Garner, Johnny Burke} (8:57)

A2. Hassan {Melvin Sparks} (11:27)

B1. Speak Low {Kurt Weill, Ogden Nash} (5:36)

B2. I Am Your Song {Neal Creque} (10:16)

B3. A Bolt Of Lightnin' {Melvin Sparks} (3:50)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Photography - Bob Shamis

Album Design - W. Dale Cramer

Liner Notes - Sam Graham

George Benson - The Other Side of Abbey Road (1969) [vinyl>flac,24b/48k]

A wonderfully wicked album – one that sold so many copies that it's sometimes hard to remember how great it is! George takes on all of Abbey Road – or just about all of it – as he runs through some of the most beautiful tracks The Beatles ever wrote, like "Golden Slumbers", "I Want You (She's So Heavy)", "The End", "Because", and "You Never Give Me Your Money". The whole thing's set to some great baroque jazzy arrangements by Don Sebesky, and George digs the whole thing so much that he even sings a bit – vocalizing in a cool chromatic way that really works well with his guitar playing, and which would soon transform into a very popular style on his records of the 70s. Keyboards are by Bob James and Herbie Hancock – and there's plenty of other great jazz players in the mix! © Dusty Groove, Inc.

A&M Records, SP-3028, 1970

Recorded 22^nd,23^rd October and 4^th,5^th November, 1969
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

George Benson - Guitar

Freddie Hubbard - Trumpet

Bernie Glow, Marvin Stamm, Mel Davis - Trumpet, Flugelhorn

Wayne Andre - Trombone, Euphonium

Sonny Fortune - Alto Saxophone

Jerome Richardson - Tenor Saxophone, Clarinet, Flute

Don Ashworth - Baritone Saxophone

Hubert Laws - Flute

Phil Bodner - Flute, Oboe

Don Ashworth - Bass Clarinet

Bob James, Ernie Hayes, Herbie Hancock - Piano, Organ, Harpsichord

Jerry Jemmott, Ron Carter - Bass

George Ricci - Cello

Ed Shaughnessy, Idris Muhammad - Drums

Andy Gonzalez, Ray Barretto - Percussion

Max Pollikoff, Raoul Poliakin - Violin

Emanuel Vardi - Viola

Track Listing:

A1-A2. Golden Slumbers {Lennon, McCartney}/
You Never Give Me Your Money {Lennon, McCartney} (4:47)

A2. Because/Come Together {Lennon, McCartney} (7:27)

A4. Oh, Darling {Lennon, McCartney} (4:01)

B1-B2. Here Comes The Sun {George Harrison}/
I Want You [She So Heavy] {Lennon, McCartney} (9:04)

B3. Something {George Harrison}/
Octopus's Garden {Richard Starkey} (4:31)

B4. The End {Lennon, McCartney} (1:57)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger - Don Sebesky

Design [Album] - Sam Antupit

Photography - Eric Meola

Kenny Barron - Golden Lotus (1980) [re-rip]

Solid 1980 session with the always vibrant, challenging pianist Kenny Barron and the underrated saxophonist John Stubblefield in fiery form. Steve Nelson began generating interest on vibes with his playing on this session ~ Ron Wynn, All Music Guide.

A great Kenny Barron side for Muse, one of the best from a label that has a lot of remarkable sleepers on it. Like the best Muse sides, this set does a great job of straddling the line between forward looking modal playing and relaxed soul jazz, combining the best elements of both. And as you might imagine from the title, there is a bit of spiritual and eastern influence creeping in on some of the numbers. ~ Dusty Groove.

Muse Records, MR 5220, 1982

Recorded 4^th April, 1980 (#B1) at Downtown Sound New York City;

18^th April, 1980 (#A1-A3,B2) at Sound Heights Studio, Brooklyn, New York

Musicians:

Kenny Barron - Piano

John Stubblefield - Soprano Sax (A1,B2) & Tenor Sax (#A2,A3)

Steve Nelson - Vibraphone

Buster Williams - Bass

Ben Riley - Drums

Track Listing:

A1. Golden Lotus {Kenny Barron} (5:58)

A2. Dewdrop {Kenny Barron} (6:32)

A3. Cinco {Kenny Barron} (8:58)

B1. Darn That Dream {Jimmy Van Heusen, Edgar DeLange} [Solo] (9:16)

B2. Row House {Kenny Barron} (10:43)

Credits:

Producer - Michael Cuscuna

Recording and Mixing Engineer - Fred Miller

Mastering Engineer - Joe Brescio at The Master Cutting Room, New York City

Cover Photo - Neil Lavey

Liner Photo - Tom Copi

Album Design - W. Dale Cramer

Kenny Barron - Lucifer (1975) [re-rip]

Totally excellent Kenny Barron album on Muse, and one of his hardest to find! There's a killer cut on here called "Hellbound" that's got Kenny playing this fantastic electric piano and moog stuff on top of overdubbed acoustic piano, which provides a rhythmic underpinning. The track is long and spacey, with an excellent modal groove that would make an excellent sample, but which also grooves beautifully on its own! Lots of other cool cuts too, all with more instrumentation, and a nice soulful funky sound. Titles include "Lucifer", "Spirits", "Firefly", and "Ethereally Yours" – and players include James Spaulding, Bill Barron, and Billy Hart. Beautiful! ~ Dusty Groove, Inc.

Kenny Barron recorded this album in 1975, at the age of 32 with the help of his brother and host of heavy jazz cats. The result is pure bliss. Not unlike his previous album "Peruvian Blue", Lucifer hands us a bit of a mixed bag as far as styles go. There are some scorching jazz-funk numbers, a spiritually tinged acoustic affair and an almost avant-garde fusion cut. Kenny even coined a term to describe his music called “Electracoustic Fusion” which is talked about in length on the back cover. Regardless of what its called, the music is surely one of the bright spots in Kenny’s career as a leader.

This album was recorded just as Barron was leaving Yusef Lateef’s band. The liner notes on the back are all about Barron’s thoughts and experiences with Fusion and electronic instruments as opposed to Bop, which was Barron’s roots having played with Dizzy Gillespie in the mid-1960s. I don’t know what the big deal was though, because his other albums from the time period all had electric instruments on them as well, but let’s focus on the actual music. The reason to check for this album is the opening Spirits, a fine piece of funky Soul-Jazz with a nice rhythm and a series of solos. Hellbound is also a good Fusion piece with a distorted bass line over which Barron plays electric and acoustic piano as well as clavinet.

Muse Records, MR 5070, 1975

Recorded 28^th April, 1975 at Bell Sound, New York City

Musicians:

Kenny Barron - Piano (#A1,A3,B1,B2,B3), Electric Piano (#A2,B1)
String Synthesizer (#A2,B1), Clavinet (#A1), Cowbell (#A1,B2)

Charles Sullivan - Trumpet (#A1,A2,B2)

James Spaulding - Bass Flute (#A2,A3), Alto Saxophone (#A1,B2)

Bill Barron - Soprano Saxophone (#A1,A2,B2)

Carlos Alomar - Guitar (#A1,B2)

Chris White - Electric Bass (#A1,A2,B1,B2)

Billy Hart - Drums (#A1,A2,B2)

Track Listing:

A1. Spirits {Kenny Barron} (8:56)

A2. Firefly {Kenny Barron} (8:45)

A3. Ethereally Yours {Kenny Barron} (5:45)

B1. Hellbound {Kenny Barron} (12:58)

B2. Lucifer {Kenny Barron} (5:32)

B3. Oleo {Sonny Rollins} (5:03)

Credits:

Producer - Michael Cuscuna

Engineer - Malcolm Addey

Mixing - Tony May

Cover - Ron Warwell

Kenny Barron - Peruvian Blue (1974) [re-rip]

One of Kenny's best albums from the 70s - a moody set of piano tracks - both electric and acoustic - that features backing by Ted Dunbar, David Williams, Sonny Morgan, and Albert Heath. Most of the tracks have a very nice warm 70's soul jazz sound - laidback, but exploratory and always opening up on new levels - and the mixture of piano and guitar that graces most of the album makes for an unusual departure from some of Kenny's other albums. Titles include "Peruvian Blue", "The Procession", "Two Areas", and "In The Meantime". ~ Dusty Groove, Inc.

Barron has continued to compose, and his works have found their way into repertoires of many leading musicians including Lateef and James Moody. Similarly, his playing has taken on degrees and shades of sophistication and complexity that have made him one of the most impressive of all the younger pianists. He has technical brilliance, a sense of adventure that leads him to explore the freedom of the New Thing, and a balancing sense of tradition that informs everything he plays with the essence of jazz. Peruvian Blue is an album full of that essence. And in Blue Monk it offers a minor masterpiece. ~ Extract from Liner Notes by Doug Ramsey.

Muse Records, MR 5044, 1974

Recorded 14^th March, 1974 at RCA Studios, New York City

Musicians:

Kenny Barron - Piano (#A2-A3,B2), Electric Piano (#A1,B1,B3), Clavinet (#B3)

Ted Dunbar - Guitar (#A1-B1,B3)

David Willians - Bass (#A1,A3,B1), Fender Bass (#B3)

Albert "Tootie" Heath - Drums (#A1,A3,B1,B3), Flute (#A1)

Richard 'Pablo' Landrum - Conga (A1,B1,B3), Percussion (A1,B1,B3)

Sonny Morgan - Percussion (A1,B1,B3)

Track Listing:

A1. Peruvian Blue {Kenny Barron} (9:47)

A2. Blue Monk {Thelonious Monk} (8:38)

A3. The Procession {Kenny Barron} (4:49)

B1. Two Areas {Ted Dunbar} (9:43)

B2. Here's That Rainy Day {Jimmy Van Heusen, Johnny Burke} (8:04)

B3. In The Meantime {Kenny Barron} (5:46)

Credits:

Producer - Don Schlitten

Recording - Paul Goodman [RCA]

Liner Notes - Doug Ramsey

Kenny Barron - Sunset To Dawn (1973) [re-rip]

One of the series of very, very excellent soul jazz albums Barron cut for Muse in the early and mid 70s, with Kenny playing mostly electric piano. The vibe is spacious and totally grooving throughout, even on the more swing based bop numbers, and Barron gets complementary backing by Bob Cranshaw on bass, Freddy Waits on drums, Warren Smith on vibes, and Richard Landrum on percussion for a hornless but very full sounding group. The set includes the great groover "Swamp Demon" and the very well-sampled "Sunset", plus "Al-Kifha", "Delores St S.F.", and "Dawn". ~ Dusty Groove.

Muse Records, MR 5018, 1973

Recorded 2^nd April, 1973 at RCA Studio in New York City

Musicians:

Kenny Barron - Piano (#A2,B1,B2), Electric Piano (#A1,A3,B3), Percussion (#A3)

Warren Smith - Vibraphone (#B1,B3), Percussion (#A1,A3,B2,B3)

Bob Cranshaw - Electric Bass (#A1,A3-B3), Percussion (#A3)

Freddie Waits - Drums (#A1,A3-B3), Percussion (#A3), Flute (#A1)

Richard 'Pablo' Landrum - Conga (#A1,A3,B2,B3), Percussion (#A1,A3,B2,B3)

Track Listing:

A1. Sunset {Kenny Barron} (9:05)

A2. A Flower {Kenny Barron} (6:48)

A3. Swamp Demon {Kenny Barron} (4:40)

B1. Al-Kifha {Freddie Waits} (6:12)

B2. Delores Street, S.F. {Kenny Barron} (6:37)

B3. Dawn {Kenny Barron} (5:59)

Credits:

Producer - Don Schilitten

Engineer - Paul Goodman

Mastering Engineer - Joe Brescio {The Cutting Room, New York City}

Design - Signature Graphics

Coleman Hawkins With The Ramblers - The Hawk In Holland

This album is a must have for any fan of the Hawk.  These sides were cut with The Ramblers, a really excellent Dutch swing band.  Hawkins however, is truly given the spotlight and shines as bright as you could imagine.

Overall, the vibe is upbeat and fun.  There are a couple tracks that include the vocals of Annie De Reuver, and that adds a nice dimension to the pace of the album.  Coleman Hawkins really delivers on his solos and makes excellent use of his time.  Inventive, witty and soulful chorus' all the way through.

The recording itself is really quite excellent considering its age, 1935 & 37.  My LP is actually NM but there is analog noise throughout - this is there from the transfers that Decca performed.  Frankly, it's the last thing you will be thinking about once you click play.  I ripped this at 24/48 wav and transferred to 24/48 FLAC... enjoy!!!

GNP Crescendo Records
GNP-9003
1968

Don Patterson with Sonny Stitt - Donny Brook (1969) [re-rip]

Organist Don Patterson and saxophonist Sonny Stitt recorded together frequently between 1961 and 1969. On this LP from their last session, they are joined by guitarist Grant Green -- the only date Green ever recorded with them. Regular Patterson collaborator, drummer Billy James, completes the group. It's good organ jazz, although not the best performances in this style from the three lead players. Green's title track is the highlight. It's a two-chord vamp that sounds as if at any moment it's going to break into the melody from Classics IV's hit, "Spooky." What's impressive is how the players drive off from this very basic tune to produce sophisticated, imaginative solos. The group's readings of Tad Dameron's "Good Bait" and Sonny Rollins' "St. Thomas" are not definitive, but they yield satisfying choruses from Stitt, Patterson, and Green. Patterson can usually be counted on for a stylish, soulful, slow blues. For this set, it's "Mud Turtle" -- close to ten minutes of steaming solo work all around. The Patterson ballad feature "Starry Night" starts off in roller-rink territory, but soon develops into a highly dramatic and progressive piece. ~ by Jim Todd, AMG.

Prestige Records, PR 7816, 1970

Recorded 15^th September, 1969 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Sonny Stitt - Tenor Saxophone [Varitone]

Grant Green - Guitar

Billy James - Drums

Track Listing:

A1. Donny Brook {Grant Green} (8:25)

A2. Mud Turtle {Don Patterson} (9:58)

B1. St. Thomas {Sonny Rollins} (5:32)

B2. Good Bait {Tadd Dameron, Count Basie} (8:32)

B3. Starry Night {John H. Densmore} (5:53)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder
Photo - Al Johnson
Design - Don Schlitten
Liner Notes - Nat White (September, 1970)

Extracts From Liner Notes:

A donnybrook is a fight. This donnybrook is a bit different, however, because the participants are merely supporting each other and results are much mellower than the knock-down drag-out one might expect. For many years, I have listened to and enjoyed the straight-ahead swing of Don Patterson-a gifted young man. Hearing Don is always a joy but hearing him in the company of burner extraordinaire Sonny Stitt is an added bonus. Don, Sonny, and Billy James worked up and down the country for several years and they know what to expect from each other. The addition of Grant Green can only add some spice to an already together congregation.

This album is an example of the affirmation of jazz in these times of social unrest-at home and abroad. Noting that indifference and conflict have invaded many of the arts, it is a pleasure to know that jazz, the only true American art form, has not fallen to the depths of mediocrity. It has broadened its horizons, expanded its viewpoint, and survived with its best feature intact. Men like Don Patterson will be in the vanguard of change for the music and it is a good thing because a man like Patterson has deep roots in modern jazz. Good hard-cooking music will not fade from the scene if he has anything to say about it. ~ by Nat White.

Jerome Richardson - Going to the Movies

AllMusic Review by Ken Dryden

Movie themes, along with songs from Broadway, have long been fodder for jazz musicians. This United Artists LP features Jerome Richardson leading his working quintet during a live engagement, though the venue is unidentified. The extended workout of Duke Jordan's "No Problem" (from the film Les Liaisons Dangereuses) showcases Richardson's robust baritone sax and Les Spann on flute, with the leader adding a tag at the end on piccolo. Richardson switches to tenor sax and Spann to guitar for a rather brisk arrangement of "Moon River." "Tonight" (from West Side Story) is a bit unusual in that it features both musicians on flute. The potent rhythm section includes pianist Richard Wyands, bassist Henry Grimes, and drummer Grady Tate. Richardson's recordings as a leader after the early '60s were rather sporadic, but this early effort gives a strong indication of his potential. Long out of print, this LP will be difficult to acquire.

Lou Donaldson - At His Best (1966) [vinyl]

No, it's not a compilation but one of a series of eight albums recorded for Cadet in the mid-60s.
As vinyl rips go this took some work! But comparing with an mp3 rip I have it seems worth it.

1. Greasy Papa
2. Tangerine
3. Wig Blues
4. Blues #3
5. Win, Lose Or Draw
6. Be Anything But Be Mine
7. Day By Day

Lou Donaldson (as) Bill Hardman (t) William Gardner (org) Calvin Newborn (g) Grady Tate (d)
RCA Studios, New York City, August, 1966

James Moody - Cookin' The Blues (1961) [vinyl>flac]

The genius of Moody! It's an album like this that you need to prove to your friends that Moody was way more than a simple bopper. The set was recorded live in San Francisco in 1961, and it's got a hip mix of soul jazz, filtered through some modernist ideals, all played by a great little group that includes Bernard McKinny on trombone, Howard McGhee on trumpet, Musa Kaleem on baritone, and Sonny Donaldson on piano. Eddie Jefferson sits in for 2 numbers - "Disappointed" and "Sister Sadie" - and other tracks include "One For Nat", "Bunny Boo", "Moody Flooty", and "Home Fries". © Dusty Groove, Inc.

“Cookin’ the Blues”, features his septet recorded live at the Jazz Workshop in June 1961, during his tour on the West Coast. Moody, wonderfully relaxed and in good form, fronts a band (with trumpeter Howard McGhee in his come back to the coast) offering inspired performances and more musical content than groups with a bigger name. Eddie Jefferson was also was one of the moving forces behind the whole show, with his humorous, and happily frantic singing. ~ Fresh Sound Records.

This album was recorded live in San Francisco and the band sound on good form with well worked and, most likely, well-rehearsed ensembles. The opening blues, The Jazz Twist, has Moody playing alto although he sounds equally at home on this or tenor sax. These are very well cooked blues and Moody is on sparkling form on both this and the studio set that follows. He digs into the blues on the opening selection and again on Bunny Boo, measuring his solo phrasing carefully as the rhythm section pulses along beside him. Moody Flooty has the leader showing how well he can perform on flute, his tone strong and his ideas forming unimpeded. The rhythm section plays well throughout. Arnold Enlow, who is aka Buddy on some discs, is steady on all selections. Moody is the only soloist but the group sound overall, is impressive. ~ Derek Ansell (Jazz Journal, March 2015)

“Cookin’ the Blues” finds Moody with a medium sized group which includes trumpeter Howard McGhee unfortunately none of the group get to solo except pianist Sonny Donaldson. Moody plays alto, tenor and flute, on alto he displays his debt to Parker but on tenor and flute he is more his own man. This is a live recording and may have been exciting in person but this does not transfer to the recording. Apart from “It Might As Well Be Spring” all the compositions are originals and includes to vocals by Eddie Jefferson in his vocalese style. ~ Roy Booth, Jazz Views.

Argo/Cadet Records, LPS-756, 1965

Recorded at the Jazz Workshop, San Francisco, 1961

Musicians:

James Moody - Tenor & Alto Saxophones, Flute (#A4)

Howard McGhee - Trumpet

Bernard McKinney - Trombone

Musa Kalleem - Baritone Saxophone

Sonny Donaldson - Piano

Steve Davis - Bass

Arnold Enlow - Drums

Eddie Jefferson - Vocals (#B2,B3)

Track Listing:

A1. The Jazz Twist {James Moody} (6:36)

A2. One For Nat {Gene Kee} (5:53)

A3. Bunny Boo {James Moody} (5:32)

A4. Moody Flooty {James Moody} (4:16)

B1. It Might As Well Be Spring {Richard Rodgers, Oscar Hammerstein II} (5:55)

B2. Disappointed {Eddie Jefferson} (2:10)

B3. Sister Sadie {Horace Silver} (2:50)

B4. Little Buck {James Moody} (2:12)

B5. Home Fries {Gene Kee} (6:17)

Credits:

Supervisor, Producer - Jack Tracy

Sound Engineer - Paul Gayten

Photography [Cover] - Don S. Bronstein

Design - Michael Reid Design

Liner Notes - Ira Gitler

New York Jazz Quartet - Surge

The 70's is in so many ways, the "runt" of the chronological jazz litter.  There were of course, many cringe worthy aspects - perhaps enough to call a majority.  But in spite of this, there were alot of amazing things happening too.  Those incredible musical happenings tend to get overlooked, as many fans write off this decade.

When thinking about "the tradition" in 70's jazz, we can put things into two categories:  solid, straight ahead keepers of the flame;  and progressive innovators.  I think the New York Jazz Quartet fall into the latter.  They were certainly rooted in the familiar, but when you look at the entire picture, you get composition, arrangement and masterful playing.

All four members contribute compositions, with Wess & Hanna being more dominant.  The melodies and arrangements are as beautiful as they are advanced.  The only tune that reflects the sound of the times, would be the Hanna penned "Big Bad Henry".  That said, it's aged perfectly and is more than listenable today.  The group also share in the solo spotlight quite equally, showing that the lesser known Pratt is up to the task.

The entire quartet express themselves wonderfully throughout Surge, but I really feel that Mraz takes the crown.  His playing is quite frankly , beyond words.  Take his solo during Big Bad Henry for example.  His speed and accuracy are incredible, and yet this technical bravado never diminishes the feel or soul of his statement.  Mraz's note selection is perfect, and his tone is clear and articulate... to sum it up, his entire performance is masterful.

I also want to note that Wess' flute work on this session, is some of his best.  He definitely pulled it out on the right tunes, and in the right spots.  His sound is so emotive... beautiful.

Anyhow people, this album is definitely a winner!!  Of course, the minty vinyl has been captured in 24/48 wav and transferred to 24/48 FLAC for your convenience.  Enjoy!!!

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Inner City Records ‎– IC 3011

1977

A1 Surge 5:49
A2 Placitude 7:05
A3 Big Bad Henry 9:52
B1 87th Street 6:17
B2 What, Does It Matter? 4:48
B3 Tee Piece 7:10

Bass – George Mraz

Drums – Richard Pratt
Flute, Saxophone – Frank Wess
Piano – Roland Hanna

James Moody - Hey! It's James Moody (1959) [vinyl>flac]

It remains remarkable, how fresh James Moody sounds, even when some of the arrangements show their age. Indeed, some of these tracks have passed into jazz lore, including "Last Train from Overbrook (the salute to Moody's return to the scene) with Eddie Jefferson's ebullient vocal. The leader excels on tenor, but his full-bodied, soulful and technically sure flute playing deserves special mention. He shines on a languid "Indian Summer that is far too short, and "Trouble In De Lowlands finds him appropriately mournful. "Tali is a bit too precious, but Moody almost salvages it with a far-too-short swinging segment. On tenor, Moody soulfully explores "Don't Blame Me, taking his time to build a compelling solo. On "Woody'N You (aka "Algo Bueno), Dizzy Gillespie's tribute to Woody Herman, he soars again on tenor, using fragments of the melody to launch segments of blowing choruses. His tenor playing, individualised with gruff, acidic traces, is always compelling. This release is a snapshot of James Moody's output from the late '50s. Here and there it can sound a bit dated, however Moody's warm, passionate, focused voice, however, stands out. Whether in the studio or in the band box, he was then - and remains now - exciting, soulful and expressive. ~ extracts from review by Andrew Rowan, allaboutjazz.com

Argo Records, LP-666, 1960

Recorded 29^th December, 1959 at Ter-Mar Recording Studios, Chicago, Illinois

Musicians:

James Moody - Tenor Saxophone (#A1,A3-A5,B2,B3), Flute (#A2,B1,B4,B5)

Johnny Gray - Guitar

Eldee Young - Bass

Clarence Johnson - Drums

Eddie Jefferson - Vocals (#A4,B4)

Track Listing:

A1. Stella By Starlight {Victor Young, Ned Washington} (3:05)

A2. Indian Summer {Al Dubin, Victor Herbert} (2:36)

A3. Don't Blame Me {Jimmy McHugh, Dorothy Fields} (4:28)

A4. Last Train From Overbrook {James Moody} (2:32)

A5. Please Say Yes {Tom McIntosh} (3:58)

B1. Blue Jubilee {Tom McIntosh} (6:15)

B2. Woody'N You {Dizzy Gillespie} (3:12)

B3. Trouble In De Lowlands {James Moody} (2:23)

B4. Summertime {George Gershwin} (2:29)

B5. Tali {Tom McIntosh} (2:48)

Credits:

Supervision - Jack Tracy

Recording Engineer - Ron Malo

Cover Photo - Chuck Stewart

Cover Design - Don Bronstein

Liner Notes - Leonard Feather

Hampton Hawes - Universe (1972) [vinyl]

Review by Scott Yanow AMG:
In 1972, Hampton Hawes began to fully explore electric keyboards. Although his longtime fans were not happy with the temporary move, Hawes' music at the time was actually more creative than it was often rated... Hawes deserves credit for his willingness to take chances, and even if this album (consisting of seven moody originals) is not as significant as most of his boppish trio dates from the 1950s, it deserves to be reevaluated, for it is better than often thought.

Little Bird
Drums For Peace / Love Is Better
Josie Black
Don't Pass Me By
Universe
J.B's Mind

Oscar Brashear (trumpet) Harold Land (tenor saxophone) Hampton Hawes (piano, electric piano, organ, synthesizer)
Arthur Adams (guitar) Chuck Rainey (electric bass) Ndugu (drums)
Los Angeles, CA, June, 1972

NB The track times on the sleeve for side one are clearly wrong!