Dom Um Romão - Dom Um Romão (1973) [vinyl>re-rip,true flac]

An unbelievably fantastic album, and perhaps the greatest one that Dom Um Romão ever did. Dom recorded this one in America with a blend of Brazilian and New York musicians - creating an incredible sound that's unlike anything else one can think of. Includes the spare spacey groover "Dom's Tune", the lively dancer "Cinnamon Flower", the jazzy "Family Talk", a great version of "Ponteio", and a take on Sivuca's "Adeus Maria Fulô" with João Donato on electric harpsichord. ~ @ Dusty Groove Inc..

This LP was probably one of my first introductions to Brazilian music when I bought it in the early 80s after hearing Braun Blek Blu - it completely blew me away. I couldn't believe this could be the work of just one man, his drum kit, a cow bell and vocals!!! And what an LP to get-a storming version of Ponteio and each track a killer in its own right. But of course - it also features the great João Donato! Orgyinrhythm

Muse Records, MR 5013, 1974

Recorded 6^th June & 21^st November, 1973

Musicians:

Dom Um Romão - Drums, Percussion

Dom Salvador - Electric Piano, Piano

Lloyd McNeil - Flute

Joe Beck - Electric Guitar

João Donato - Harpsichord, Piano

Sivuca - Organ, Piano, Guitar

Amauri Tristao - Acoustic Guitar

Jerry Dodgion - Alto Saxophone, Flute

Mauricio Smith - Tenor & Soprano Saxophones, Flute

Richard Kimball - Synthesizer

Jimmy Bossey - Trombone

William Campbell, Jr. - Trumpet

Frank Tusa - Bass

Stanley Clarke - Bass

Eric Gravatt - Congas

Portintio - Percussion

Track Listing:

A1. Dom's Tune {Dom Um Romão} (8:43)

A2. Cinnamon Flower [Cravo E Canela] {Milton Nascimento} (4:53)

A3. Family Talk {Dom Um Romão} (5:42)

B1. Ponteio {Edu Lobo, Ruy Guerra} (6:07)

B2. Braun-Blek-Blu {Dom Um Romão} (4:40)

B3. Adeus Maria Fulô {Sivuca, Humberto Teixeira} (8:03)

Credits:

Producer - Dom Um Romão, Joe Fields

Recording Engineer - Michael DeLugg

Liner Notes - Gary Giddins

Frank Wess - Flute Of The Loom (1973) [vinyl>flac]

This is the second of Frank Wess’ two Enterprise albums. Here, Wess contributes more tunes of his own and Chico O’Farrill, Jimmy Roach and Rudy Robinson are credited for various arrangements. The album is more orchestral than his previous "Wess To Memphis". However, these additions which permeate the record, are never too obtrusive, and regardless Wess displays his skills as a fine musician throughout. Irrespective of the album’s title, Wess uses sax on three numbers, his own “Arundelle,” “Flowers” and the standard, “When I Fall In Love.” None of the supporting musicians are accredited but on “Trezia” and “Arundelle” a nice guitar solo is heard and a vibes solo is heard on “Wade in the Water.” The highlights here include “Get on Board [The Train Is Coming],” the funky “Wade in the Water” and “I Know What’s On Your Mind,” all backed by expert string and horn work. Many jazz aficionados have criticised this album but more more kudos should be accoladed on Wess' great playing, which is clearly indicated here. Also there are too few albums, as a leader, are available by Wess, so the listener must be content with what is obtainable by this virtuoso player, Enjoy!

Enterprise Records, ENS-5006, 1973

Rhythm Recorded at Muscle Shoals Sound Studios, Sheffield, Alabama;

Media Sounds Studio, New York, New York

Track Listing

A1. Get On Board [The Train Is Coming] {Don Davis, J. Wilson, R. Eaton} (4:13)

A2. Red Roses {Robert Stone, Vernon Bullock} (3:10)

A3. Trezia {Frank Wess} (3:59)

A4. Arundelle {Frank Wess} (5:23)

A5. When I Fall In Love {Victor Young, Edward Heyman} (5:12)

B1. Wade In The Water {Traditional, Arr. Don Davis} (3:31)

B2. You Are Everything {Thom Bell, Linda Creed} (2:24)

B3. Flowers {Frank Wess} (4:57)

B4. I Know What's On Your Mind {Frank Wess} (4:09)

B5. [Sittin' On] The Dock Of The Bay {Otis Redding, Steve Cropper} (5:37)

Credits:

Producer - Don Davis, Rudy Robinson

Arranger - Chico O'Farrill, Jimmy Roach, Rudy Robinson

Engineer - Jerry Estes, Lou Casella

Creative Direction, Design - Stax Records

Cover Illustration - Ellis Chappell

Piano Trios HIJK

The third of this series includes tracks by Hampton Hawes, Harold Mabern, Hank Jones, Herbie Nichols, Horace Silver and more...(yeah that other Herbie too!)

Richard Williams

Lest We Forget Vol. 11 / The Musician's Musician, Richard Williams by Poppachubby on Mixcloud

David Schnitter - Invitation (1976)

Having joined Blakey in 1974, this was Schnitter's debut album under his own name, the first of four impressive albums recorded for Muse.I find it astonishing that none appear to have made it to CD!

Biography by Scott Yanow:
"An excellent hard bop tenor saxophonist most influenced by Dexter Gordon, David Schnitter's rise in the jazz world in the 1970s preceded the "young lions"; unfortunately, he has maintained a much lower profile since the early '80s. After starting on clarinet, Schnitter permanently switched to tenor when he was 15. He played locally, moved to New York, gigged with Ted Dunbar, and then was a member of Art Blakey's Jazz Messengers from 1974-1979. He worked with Freddie Hubbard from 1979-1981, and had associations with Frank Foster, Charles Earland, and Groove Holmes. David Schnitter sounded fine on numerous records with Blakey and as a leader for Muse during 1976-1981, but not enough has been heard from him since."


01 - Invitation
02 - Blue Monk
03 - Body & Soul
04 - Donna Lee
05 - Fat Face Fenner's Saloon

Dave Schnitter (ts) Mickey Tucker (p) James Leary (b) Ed Marshall (d)
San Francisco, 1976

Piano Trios DEFG

Piano Trios DEFG by Kingcake on Mixcloud

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