Ted Curson - In Paris - Live At The Sunside (2006)

Great live material from Ted Curson - a Parisian performance that features Ted with a range of different artists, really opening up in ways that show the full range of his tremendous talents! Paris always seems to bring out the best in Curson (we consider ourselves fortunate to have caught him there live years back, sharing a stage with Rufus Harley) – and this set shows Ted really taking full advantage of the opportunities the scene offers him. Some cuts are straight small combo jazz – with Ted's trumpet burning it up over backing from the trio of pianist Alain Jean-Marie. Other numbers add in a bit of backup vocals, behind Curson's own bluesy lead. And still others feature added alto, flute, and percussion – making for a further level of expression that we don't usually hear on an album from Ted. Curson's vocal performances are peppered throughout the double-length set – and almost seem to be more crowd pleasing moments, where he might be expected to warble a standard for the overseas audience – but they do have a sort of charm, given the raspy style of singing – and one number, a hip take on "Summertime", is actually a funky groover that really makes happy that Ted decided to sing along (he gets some help on that number from soulful Sylvia Howard, too!) Titles include "Reava's Waltz", "Tears For Dolphy", "Caravan", "Dig", "Round Midnight", "Milestones", "Confirmation", "Cantaloupe Island", and "Pilma Boogie". © Dusty Groove, Inc.

Blue Marge, 1009, 2007

Recorded 30^th & 31^st August, 2006 Live at Sunside in Paris, France

Personnel:

Ted Curson - Trumpet, Piccolo Trumpet, Flugelhorn, Flute, Vocals

Alain Jean-Marie - Piano
Gilles Naturel - Bass

Philippe Soirat - Drums

Other Players:

Pierrick Pédron - Alto Saxophone [CD1: 1,3,5,7,8 & CD2: 1,3,5,7,8,9]

Guillaume Naturel - Flute [CD1: 2 & CD2: 3

Julie Saury - Percussion [CD1: 1,7 & CD2 3,6]

Voice Solos:

Daiva Starinsakite [CD1: 4]

Evrim Özsuca [CD2: 4,6,7]

Ferhat Öz [CD1: 4,6 & CD2: 2,6,7]

Jaanika Ventsel [CD1: 2,6 & CD2: 6]

Silvia Howard [CD2: 9]

Track Listing:

CD1:

1. Caravan {Juan Tizol, Duke Ellington, Irving Mills} (8:43)

2. Tears For Dolphy {Ted Curson} (8:12)

3. Dig {Miles Davis} (9:06)

4. 'Round About Midnight {Thelonious Monk} (8:54)

5. Woody 'N' You {Dizzy Gillespie} (11:33)

6. Georgia On My Mind {Hoagy Carmichael} (6:56)

7. Cantaloupe Island {Herbie Hancock} (8:06)

8. Plima Boogie {Ted Curson} (4:18)

Time: 1:05:48

CD2:

1. Reava's Waltz {Ted Curson} (7:27)

2. Blueberry Hill {Fats Domino} (5:45)

3. Tin Tin Deo {Dizzy Gillespie} (13:28)

4. Lover Man {Jimmy Davis, Ram Ramirez, James Sherman} (6:28)

5. Milestones {Miles Davis} (7:12)

6. Summertime {George Gershwin, DuBose Heyward} (6:35)

7. Cherokee {Ray Noble} (10:21)

8. Confirmation {Charlie Parker} (7:01)

9. Blues Medley {Various} (9:06)

Time: 1:13:23

Credits:

Producer - Gérard Terronès

Coordinator - Marianne Fernel

Recording, Mixing, Editing, Mastering - Alain Gandolfi

Design, Graphics - Fasm

Photography - Jacquie Dauvilliers-Morat

Liner Notes, Translation - Jean Szlamowicz

This two CD set contains over two hours of wonderfully entertaining jazz from the indefatigable Curson, 71 years old when recorded live in August of 2006. The fiery trumpeter whose early career associations included Cecil Taylor, Charles Mingus and Eric Dolphy, and then later established a notable presence on the European jazz scene, introduces us to some very talented but lesser known overseas musicians.

Pierrick Pédron is a formidable bebop altoist out of the Cannonball Adderley school, with a tone sometimes approaching the rawness of Vincent Herring. He plays with endless drive, polished technique and great clarity. Pianist Alain Jean-Marie has an absorbing, sophisticated style resembling that of Barry Harris. Bassist Gilles Naturel and drummer Philippe Soirat prove to be solid and tasteful in support, and Naturel’s lucid solos are quite effective. His brother Guillaume exhibits a pure, warm tone and nimble fingering on flute. Julie Saury, daughter of clarinetist Maxim, contributes engaging solos on congas and bongos. Sylvia Howard sings her heart out alongside Curson in a “Blues Medley.” That leaves the vocal choir, Ferhat Öz, Evrim Özsuca, Daiva Starinskaite and Jaanika Ventsel, four young singers that Curson discovered during a singing competition at the Nõmme Jazz Festival in Estonia. They all sing with great feeling, verve and individuality.

Curson himself plays with much spirit and creativity, and also sings up a storm in a blues-drenched, ingratiating voice. The program ranges from Curson’s own “Tears for Dolphy” and “Reava’s Waltz,” to many jazz classics and standards such as “Caravan,” “Dig,” “’Round About Midnight,” “Woody ’n’ You,” “Tin Tin Deo,” “Milestones,” “Cherokee,” “Confirmation,” “Georgia On My Mind,” “Lover Man” and even “Blueberry Hill.” Referring to Mingus, Curson is quoted as saying, “The older I get, the more I begin to look like my master and even act like him.” Mingus would certainly have appreciated this ambitious project, and the gusto and humor with which it’s delivered. ~ by Scott Albin, JazzTimes.

Ted Curson - Sugar 'N Spice (1999)

Ted Curson's incandescent flame burns bright in this impassioned salute to bebop, the music that inspired the trumpeter to want to play jazz. The underrated Curson, it should be pointed out, is one of modern jazz's true innovators. In the late 1950s, he was a key participant in the seminal probes of avantgardist Cecil Taylor. A year later, he and Eric Dolphy helped ignite Charlie Mingus' tempestuous upheavals. In the mid-1970s, he led one of the era's great small groups, a bop-based sextet at once open-ended and disciplined.

Here, in a congenial setting with pianist Michael Cochrane, guitarist Lenny Argese, bassist Calvin Hill, and drummer Bruce Cox, the trumpeter flies with a brio reminiscent of Clifford Brown. Also impressive is Curson's "voice." Even in his more abstract work, Tears for Dolphy (1964), for instance, the trumpeter has displayed a brassy yet warmly centered sound. It's a sonic signature that continues to serve him well. Mixing standards like "Georgia" with originals such as the exuberant title track, Curson declaims with a heart that "sings." ~ by Chuck Berg, Jazztimes.

Level Green, 22008, 1999

Recorded, Mixed and Mastered 11^th April, 1999 at BIOYA Recording Studios, Paterson, New Jersey

Personnel:

Ted Curson - Trumpet

Michael Cochrane - Piano

Lenny Argese - Guitar

Calvin Hill - Bass

Bruce Cox - Drums

Track Listing:

01. Playhouse March {Ted Curson} (6:16)

02. Jordu {Irving "Duke" Jordon} (6:26)

03. Marjo {Ted Curson} (5:39)

04. Summertime {Dubose Heyward, George Gershwin} (5:59)

05. Sugar 'N Spice {Ted Curson} (5:50)

06. All The Things You Are {Oscar Hammerstein II, Jerome Kern} (8:53)

07. Tin Tin Deo {Chano Pozo} (8:09)

08. Georgia {Hoagy Carmichael, Stuart Gorrell} (7:42)

09. Dig {Miles Davis} (7:49)

10. Milestones {Miles Davis} (5:34)

Credits:

Producer - Lenny Argese

Executive Producer - James Spitznagel

Recording, Mixing and Mastering - Lenny Argese

Photography - James Spitznagel

Design - Iron Design

Liner Comments - Ted Curson

Don Patterson - Why Not... (1978) [vinyl>flac]

Later work from Don Patterson -- but a record that still shows him in fine fine form! The tunes are all long and spacious -- no gimmicks, just straight ahead soul jazz, in that beautiful back-to-basics mode that Muse was using with Charles Earland around the same time. The group's a quintet -- bigger than usual for Patterson -- with Don on the Hammond, plus Bootsie Barnes on tenor, Eddie McFadden on guitar, Virgil Jones on trumpet, and Idris Muhammad on drums. Titles include "Aries", "Why Not", "Three Miles Out", and "Freddie Tooks Jr". © Dusty Groove America, Inc.

Don was born in Columbus, Ohio, July 22, 1936. He’s now living in Philadelphia, a city that is a mecca for artists, as well as a stronghold for organist Jimmy Smith, Jimmy McGriff, Trudy Pitts, just to name a few. “Fats” Waller in the late 1930's was one of the first to use the organ as a jazz instrument. This is the fourth Don Patterson album on Muse Records. Don Patterson is not only a master organist, but also a talented compose. There are three of his originals on this album. He uses the melodic, harmonic and rhythmic lines in their proper colors. Tonal colors are important when playing or mastering the organ. ~ rappamelo.com.

Don Patterson is among my top five favourite organists. Never heard a bad recording of his. I always found him the closest to Horace Silver of all organists, especially as a composer. I think he inspired Sonny Stitt to some of his best playing. I like all the Muse sessions. The fourth Muse "Why Not" is nice, I always have a cassette of it in the car, with a nice Horace Silver vibe in the heads. ~ Mike Weil.

Don is the MAN! Another giant we lost too soon. He's really not on enough recordings, either. Have you got the Muse dates? Those are killer! ~ Jim Alfredson.

Muse Records, MR 5148, 1978

Recorded 26^th January, 1978 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Bootsi Barnes - Tenor Saxophone

Virgil Jones - Trumpet

Eddie McFadden - Guitar

Idris Muhammad - Drums

Track Listing:

A1. Why Not {Houston Person} (11:39)

A2. Aries {Don Patterson} (8:12)

B1. Dem New York Dues {Don Patterson} (8:02)

B2. Three Miles Out {Bootsi Barnes} (5:23)

B3. Freddie Tooks Jr. {Don Patterson} (6:36)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Art Direction and Cover Photo - Hal Wilson

Liner Notes - Samir Ali Sadiq, WRTI FM, Philadelphia, PA

Gabor Szabo - Rambler (1973) [vinyl>flac]

Although this LP is a CTI production, guitarist Gabor Szabo is well featured in a conventional quartet (without strings, horns or "sweetening") that also includes the electric piano of Mike Wofford, bassist Wolfgang Melz and drummer Bobby Morin; Bob James sits in on some cuts on keyboards. For what would be Szabo's last significant recording, the Hungarian guitarist performs an obscurity and five of bassist Melz's originals, including "Rambler," "It's So Hard to Say Goodbye" and "Reinhardt." Although the individual melodies are not that memorable (none caught on), Gabor Szabo's distinctive sound and logical improvisations make this an album worth searching for. ~ by Scott Yanow, AMG.

CTI Records, CTI 6035, 1974

Recorded September, 1973 at Van Gelder Studios, Englewood Cliffs, New Jersey

Personnel:

Gabor Szabo - Guitar

Bob James - Piano, Organ, Synthesizer

Mike Wofford - Electric Piano

Wolfgang Melz - Bass

Bobby Morin - Drums

Unknown - Percussion

Tracks:

A1. Rambler {Wolfgang Melz} (5:25)

A2. So Hard To Say Goodbye {Wolfgang Melz} (4:42)

A3. New Love {Wolfgang Melz} (5:19)

B1. Reinhardt {Wolfgang Melz} (6:55)

B2. Help Me Build A Lifetime {Wolfgang Melz} (4:25)

A3. All Is Well {Robert Lam} (6:21)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Musical Supervision - Bob James

Cover Photograph - Pete Turner

Liner Photograph - Charles Stewart

Album Design - Bob Ciano

Dom Um Romão - Spirit Of The Times (1975) [vinyl>re-rip,true flac]

For Spirit of the Times Romao contributes two more stunning percussion monologues, “Ginga Gingou” and “Cosinha.” As he states in Robert Palmer's expertly-penned liners, the street music of Brazil as practiced by the samba schools (not schools per se, but groups of percussionists) is really reflective of the African influence on the blacks of Brazil. Short of making your own field recordings during carnival time in Rio, Romao's recreations celebrate a festive spirit that's the next best thing. There's a more organic feel throughout to these selections too, although electronic elements, such as Joe Beck's wah-wah guitar, fit tastefully into the mix. Acting as a worthy microcosm of Brazilian fusion from the '70s, these recordings should serve the uninitiated well in that they're meaty but undeniably tuneful and enticing. Following on the heels of a recent renaissance in Brazilian music, particularly overseas and in Japan, Romao's Muse recordings have aged well and will be sure to please those individuals with a taste for the exotic and an open mind. ~ Chris Hovan, http://www.allaboutjazz.com.

Wicked Brazil album with the fusion tracks 'Wait On The Corner', 'The Angels' & 'Kitchen'. ~ http://www.rushhour.nl

An incredible set of Brazilian jazz - one of the few albums that percussionist Dom Um Romao recorded as a leader, and sublime all the way through! The record's got a wonderful blend of funky fusion and Brazilian percussion - and features a group from two continents that includes Sivuca on organ, Dom Salvador on electric piano, Joe Beck on guitar, Jerry Dodgion on alto sax, Lloyd McNeill on flute, and Mauricio Smith on tenor, soprano, and flute. Includes the percussion jammer "Shake (Ginga Gingou)", the modal groover "Wait on the Corner", and the lively scatting tune "The Angels" – but the whole album's great, and other tracks include "The Salvation Army", "Kitchen", and "Lamento Negro". © Dusty Groove, Inc.

Muse Records, MR 5049, 1975

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

Musicians:

Dom Um Romão - Drums, Percussion

Dom Salvador - Piano, Electric Piano

Joe Beck - Electric Guitar

Lloyd McNeill - Flute

Sivuca - Organ, Piano, Guitar

Amauri Tristao - Acoustic Guitar

Jerry Dodgion - Alto Saxophone, Flute

Mauricio Smith - Tenor & Soprano Saxophones, Flute

Frank Tusa - Bass

Portinho - Percussion

Track Listing:

A1. Shakin' [Ginga Gingou] {Dom Um Romão} (3:01)

A2. Wait On The Corner {Humberto Teixeira, Sivuca} (6:18)

A3. Lamento Negro {Dom Um Romão} (3:59)

B1. Highway {Amauri Tristao} (4:25)

B2. The Angels {Dom Salvador} (4:03)

B3. The Salvation Army {Dom Salvador} (4:05)

B4. Kitchen [Cosinha] {Dom Um Romão} (2:48)

Credits:

Producer - Dom Um Romão, Joe Fields

Recording Engineer - Michael Delugg

Album Design - Ron Warwell

Liner Notes - Bob Palmer

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