Joe Bonner - The Lifesaver (1975) [vinyl>flac]

On this LP Joe Bonner is fully engaged in creating some marvellous and lyrical excursions into a variety of self-penned tunes. Apart from his evocative piano work he intelligently turns his hand to an assortment of instruments including harmonica and flute creating an intriguing percussive complement to his acoustic piano sounds. A highlight is to hear an original take on his emotive "Little Chocolate Boy". In all, it is a bold solo album that manages to entertain from the start to the finish.

Muse Records, MR 5065, 1975

Recorded November, 1974 At Blue Rock Studio, New York City

Personnel:

Joe Bonner - Piano, Miscellaneous Instruments, Percussion

Tracks:

A1. Bonner's Bounce (5:29)

A2. Tatoo (7:42)

A3. Little Chocolate Boy (5:36)

B1. The Lifesaver (4:26)

B2. Native Son (5:40)

B3. The Observer (7:43)

All Compositions by Joe Bonner

Credits:

Executive Producer - Joe Fields

Album Design - Ron Warwell

Liner Notes - Neil Tesse

Joe Bonner - Angel Eyes (1976) [re-rip]

"Angel Eyes" contains a magical mix of both solo, trio and group tunes. On the title track "Angel Eyes" and "I Do" Bonner plays solo and both are very soul-searching and captivating. "Love Dance" is a blend of both solo and an added rhythm section. Yet, what makes this LP magnificent is the addition of the avant-garde violinist Leroy Jenkins and tenor saxophonist Billy Harper. Both musicians are found on "Variations On The Little Chocolate Boy" and "Celebration", which also includes the superb vocalist Linda Sharrock. The late Jenkins' violin stretches the other players to do more. In this instance Harper clearly showcases his ability to pick up the harmony and run with it. Overall Bonner's playing is incredibly evocative. The album’s highlight is Sharrock’s singing, starting out with a pervasive dark tone that later launches into a wailing mode and then returns anchored by the fusion of the groove being conveyed by the rest of the group. In a lot of ways these two tracks are very bold verging on the avant-garde. The listener cannot but desire more of the same in a follow up album. In the end Bonner concludes this work with a simple but eloquent bamboo flute solo invoking quite a rounding off and spiritual tone to the whole session.

Muse Records, MR 5114, 1976

Recorded October, 1974 and January 1976

Musicians:

Joe Bonner - Piano, Bells (#A1), Bamboo Flute (#B3)

Billy Harper - Tenor Saxophone (#B1,B2)

Leroy Jenkins - Violin (#B1,B2)

Juni Booth - Bass (#A3,B1,B2)

Jimmy Hopps - Drums (#A3,B1,B2)

Linda Sharrock - Vocal (#B2)

Tracks:

A1. Angel Eyes {Matt Dennis} (5:42) *

A2. Love Dance {Joe Bonner} (4:39)

A3. I Do {Joe Bonner} (6:05) *

B1. Variations On The Little Chocolate Boy {Joe Bonner} (5:33)

B2. Celebration {Joe Bonner} (9:26)

B3. Interlude {Joe Bonner} (3:12) #

* Solo Piano

# Solo Flute

Credits:

Producer - Joe Bonner, Michael Cuscuna

Album Design - Joe Bonner, Ron Warwell

Liner Notes - Alan Goodman

Celebration [Lyrics]

It's a sad game, it's a sad game, if you care to play.

It's a sad game, it's a sad game, if you care to play.

I want to be someplace that's good for me.

I want to be someplace that's good for me.

It's a sad game.

Wynton Kelly & George Coleman - Live In Baltimore (1968)

Originally released by Vee Jay, this is ripped from a 1980 UK vinyl edition.

01 - Piano Interlude
02 - On A Clear Day
03 - Piano Interlude-On The Trail
04 - Theme

George Coleman (ts) Wynton kelly (p) Ron McLure (b) Jimmy Cobb (d)
Left Bank Jazz Society, Famous Ballroom, Baltimore. September 22, 1968

Gene Ammons Plays Nat Cole - Night Lights (1970) [vinyl]

Surely one of the very best Ammons albums after his comeback, although he was undoubtedly one of the great exponents of soul jazz, I am thankful that this recording is bereft of that deadening back-beat and the turgid Hammond organ, a pure jazz ballad album - gorgeous pure Ammons! {Still has a dreadful 70s cover of course!]

AllMusic Review by Scott Yanow:
One of his first recording sessions after he returned to the scene following a rather severe jail sentence was this tribute to Nat King Cole. As it turned out, the quartet date with pianist Wynton Kelly, bassist George Duvivier and drummer Rudy Collins was quickly forgotten as Ammons recorded some more commercial material and this set was not released for the first time until 1985. Ammons is in excellent form on such ballads as "Nature Boy," "Lush Life," "Sweet Lorraine" and "The Christmas Song," making one wish that the contents of this LP were available on CD.

A1. Night Lights
A2. Nature Boy
A3. Calypso Blues
B1. Lush Life
B2. Sweet Lorraine
B3. The Christmas Song

Gene Ammons (tenor sax) Wynton Kelly (piano) George Duvivier (bass) Rudy Collins (drums) Pucho (congas -A3)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, February 2, 1970

George Coleman - Big George (1977)

"It is perhaps impossible to capture on record the dynamic impact of this remarkable octet's live performances. This excellent record comes near to it, however, and catches most of the sidemen at the top of their game. The choice of tunes, including some originals, is varied and there is not one dud track. The rhythm section, augmented by Randy Weston's son on Joggin', is outstanding and it implies no disparagement to Atkinson and Muhammed to observe the tremendous impact made by Maburn throughout.
Coleman is at his unqualified best on Body And Soul, with a reading that owes nothing to other great performances of this 'tenor vehicle'. On it he builds a solo with an architect's logicality and a painter's passion. None of his solos on the record are anything less than good, however, and he sets standards that must have proved daunting to his sidemen. Thankfully, they rise to the occasion. Strozier, outstanding on Frank's Tune, outstrips his Bracknell performance by a mile, while Cook lives up to his name on Dolphin Street. Moore also has fine comments to make on this track as well as on Body And Soul, and Rivera trundles along to very good affect. Rather than waste time with details it might be more productive to guess if any section of our readership could dislike this fine offering. I suspect the answer is — no!"
Barry McRae ~ Jazz Journal, April 1981

01 - Green Dolphin Street
02 - Frank's Tune
03 - Big George
04 - Joggin'
05 - Body And Soul
06 - Revival

Danny Moore (t/flh); George Coleman (ts); Junior Cook (ts); Frank Strozier (as); Mario Rivera (bs); Harold Maburn (p); Lisle Atkinson (b); Idris Muhammed (d); Azzedin Weston (p).
NYC, November 2 & 3, 1977.

Bobby Pierce - The Muse Albums [24/48 vinyl rips]

repost by request:

While 'Piercing' follows 'New York' in the Muse discography, it was actually recorded two years earlier (1972) and originally issued on Cobblestone as 'Introducing Bobby Pierce'.

A very hip record from Bobby Pierce – a mixture of jazz and soul, with a laidback feeling that makes the set groove like a late night session at some little New Jersey lounge at the end of the soul jazz era. Players are all great – and include Frank Strozier, Billy Mitchell, Ted Dunbar, and Freddie Waits – but the real star of the set is Pierce, who plays organ, electric piano, and celeste – and also vocalizes on about half the album's tracks, singing in a roughly jazz style that really fits the mood of the set. Titles include "New York", "Children Are The Creator's Messengers", "Hooray For The Children", "Too High", and "Sleep Baby".  © 1996-2014, Dusty Groove, Inc.

Thought for the day...

from Spike Wilner- the pianist and manager of Smalls and Mezzrow in NYC:

Three o'clock in the morning: The miracle that is Smalls Jazz Club is in full swing - packed to capacity. Like a scene from a Chinese medieval legend or perhaps Lewis Carroll, an impossible number of people in an impossibly small space. The band is on fire. Stacy Dillard and his trio are pouring lava-light jazz into the atmosphere. We are inundated in golden swing, cooked like a soup in a hotpot broth of music. The audience is unified - eyes closed, heads bobbing, smiles. This is Jazz music - the very best that Humanity has to offer. This is America. Not a land of hatred, not a land of killing but a land where a variation of all races, nationalities and religions can come together to agree on one thing - jazz, swing and to feel the joy of life. This is real! Not a place where mindless idiots take up the flags of defeated nations to simply rage. This music is a place where there is no flag, no symbol. It is wordless and without form. It is invisible and yet binding. It is vital and enriching. It is not corporate. It is not a "meme". It is not a phony slogan. Jazz is what makes America great, not "again" but right here and now, always here - it is our cultural and our spiritual heritage.

At the end of his set, to the raucous applause, Stacy in his Cheshire-Cat style smiled at the crowd. "You see how easy it is?", he asked all of us. "You see how well we can all get along? Black and white? It 'aint hard..." and with those words the jam session began. The young musicians scrambled to the stage to grab the bass, get behind the drums, to take out their horns. One, two, three - a Charlie Parker blues and the music continued.

I bid everyone peaceful abiding and hope to see you in our clubs - ours, every one of us.

Leo Parker - Rollin' With Leo (1961) [vinyl>flac]

Drugs and addictions defined most of Leo Parker's adult life, finally claiming it entirely in February of 1962 when he was only 36 years old. Only months earlier in 1961, in two sessions held on October 12 and October 20, Parker had played his heart out in what would have been his second album for Blue Note Records that year, and it had appeared that the baritone saxophonist was well on his way to a much-deserved career comeback. The sessions, however, weren't released until almost 20 years later. Rollin' with Leo, presented here in remastered form, is a wonderful portrait of this unsung but brilliant player, whose huge, sad, but almost impossibly strong tone always felt like it carried the world on its shoulders. The centerpiece of Rollin' with Leo is the fascinating "Talkin' the Blues," which unfolds, nearly themeless, like a late-night conversation, ebbing and flowing exactly the way a conversation does, with Parker's baritone swinging back to gather notes, but always moving and stretching forward, expanding the conversation until it seems like everything that could be said HAS been said. Parker's death was tragic because he had so much more to say, and that makes this fine set all that more of a treasure. ~ by Steve Leggett, AMG.

Blue Note Records, LT-1076, 1980
Recorded 12th (#A3,A4) and 20th (#A1,A2,B1-B4) October, 1961
At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:
Leo Parker - Baritone Saxophone
Dave Burns - Trumpet
Bill Swindell - Tenor Saxophone
Johnny Acea - Piano
Al Lucas - Bass (#A1,A2,B1-B4)
Stan Conover - Bass (#A3,A4)
Wilbert Hogan - Drums (#A1,A2,B1-B4)
Purnell Rice - Drums (#A3,A4)

Tracks:
A1. The Lion's Roar {Leo Parker} (4:51)
A2. Bad Girl {Stan Conover} (6:14)
A3. Rollin' With Leo {Leo Parker} (6:23)
A4. Music Hall Beat {Illinois Jacquet} (4:55)
B1. Jumpin' Leo {Leo Parker} (4:29)
B2. Talkin' The Blues {Leo Parker} (6:28)
B3. Stuffy {Coleman Hawkins, Livingstone, Evans} 5:39)
B4. Mad Lad Returns {Leo Parker} (4:35)

Credits:
Producer - Alfred Lion
Recording Engineer - Rudy van Gelder
Release Producer - Michael Cuscuna
Art Direction, Design - Bill Burks
Photography - Jed Wilcox
Liner Notes - Bob Porter

Johnny "Hammond" Smith - Soul Flowers (1967) [re-rip]

As one of the Soul-jazz pioneers, Johnny “Hammond” Smith soon discovered success resided in the immediacy and the joy the music was able to convey. As the style kept on winning adepts in a crossover movement which embraced both Music styles and races, the organist became a master in pulling the right strings so that his sound could reach audiences as vast as possible.

Recorded September 1967 at the height of Flower Power, “Soul Flower”, although hardly related to Psychedelia or Acid-heads favorite sonorities, unashamedly aimed commercial recognition. Although I would never call it smooth or lounge-Jazz, I have to admit at times it makes a perfect dinner soundtrack or background sound for a living-room gathering of friends while relaxedly sipping a beer or a scotch; Yet it shoots in so many directions and displays such competent musicianship that one is often forced to raise the volume level and pay attention to what’s going on; ‘cause that’s the only way you’ll correctly listen to the blistering organ solo/work on the TV-series theme “Theme from N.Y.P.D.”; more screen related material is available on the melancholic mood of Burt Bacharach’s score for the movie “Alfie” or on the lively, hip-shaking rendition of the popular “Tara’s Theme” from ‘Gone with the Wind’ soundtrack; and on “Ode to Billie Joe”, Smith spells with fervor the conga-rhythm-propelled, horse-riding, Far-west evoking theme.

Previously issued with considerable success in 45rpm/Single format “Dirty Apple” is here offered in an extended version and it’s Bluesy and Funky charm, Soulful organ and smoking sax and guitar work are some of the album’s strong arguments; Still, it’s the diversity shared by the up-tempo version of the classic “Days of Wine and Roses” or the happy, old-time Big-Band swing feel of the Rodgers/Hammerstein “You’ll Never Walk Alone” where Smith displays his hard-won credentials in the style and most of all the Bossa inflected “Here’s That Rainy Day”, where guitarist Wally Richardson shows he can give cards in many a style or the cover of Ray Charles’s “I Got a Woman” with the organ at full throttle and Houston Person’s intense tenor work that definitely make this a record with mood-uplifting characteristics. ~ comusduke.

Prestige Records, PR 7549, 1968

Recorded 27^th September, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Johnny "Hammond" Smith - Organ

Houston Person - Tenor Saxophone

Earl Edwards - Tenor Saxophone

Wally Richardson - Guitar

Jimmy Lewis - Electric Bass

John Harris - Drums

Richie "Pablo" Landrum - Congas

Tracks:

A1. N.Y.P.D. {Charles Gross} (3:23)

A2. Dirty Apple {Smith, Richardson} (5:01)

A3. Days Of Wine And Roses {Henry Mancini} (3:21)

A4. Ode To Billie Joe {Bobby Gentry} (3:17)

B1. You'll Never Walk Alone {Rodgers, Hammerstein} (3:12)

B2. Alfie {David, Bacharach} (3:06)

B3. Tara's Theme [My Own True Love] {Max Steiner} (2:57)

B4. Here Comes That Rainy Day {Burke, van Heusen} (3:26)

B5. I Got A Woman {Ray Charles} (5:27)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Liner Notes - Christopher Peters (Jan. 1968)

Charles Davis - Ingia! (1974) [vinyl>flac]

Charles Davis is joined by Louis Hayes & Company on this rare post-bop outing released on Strata-East Records back in 1974. Charles excels as a musician, composer and arranger. All players are on fire and there is plenty of room for them to express their individual talents. It is an LP that can be revisited many a time. Highly Recommended!

Strata-East Records, SES-7425, 1974

Recorded 15^th July, 1974 At Minot Sound Studio, White Plains, New York

Musicians:

Charles Davis - Baritone Saxophone

Andrew "Tex" Allen - Trumpet, Flugelhorn

Gerald Hayes - Alto Saxophone, Flute

Ronnie Mathews - Piano, Electric Piano

Louis Davis - Guitar

David Williams - Bass

Louis Hayes - Drums

Tracks:

A1. The Gems Of Mims {Charles Davis} (10:30)

A2. Little Miss Jump Up {Charles Davis} (7:05)

B1. Linda {Charles Davis} (11:22)

B2. Ingia {Billy Higgins} (9:07)

Credits:

Producer, Arranger - Charles Davis

Recording & Mixing Engineer - John R. Battiloro

Mastering Engineer - Donald Van Gorden

Design - Sandra Williams

Photography - Charles Stewart

Trudy Pitts - A Bucketful Of Soul (1967, 68) [re-rip>true flac]

Wow! This is the best ever Trudy Pitts album, and the one in which she and Mr. C really get down to business on tracks like "Bucketful of Soul" and the stellar "Love for Sale" (an early Jazz Juice groover). Wilbert Longmire complements the trio on guitar, and the whole thing stands as perfect proof of why Trudy Pitts is one of our favorite artists of all time. Groovy, moody, and mellow - all at the same time. Organ, vocals, and guitar. © Dusty Groove America, Inc.

Prestige Records, PR 7560, 1968

Recorded 20^th December, 1967 (#A1,B2) and 8^th February, 1968 (#A2-B1,B3-B5)
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Trudy Pitts - Organ, Vocals (#A4,B1,B3,B5)

Wilbert Longmire - Guitar

Bill Carney - Drums, Vocals (#A4,B1,B3,B5)

Track Listing:

A1. Bucket Full Of Soul {Bill Carney} (3:41)

A2. My Waltz {Trudy Pitts} (3:39)

A3. Love For Sale {Cole Porter} (7:12)

A4. Satin Doll {Duke Ellington, Billy Strayhorn, Johnny Mercer} (2:56)

B1. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (2:57)

B2. Renaissance {Audubon Schere} (2:39)

B3. Lil' Darlin' {Neal Hefti} (4:13)

B4. Come Dawn {Trudy Pitts} (4:21)

B5. Please Keep My Dream {Bill Carney, Sonny Truitt} (2:24)

Credits:
Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

For a great article on Trudy Pitts see:

Trudy Pitts: Extraordinary Pianist & Master Of The Hammond B-3

Junior Mance - The Soul Of Hollywood (1962)

The Soul of Hollywood was an interesting departure for Junior Mance. Most of the time he has been heard in small-group settings, but on this album the pianist is backed by an orchestra arranged and conducted by trombonist Melba Liston. With Orrin Keepnews serving as producer, Mance and Liston turn their attention to film music -- and the films that they acknowledge range from musicals (West Side Story) to Westerns (One-Eyed Jacks). Because the material is heavily arranged, Mance doesn't have as much room to stretch out and improvise. Nonetheless, he manages to get in his share of noteworthy solos, and Liston's tasteful arrangements make The Soul of Hollywood well worth the price of admission. In some cases, albums of film music can become albums of background music, but that isn't a problem on this release (which was recorded in 1961 and early 1962). Liston's arrangements are always in good taste, and that is true whether the participants are tackling "Maria" from West Side Story, "Tara's Theme" from Gone With the Wind, or Greek star Manos Hadjidakis' charming theme from Never on Sunday. Meanwhile, "On Green Dolphin Street" and the haunting "Invitation" are both well-known Bronislaw Kaper standards from films that starred Lana Turner. The interesting thing is that, even though "Invitation" has been recorded countless times over the years, the movie that Kaper wrote it for was far from a box office smash; "Invitation" is from 1950's very underrated A Life of Her Own, which stars Turner as a supermodel who falls in love with a married man but ultimately decides against breaking up his marriage. The Soul of Hollywood isn't quite in a class with Gil Evans or Oliver Nelson's best work, but it's still a decent example of orchestral jazz. ~ by Alex Henderson, AMG.

Jazzland Records, JLP 63, 1962

Recorded October, December, 1961 and January, 1962 At Plaza Sound Studios, New York City

Personnel:

Junior Mance - Piano

Ernie Royal, Clark Terry - Trumpet

Jimmy Cleveland, Britt Woodman - Trombone

Romeo Penque - Flute

Jerome Richardson - Flute, Tenor Saxophone

Danny Bank - Baritone Saxophone, Bass Clarinet

George Duvivier - Bass

Osie Johnson - Drums

Melba Liston - Conductor, Arranger

+ Unidentified Orchestra

Tracks:

A1. Never On Sunday {Manos Hadjidakis} (2:48)

A2. Maria [From West Side Story] {Leonard Bernstein, Stephen Sondheim} (2:51)

A3. Tara's Theme [From Gone With The Wind] {Max Steiner} (4:00)

A4. Fanny {Harold Rome} (4:01)

A5. On Green Dolphin Street {Bronislaw Kaper, Ned Washington} (2:37)

A6. One-Eyed Jacks {Hugo Friedhofer} (2:33)

B1. Exodus {Ernest Gold, Miklós Rózsa} (2:30)

B2. Invitation {Bronislaw Kaper} (4:03)

B3. The Apartment {Charles Williams, John Moran} (3:36)

B4. Goodbye Again {Georges Auric, Dory Langdon} (4:09)

B5. Spellbound {Miklós Rózsa} (3:33)

Credits:

Producer - Orrin Keepnews

Recording Engineer - Ray Fowler

Mastering Engineer - Neal Ceppos, Plaza Sound, NYC

Album Design - Ken Deardoff

Photography - Steve Schapiro

RAMSEY LEWIS - DANCING IN THE STREETS - 1967 (FLAC)

1967
Cadet LPS 794
My Vinyl Rip
Front & Back Covers
DR Value 16
FLAC

Only a little over a year old at the time of recording, this incarnation of the Ramsey Lewis Trio -- Ramsey Lewis, Cleveland Eaton, and Maurice White (later of Earth, Wind & Fire) -- were well on their way to the pristine and symbiotic gel that would define their style. They were, however, still undergoing that process when they laid down this "live" set at San Francisco's Basin Street West club in July 1967. It's that somewhat formative vibe that makes this particular performance such a complete and utter joy. Dancing in the Street is this trio's recorded debut and, across a wide range of covers and styles, it's a captivating portrait of contemporary jazz. The title track, a cover of the Martha & the Vandellas R&B classic, is so smooth and stylish that it nearly outshines the original. "Django," meanwhile, is a delightful tribute to the Belgian Gypsy musician Django Reinhardt. Lewis pays further homage to the greats across his cover of the Billy Taylor classic "Mood for Mendes." Also of note is the Ramsey Lewis Trio's rendition of the country song "You Don't Know Me." Originally a hit for Jerry Vale in 1956, it was revisited in 1960 by Lenny Welch and again in 1962 by Ray Charles, and it's from that great bluesman's version that Lewis took his cue with this wonderful jam. These three musicians are a joy to hear, and it's within their far-reaching vision, and the effortless incorporation of so many styles into contemporary jazz, that they were -- and remain -- among the genre's finest.
....AllMusic Review by Amy Hanson

The Tracks:

01 Dancing In The Street / 02 Mood For Mendes / 03 Struttin' Lightly / 04 You Don't Know Me / 05 Django / 

06 Medley From 'Black Orpheus' / 07 What Now My Love / 08 Quiet Nights (Corcovado)

The French Market Jazz Band - Direct From New Orleans (24/48 vinyl rip)

A long time ago poppachubby asked me why I never post any Trad Jazz. I made some excuse about it not being a common part of most New Orleans record collections because it is our everyday soundtrack and that is partially true. The other part of the equation is that there aren't all that many Trad albums that are all that interesting.

That leads us here; I originally ripped this solely because my deceased friend Les Muscutt was on banjo. My friend Cliff located a copy and we made a cd for Les' widow, Babs. Much to my joy and surprise  the record turned out to be some of the better Trad. I've ever heard on LP. Played properly, but with imagination and spirit that is too often lacking in albums of this genre. I am proud my dear friend was a part of this (he's the dude with the banjo).

Credits

    Banjo – Leslie Muscutt
    Clarinet – Johnny Mince
    Drums – Walter Lastie
    Electric Bass – Erving Charles Jr.
    Percussion – Shannon Barbarin
    Producer – Bob Thiele
    Tenor Saxophone – David Lastie Sr.
    Trombone – Scott Hill
    Trumpet – Frank Trapani
    Tuba – Donald Tidwell

Ron Escheté - Spirit's Samba (1977) [vinyl>flac]

Ron Escheté (born Houma, Louisiana, August 19, 1948) is an American seven-string jazz guitarist. His early influences were jazz guitarists Wes Montgomery, Jim Hall, and Howard Roberts. When he was 14, he got his first guitar and performed in clubs while he was in high school. He studied classical guitar and flute at Loyola University in New Orleans. After he graduated, he toured with singer Buddy Greco. He moved to California in 1970 and worked with vibraphonist Dave Pike, then pianist Gene Harris in 1975. He has played with Ray Brown, Ella Fitzgerald, Dizzy Gillespie, Milt Jackson, and Diana Krall.

This LP is his first as a leader. He is joined by Tom Ranier on pianos, bassist Luther Hughes, drummer and percussionist John Perett and partner Carol Escheté as Vocalist. It showcases a broad range of jazz styles and the majority of the tunes are his compositions. He went on to do a few albums on Muse. Enjoy!

JAS Records, JAS-4003, 1977

Recorded 18^th & 22^nd October, 1976

Musicians:

Ron Escheté - Guitar

Tom Ranier - Acoustic & Electric Piano

Luther Hughes - Bass

John Perett - Drums, Percussion

Carol Escheté - Voice

Tracks:

A1. Spirit's Samba {Ron Escheté} (6:16)

A2. Mama's Song {Ron Escheté} (5:50)

A3. Is Dis It Or Whut {Ron Escheté} (3:36)

A4. Desert Air {Chich Corea} (6:48)

B1. Metz {Ron Escheté} (7:36)

B2. Why Did I Choose You {Michael Leonard, Herbert Martin} (6:38)

B3. Isn't She Lovely {Stevie Wonder} (4:28)

Credits:

Producer - Bill Metz

Engineer - James Mooney

Album Design - The Image Machine

Illustration - Dirk Wunderlich

Liner Notes - Mundell Lowe

Woody Shaw/Anthony Braxton - The Iron Men [24/49 vinyl rip]

From 40 year old Mint vinyl!

"This is a particularly interesting set by Woody Shaw because it teams the trumpeter with the great saxophonist Anthony Braxton and such forward-thinking players as altoist Arthur Blythe, pianist Muhal Richard Abrams, bassist Cecil McBee and drummer Joe Chambers. Highlights are versions of Eric Dolphy's "Iron Man" and Fats Waller's "Jitterbug Waltz" that are based on renditions Shaw had recorded with Dolphy back in 1963; the latter has Braxton playing clarinet. A couple of brief free improvisations by the trio of Shaw, Abrams and McBee in addition to Andrew Hill's "Symmetry" and the trumpeter's epic "Song Of Songs" round out this continually intriguing and adventurous program."

Clint Houston - Inside The Plane of the Eliptical

Bassist Clint Houston never made many albums as a leader, but all of them are well worth tracking down – and this one may be the best of the bunch! The set has Clint working with frequent musical partner Joanne Brackeen on piano, as well as Ryo Kawasaki on guitars – who'd played with Joanne around the same time – and percussionist Rubens Bassini completes the group, and adds in some great subtle elements at the bottom. Tracks are long, and often very personal – quite different than the sort of music that many other bassists might provide as a leader – and a great showcase for Houston's highly melodic approach to his instrument. Clint plays both acoustic and electric, and a bit of guitar as well – and titles include "Black Thing", "Geri", "Goodbye Mr P", "You Are Like The Sunshine", and "Letitia".

Etta Jones - My Mother's Eyes (1977) [re-rip]

Although by the mid-1970s she had already been a professional singer for 30 years, Etta Jones was in reality just entering her musical prime. Having developed her individuality gradually through the years, she was heard at her very best during her long string of Muse recordings. On this fine date, Jones is joined by her husband (tenor saxophonist Houston Person) and an oversized rhythm section that features keyboardist Sonny Phillips and guitarist Jimmy Ponder. Among the highlights are "The Way You Look Tonight," "Don't Misunderstand," "You Do Something to Me" and "This Girl's In Love With Me." ~ Scott Yanow, AMG.

Muse Records, MR 5145, 1978

Recorded 23^rd June, 1977 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Etta Jones - Vocals

Houston Person - Tenor Saxophone

Sonny Phillips - Keyboards

Jimmy Ponder - Guitar

George Devens - Vibraphone

Rufus Reid - Bass

Idris Muhammad - Drums

Lawrence Killian - Congas, Percussion

Tracks:

A1. The Way You Look Tonight {Dorothy Fields, Jerome Kern} (4:48)

A2. Don't Misunderstand {Gordon Parks} (6:09)

A3. Be My Love {Nicholas Brodszky, Sammy Kahn} (5:48)

B1. You Do Something To Me {Cole Porter} (4:41)

B2. My Mother's Eyes {Abel Baer, L. Wolfe Gilbert} (5:47)

B3. This Girl's In Love With You {Burt Bacharach, Hal David} (3:56)

B4. Gloomy Sunday {László Jávor, Rezsö Seress} (4:35)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Art Direction, Photography - Hal Wilson

Liner Notes - Agnes E. Green

BUDDY RICH - THIS ONE'S FOR BASIE (1956) VINYL

1956
Norgran MGN-1086
My Vinyl Rip
DR value 14
Front & Back Covers
WAVE

This early Buddy Rich album is a wonderful tribute to Count Basie.  Harry "Sweets" Edison is brilliant!  If you're a Basie fan, then this one's for you.....

Drummer Buddy Rich put together an interesting 11-piece group for this tribute to Count Basie. The only Basie alumnus present is trumpeter Harry "Sweets" Edison but the other soloists (trombonist Frank Rosolino and Bob Enevoldsen, Bob Cooper on tenor and pianist Jimmy Rowles) easily fit into the setting. Marty Paich contributed the arrangements, there are plenty of drum solos and the music, if not all that memorable, can easily be enjoyed by straightahead jazz fans......AllMusic Review by Scott Yanow

01 Blue And Sentimental / 02 Down For The Double / 

03 Jump For Me / 04 Blues For Basie / 

05 Jumping At The Woodside / 06 Ain't It The Truth / 

07 Shorty George / 08 9~20 Special

JIMMY MC GRIFF - I'VE GOT A WOMAN (1962) VINYL 24~48 WAVE

1962
Sue 1012
My Vinyl Rip
DR Value 11
Front & Back Covers
WAVE 441mb

 McGriff's first album is great. The title cut was in the top 20 in 1962. Also on the same album is "M.G. Blues" and "All About My Girl." This session McGriff, Richard Easley on drums and Walter Miller on guitar. Hi-impact early McGriff is the still the best, and this is the album that started it all, on the Sue label.....AllMusic Review by Michael Erlewine

01 I've Got A Woman / 02 On The Street Where You Live / 03 Satin Doll / 04 'Round Midnight / 05 All About My Girl / 06 M.G. Blues / 07 That's The Way I Feel / 08 After Hours / 09 Flying Home / 10 Sermon

             

Ray Bryant - Slow Freight (1966) [re-rip]

A killer album by soul jazz pianist Ray Bryant! The title track, "Slow Freight", is an amazing 10 minute groover that moves at a very slow pace (just like a freight train), and which features some very cool ad-lib talking by Paul Serrano - a pretty groovy touch that really adds a lot to the track! Ray's piano is in the lead, with a sinister soulful groove – and he's backed by his patented two-trumpet rhythm sound, played here by Art Farmer and Snookie Young - blasting away with a tightly vamping approach that's really in the groove. The rest of the record's great too - and other tracks include "The Fox Stalker" and "Return Of The Prodigal Son". One of Ray's best ever! © Dusty Groove, Inc.

Ray Bryant always surrounds himself with pros; he's one and he wants nothing but the finest with him. The end product justifies the means. This is an excellent album. ~ Extract from Liner Notes by E. Herbert.

Cadet Records, LPS 781, 1967

Recorded 8th December, 1966 at RCA Studios in New York City

Personnel:

Ray Bryant - Piano

Art Farmer - Trumpet, Flugelhorn

Snookie Young - Trumpet, Flugelhorn

Richard Davis - Bass

Freddie Waits - Drums

Paul Serrano - Cool Talking (#A1)

Track Listing:

A1. Slow Freight {Ray Bryant, Esmond Edwards} (9:19)

A2. Amen {Traditional} (4:59)

A3. Satin Doll {Duke Ellington, Johnny Mercer, Billy Strayhorn} (6:52)

B1. If You Go Away {Jacques Brel, Rod McKuen} (4:49)

B2. Ah, The Apple Tree {Johnny Mercer, M. Philippe-Gerard, Angele Vannier} (3:34)

B3. The Return Of The Prodigal Son {Harold Ousley} (5:04)

B4. The Fox Stalker {Ray Bryant} (3:35)

Credits:

Producer, Supervisor - Esmond Edwards

Recording Engineer - Ray Hall

Photography, Design - Esmond Edwards

Liner Notes - E. Herbert

Ray Bryant - Up Above The Rock (1968) [re-rip]

The drum break that opens the title track is absolutely killer. With all due respect to Mr. Bryant, drummer Grady Tate is truly the star of this show. Brilliant arranger Richard Evans recorded the drums so loudly; they almost occupy a whole speaker in stereo. Listen to the oddly hyperactive drumming on the nearly five-minute cover of "I Say a Little Prayer". Drums haven't been that aggressive on a Bacharach tune since Love's "My Little Red Book". The majority of the album is solid soul-jazz with the minor-keyed titled track being the clear standout, although similarly minor-keyed sleeper "Five, Six and Seven" is quite excellent as well. I never understand period liner notes on the backs of my records. Invariably, the author is completely oblivious to what the standout tracks are on the album. The author on the back of "Up Above the Rock" informs you that the cover of "Mrs. Robinson" will really blow your mind or some sort of nonsense. Really? Have you even listened to the title track? How do those drums not smack you in the face as soon as you start the record? ~ mag1c_hands

It seems like there’s been a lot of funky and soulful jazz stuff on Cadet around lately. This has been a longtime want as well. Of course, Up Above The Rock starts with some funky drumming by Grady Tate, but the whole song is just a jam even without that opening. Tate gets busy on here a couple of other times and I like the tone of his drums in the mix. Ron Carter can also be found on bass here. The record tends to be blues influenced up beat jazz like Quizas, Quizas, Quizas. Overall, this is a pretty nice jazz album. ~ Soulstrut

Cadet Records, LPS 818, 1968

Recorded September, 1968 at RCA Studios, New York City

Personnel:

Ray Bryant - Piano

Ron Carter - Bass

Grady Tate - Drums

Dobbie Hiques - Flugelhorn, Trumpet

Snookie Young - Flugelhorn, Trumpet (#A1,A3,A4,B3-B5)

Danny Moore - Flugelhorn, Trumpet (#A2,A5,B1,B2)

Track Listing:

A1. Up Above The Rock {Ray Bryant} (3:03)

A2. Dag Nab It {Buddy Johnson} (3:36)

A3. Quizas, Quizas, Quizas {Joe Davis, Osvaldo Farres} (3:21)

A4. If I Were A Carpenter {Tim Hardin} (2:51)

A5. Little Green Apples {Bobby Russell} (3:23)

B1. I Say A Little Prayer {Burt Bacharach, Hal David} (4:52)

B2. After Hours {Avery Parrish, Erskine Hawkins} (3:50)

B3. Where The Wind Blows {Bob James} (4:36)

B4. Five, Six And Seven {Ray Bryant} (3:23)

B5. Mrs. Robinson {Paul Simon} (2:56)

Credits:

Producer - Richard Evans

Supervision - Dick LaPalm

Arranger - Ray Bryant

Engineer - Ray Hall

Hadley Caliman - Hadley Caliman & Iapetus (Mainstream 318 & 342)

I can't recall ever seeing either of these albums in a lossless rip...somebody want to prove me wrong?

Hadley didn't get too many chances to record as a leader...these were the first two and they are hard to find. I have always liked these albums: it is the sound of KJAZ radio when I was a young man.

You will find a rather detailed bio of Hadley in the text doc in the first file.

Blue Mitchell - Many Shades Of Blue (1974) [Mainstream: vinyl 24/48]

I acquired a sealed copy of this, Mitchell's final recording for Mainstream. It finds him well advanced down the jazz-funk road, though it's good of its kind and there are still glimmers of Mitchell the trumpeter who graced those Riverside and Blue Note albums of the 50s and 60s.
With one glowing exception*, the remaining recordings, under his own name, for RCA and Impulse were to be even more faceless.

However I am well aware that many do not share my reservations of this genre and for those I'll leave the last word with Cheeba, who posted his mp3 vinyl rip over at his Soundalogical blog back back in 2009:

I'm the biggest sucker for Blue Mitchell's 70s Mainstream sides. They were a major component of my initiation into the realm of jazzfunk and the first three are etched in my mind forever so, thanks the psychological process of imprinting, his sides are among the sine qua non of the milieu for me.

As usual, Blue has a stellar line up behind him here since it seems Mitchell and Sarah Vaughan were the only artists on whom Shad actually spent proper money. The two are also tied as the most voluminously released artists on MRL (both providing 7 albums of new material for Shad in a few short years) so their stature, productivity and faithfulness were probably big factors in that equation. Not counting the split with Roy Haynes when Shad was in scavenger mode, this is the last LP Mitchell released on the label before it shuttered, after which he moved on to a series of labels.
Among these were RCA (Stratosonic Nuances, Funktion Junction) and ABC (African Violet, Summer Soft) where he would be slathered in strings and discofied to such a degree that on occasion he might as well have been just another one of the session musicians. Never again* would he regain the raw funkiness and full-on souljazz feeling that typifies his Mainstream output. Mitchell would die before he had a chance to do so, passing away prior to the end of the decade at the relatively early age of 49.

01 - Where It's At
02 - Harmony Of The Underworld
03 - Funky Walk
04 - Blue Funk
05 - Golden Feathered Bid
06 - Beens And Taters
07 - Funny Bone
08 - Hot Stuff

James Bossy, Jon Faddis, Irwin "Marky" Markowitz, Blue Mitchell (trumpet) Frank Vicari (tenor sax) Joe Farrell (tenor sax, flute) Seldon Powell (tenor, baritone sax) Joe Beck, Sam T. Brown, John Tropea (guitar) Wilbur Bascomb Jr., Michael Moore (Fender bass) James Madison (drums)
NYC, 1974

*[Cheeba was obviously unaware of his 1977 recording Stablemates]

Blue Mitchell - Vital Blue [new 24/48 vinyl rip]

This one is for grumpy....I find it a little curious that at the time I posted my first rip of this album it was nowhere to be found on the internet, but now it is offered in mp3 form in multiple places. Hmmm - Oh Well, here is a new and final rip in 24/48 flac, sampled down from the original 24/96 wave subsequent to cleaning through Isotope RX.
 
"One of the rarest Blue Mitchell albums for Mainstream – and one of the most beautiful! Unlike the other sessions, most of which are electric funk outings, this one has a more spiritual side, and the kind of soulful approach you'd expect from Strata East. The group features Ernie Watts on tenor, Joe Henderson on flute, and tenor, Walter Bishop on piano, and Susaye Greene singing wordless vocals on a few cuts. Highlights include the odd "Unseen Sounds", which has some great weird flute work from Henderson, plus "Booty Shakin", "Vital Blue", and "Herman's Helmet". Dusty Groove

Willis Jackson - Neapolitan Nights (1962) [vinyl]

Naples (or, if you will, Napoli) is one of the world's most scenic cities, and also the home of the pizza pie. Like all the great cities of Italy, it is full of music; among other accomplishments, Naples gave the world Enrico Caruso. Here it serves as the starting point of a musical tour of Italy, guided by the potent tenor saxophone of Willis Jackson at the helm of a swinging rhythm-section. Some of the tunes are old, others are new, and one (Verdi's Vonce) is the blues - though not very blue. All are melodic and have that special romantic flavor long associated with the popular songs of the homeland of grand opera and bel canto. Willis Jackson handles this material with appropriate gusto and warmth. His big, ripe tone is admirably suited to bring out the flavor of a singable melody, and his jazz conception and innate swing stand him in good stead where the avoidance of excessive sentimentality and bathos is concerned. This is not a schmaltzy album, though Mama - one of the best-loved tearjerkers in the Mediterranean repertoire - is handled with the proper traditional feeling. ~ Excerpt from the Liner Notes by Dan Morgenstern

On this album Jackson is joined with a number of other heavyweights. Gildo Mahones for one sets up some wonderful backing including space to showcase some brilliant piano solos. Equally, Bucky Pizzarelli lays down some marvellous sections of guitar. In essence the rest of the group also command much praise, bassist George Tucker holds things together while drummer Bobby Donaldson and conga expert Montego Joe add their special touches to this broad selection of Italian derived tunes. I have to admit whilst perfecting this rip from a very old well-loved vinyl I have grown much love for this LP. Hopefully you too can share in my delight of this relatively hard to find side from the "Gator".

Prestige Records, PR 7264, 1963

Recorded 19^th December, 1962 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Gildo Mahones - Piano

Bucky Pizzarelli - Guitar

George Tucker - Bass

Bobby Donaldson - Drums

Montego Joe - Congas

Tracks:

A1. Neapolitan Nights {Traditional} (6:58)

A2. Arrivederci Roma {Renato Rascel, Pietro Garinei, Sandro Giovannini} (5:42)

A3. Mama {Cesare Andrea Bixio} (5:14)

B1. Volare {Franco Migliacci, Domenico Modugno} (5:32)

B2. Al Di Là {Carlo Donida, Mogol} (4:38)

B3. Verdi's Vonce {Willis "Gator" Jackson} (7:05)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Dan Morgenstern

Jimmy Raney - Two Jims and Zoot (Mainstream 6013)

AllMusic Review by Scott Yanow

The slightly unusual date Two Jims and a Zoot features tenor saxophonist Zoot Sims interacting with two guitarists (Jimmy Raney and Jim Hall) while given subtle support by bassist Steve Swallow and drummer Osie Johnson. Although the eight selections (none of which caught on as standards) had all been written recently and sometimes display the influence of bossa nova, the quiet performances could pass for 1954 rather than 1964. The cool-toned improvisations and boppish playing have a timeless quality about them although for the time period aspects of this music already sounded a bit old-fashioned.

Fun on the Frets - Early Jazz Guitar

I wouldn't normally do this here as it is only in mp3, but it is really fun stuff and the clean-up came out well.

Sometime ago I dl'd this (I believe from Twilight Zone) and while the rip had good sound, it was full record noise that I knew I could fix. I don't usually like to mess with cleaning mp3's for fear of losing more than you gain, but in this case it came out quite well.

With respect and thanks to the original ripper, here is the cleaned copy.

JOHNNY HODGES - PREVIOUSLY UNRELEASED RECORDINGS - 1963 - WAVE

1963

Verve V6-8834

My Vinyl Rip + Front and Back Covers

DR value 13

WAVE

I ripped this back in 2012 and posted it at The Lair.  This is a NEW RIP and NEW LINKS

Johnny Hodges enjoyed his greatest success as one of the most important solo stars of the Duke Ellington Orchestra.  It’s hard to believe none of these tracks found their way on to vinyl while Hodges was still alive.  Over the years, record companies have always managed to discover unreleased, lost, or hidden sessions for post mortem profit releases.   These tracks however are a real treasure, and well worth the short wait.  The audio quality is excellent and Hodges’ tone is brilliant.  The album was produced by Creed Taylor and features the piano work of Lalo Schifrin, who wrote and contributed two of the more memorable tracks.  And what a nice surprise to find Dave “One Foot In The Gutter” Bailey on drums.  It’s tough to select the best tracks. Hodges’ fan or not, all of them deserve attention.

1.  Mama Knows

2.  I'm In Another World

3.  Dreary Days

4.  I Can't Believe That You're In Love With Me

5.  B. A. Blues

6.  Wanderlust

7.  All Too Soon

8.  Somebody Loves Me

Johnny Hodges, sax;  Lalo Schifrin, piano; Barry Galbraith, guitar;

George Duvivier, bass;  Dave Bailey, drums

NYC, March 26, 1963 Released 1973