Carlos Garnett - Journey To Enlightenment (1974) [re-rip>re-post]

Here's the second of the series of Carlos Garnett's Muse output. This time the listener is treated to a beautiful record of spiritual jazz. Recorded a year after “Black Love,” it shows the same blending of world music and themes with soaring, bitingly spiritual solos over Afro-centric and sometimes-funky grooves.

This album is simply remarkable. Each of the 5 pieces of music are unique and range from deep and spacy spiritual jazz (10 minute plus title track) to Latin jazz-fusion (Chana) to jazz-funk ferocity (Let Us Go To Higher Heights). Carlos is a sax master who definitely deserves much more recognition than he's received over the years. This album also features some supreme piano playing from Hubert Eaves and some straight up bad ass guitar work from Reggie Lucas.  ~ http://rateyourmusic.com

Muse Records, MR 5057, 1974
Recorded 20th September, 1974 at Minot Sound Studios, White Plains, New York

Track Listing:
A1. Journey To Enlightenment (10:58)
A2. Love Flower (7:21)
B1. Chana (6:20)
B2. Caribbean Sun (6:22)
B3. Let Us Go [To Higher Heights] (6:14)

Personnel:
Carlos Garnett - Reeds, Ukulele, Vocals (#A1,B2,B3)
Reggie Lucas - Guitar
Hubert Eaves - Keyboards
Anthony Jackson - Bass
Howard King - Drums
Charles Pulliam - Congas
Neil Clarke - Percussion
Ayodele Jenkins - Vocals (#A1,A2,B3)

Credits:
Producer - Carlos Garnett
Co-Producer -  Joe Fields
Recording & Mixing - John Battiloro

George Adams/Don Pullen - Earth Beams (1980) [vinyl>flac]

Review by Chris Sheridan, Jazz Journal, May 1982:
Adams, Pullen and Richmond comprise one of the music's most potent partnerships and this — their fourth quartet LP — is perhaps their most compelling yet. Its honourable tradition began with a pair of albums for Horo, taped during a Mingus tour of Italy in 1975, and, in Flowers, shows a direct link with the late bassist's then Jazz Workshop, this title being a passionate reshaping of Flowers For A Lady ('Mingus Moves', Atlantic SD-1653).
But it celebrates the bassist's ideals in less obvious ways, too — through its championship of individual creativity and its inspired, but disciplined abandon. To this extent, Adams, Pullen and Richmond represent a more rewarding development of some aspects of Mingus's work than the comparatively pale 'Mingus Dynasty'. They produce music of sharp, often violent contrasts in texture, tempo, mood and attack. Seething figures melt into plumply lyrical interludes, only to snap into lines that swerve and dart among the strong rhythms set up by Brown and Richmond.
Some of the richest moments occur during Adams' duets — with Pullen on the pulsating Magnetic, and with Richmond in some percussive polyphony at the end of Earth Beams itself. These are powerful and vivid meshings of rhythm and melody. In contrast, there is the good-humoured soul of Alice — another lady who's changed with the times having initially appeared in more commercial guise as Pullen's Big Alice on the pianist's 'Tomorrow's Promises' (SD-1699), again with Adams. Dionysus is an appropriately Bacchanalian romp, opening deceptively as an elongated waltz before developing a complex rhythmic undertow.
However hectic the atmosphere or fervent the emotions, the sense of abandon is skilfully channelled, forging music of lasting value. This is strongly recommended, along with a second LP from these sessions, 'Life Line' (SJP 154). Those with finely-balanced budgets should aim for 'Earth Beams' first, though.

01 - Earth Beams
02 - Magnetic Love Field
03 - Dionysus
04 - Saturday Nite In The Cosmos
05 - More Flowers
06 - Sophisticated Alice

Adams (f/ts); Pullen (p); Cameron Brown (b); Dannie Richmond (d),
Loenen Aan De Vecht, Holland, August 3 & 5, 1980.

Willis Jackson - Thunderbird (1962) [flac]

A massive groover - and a set that rumbles as much as you might guess from the title! The album's got Willis Jackson blowing in a very open, loud tenor tone - working with an unusual group that features Freddie Roach on organ, and Wild Bill Jennings on guitar - the former a hip, smooth keyboardist, the latter a rougher, bluesier player - making for a really nice mix of modes! There's a deep soul jazz bottom throughout - and titles include "Thunderbird", "Lady Be Good", "Back & Forth", and "California Sun". © Dusty Groove, Inc.

Right from the title track opener, it's apparent that Jackson's heading straight for basic soul-jazz. Anchoring the composition around a basic R&B riff and Jackson's wailing tenor, it's the kind of song that could have been used just as well for teenage twisting as jazz bars, which is not to its detriment at all. While the cover of "California Sun" (which would be a number pop hit for the Rivieras in 1964) also seems like a stab at pop accessibility, there are detours into more inside jazz with the interpretations of "Body and Soul" and the Gershwins' "Oh Lady, Be Good." "A Penny Serenade," grounded by Ray Barretto's congas, ends the set on a lively and playful note. Freddie Roach fills the organ chair on this set, and guitarist Bill Jennings gets some tasteful licks in, particularly during "A Penny Serenade." ~ Extract by Richie Unterberger, AMG.

Prestige Records, PRST 7232, 1962

Recorded 31^st March, 1962 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Freddie Roach - Organ

Bill Jennings - Guitar

Wendell Marshall - Bass

Frank Shea - Drums

Ray Barretto - Congas

Tracks:

A1. Thunderbird {Willis Jackson} (5:04)

A2. Oh, Lady Be Good {George Gershwin, Ira Gershwin} (5:25)

A3. Back & Forth {Willis Jackson, Bill Jennings} (9:15)

B1. California Sun {Henry Glover, Morris Levy} (3:50)

B2. Body & Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (7:52)

B3. A Penny Serenade {Darren Halifax, Melle Weersma} (7:45)

Credits:

Supervisor - Esmond Edwards

Recording Engineer - Rudy van Gelder

Cover Photo - Don Schlitten

Liner Notes - LeRoi Jones

Don Patterson - Oh Happy Day (1969) [re-rip]

Don's got a great group on here - featuring trumpeter Virgil Jones, plus a twin tenor lineup on most tracks that includes George Coleman and Houston Person. The album includes one very long, very nice groover called "Hip Trip" - and it also features a cover of Edwin Hawkins "Oh Happy Day", turned into a surprisingly nice solo vehicle, plus "Perdido", "Good Time Theme", and "Blue 'N Boogie". © Dusty Groove America, Inc.

Despite claims to the contrary, organist Don Patterson was very much of the Jimmy Smith School, a hard-driving player with fine improvising skills but lacking a distinctive sound of his own. This set features Patterson in prime form in a group that features trumpeter Virgil Jones and both George Coleman (who solos first on “Perdido” and second on his other appearances) and Houston Person on tenors. Although "Oh Happy Day" is a throwaway, Patterson's spirited renditions of the blues and standards make this a fairly definitive example of his talents. ~ by Scott Yanow, AMG. 

Not sure I really take to Scott’s appraisal; what is a 'throwaway' the album or the tune?

Prestige Records, PR 7640, 1969

Recorded 2^nd June, 1969 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Virgil Jones - Trumpet

Houston Person - Tenor Saxophone

George Coleman - Tenor Saxophone (#A2,B1,B2)

Frankie Jones - Drums

Track Listing:

A1. Oh Happy Day {Edwin Hawkins} (7:19)

A2. Perdido {Ervin Drake, Hans Lengsfelder, Juan Tizol} (8:50)

A3. Good Time Theme {Oliver, Mike Douglas} (3:41)

B1. Hip Trip {Don Patterson} (13:41)

B2. Blue 'N Boogie {Dizzy Gillespie, Frank Paparelli} (4:44)

Credits:

Supervision - Bob Porter

Recording Engineer - Rudy van Gelder

Liner Notes - Yvonne Daniels (August, 1969)

Albert Ayler - Witches and Devils (1964) [vinyl>flac]

Review by Barry McRae, Jazz Journal, July, 1972:
Some records are recommended because they are historically significant, others because they are just downright enjoyable. This album has the advantage of being both. Ayler is one of the really important players and this was the first record to find him in the company of men of equal stature. Murray makes a really telling contribution, with a jagged line that manages to achieve the flowing quality normally associated with more legato drummers. The brilliant Grimes is on all but one track and he contributes his normal creative figures even when sharing the bass duties with Henderson. Howard is from Ayler's hometown, Cleveland, Ohio and they had worked together there from some time before this date and, although melodically less ambitious than Ayler, he plays well.
Ayler's work needs little introduction at this stage. Here he makes use of his usual exaggerated vibrato, plays with great relaxation and offers impressive inventive powers. His solos are developed from a thematic starting point and gradually developed rather than reconstructed. This is particularly true of Holy, Holy, recorded elsewhere as The Wizard, where he uses his own composition as a genuine inspiration. On Witches we are more conscious of his exploitation of tonal variation and he pays considerable attention to variations of timbre, while Saints shows his mastery of slow material. Spirits is not the tune of the same title found on Spiritual Unity, but showcases another talent of Ayler's, as he displays superb instrumental control while moving into the upper register without a hint of tenseness.
Ayler uses freedom only as much as it suited his style. On this record he does not move too far out and there are few moments when the original melodic idea is jettisoned. There is a shapeliness in his phrasing and logicality in his improvisations that give his work meaning as well as depth and this, allied to the emotional quality of his music, ensures an album that offers the best aspects of contemporary jazz.

I purchased this back in '79 for £0.50, without sleeve. I played it to a friend of mine, who covered her ears and left the room! She described it as akin to the sound of a fly trapped in a bottle. A different view from Mr McRae's and also of Max Harrison (an article included in the post), but Ayler tends to have that 'love him or hate him' impact. This is the only Ayler record I own, but it's one I shall always keep.

(a) Witches And Devils
(b) Spirits
(c) Holy Holy
(b) Saints

(a) Norman Howard (tpt): Albert Ayler (ten): Henry Grimes, Earle Henderson (bs); Sonny Murray (dm).
(b) as (a) but omit Henderson.
(c) as (a) but omit Grimes. NYC, 24/2/1964

Bernt Rosengren - Surprise Party (1983) [vinyl>flac]

Sweden's top saxophonist/composer/arranger/bandleader Rosengren (b. 1937) gained wide recognition through his work with Krzysztof Komeda in Poland and his performance in the soundtrack of Polanski's film "Knife In The Water" in 1962. Later he played with George Russell, Don Cherry and Lars Gullin. In the late 70s he formed a group with Doug Raney, who is appearing in this recording on one track as a guest player. ~ steeplechase.dk

SteepleChase Records, SCS-1177, 1983

Recorded 8^th March, 1983 At Easy Sound Studio, Copenhagen, Denmark

Musicians:

Bernt Rosengren - Tenor Saxophone

Horace Parlan - Piano

Doug Raney - Guitar (#B2,B3)

Jesper Lundgaard - Bass

Aage Tanggaard - Drums

Tracks:

A1. Solar {Miles Davis} (5:46)

A2. I Should Care {Sammy Cahn, Axel Stordahl, Paul Weston} (8:07)

A3. Dr. Jackle {Jackie McLean} (7:36)

B1. Hip Walk {Bernt Rosengren} (6:29)

B2. Embraceable You {George Gershwin, Ira Gershwin} (8:02)

B3. Airegin {Sonny Rollins} (5:32)

Credits:

Producer, Photography - Nils Winther

Recording Engineer - Niels Erik Lund

Cover Design - Per Grunnet

Eric Dolphy - Here And There (1961) + BONUS

Sort of a "house cleaning" album, one in which Prestige collected together a number of unissued Dolphy tracks after his death - but still a strong one, and in a way, the record features music that's even a bit more far-reaching than some of the studio albums on Prestige. Dolphy plays a solo bass clarinet version of "God Bless The Child"; he plays with Booker Little and Mal Waldron on "Status Seeking"; he's on flute in a quartet with Jaki Byard on "April Fool"; and he plays with a pickup Danish rhythm section on an alternate take of "Don't Blame Me". © Dusty Groove, Inc.

Prestige Records, PR 7382, 1966

Recorded 16^th July, 1961 (#A1,A2) At The Five Spot Café, New York City;

1^st April, 1960 (#B1) At Van Gelder Studio, Englewood Cliffs and

6^th September, 1961 (#B2) in Berlingske Has, Copenhagen, Denmark

Musicians:

Eric Dolphy - Alto Sax (#A1), Bass Clarinet (#A2), Flute (#B1,B2)

Booker Little - Trumpet (#A1)

Mal Waldron - Piano (#A1)

Jaki Byard - Piano (#B1)

Bent Axen - Piano (#B2)

Richard Davis - Bass (#A1)

George Tucker - Bass (#B1)

Erik Moseholm - Bass (#B2)

Eddie Blackwell - Drums (#A1)

Ed Blackwell - Drums (#A1)

Roy Haynes - Drums (#B1)

Jorn Elniff - Drums (#B2)

Tracks:

A1. Status Seeking {Mal Waldron} (13:13)

A2. God Bless The Child {Arthur Herzog, Jr., Billie Holiday} (5:18)

B1. April Fool {Eric Dolphy} (4:05)

B2. Don't Blame Me [Take 2] {Dorothy Fields, Jimmy McHugh} (12:59)

Credits:

Producer - Esmond Edwards

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Liner Notes - Mack Thomas (Dec. 1965)

Note:

Bonus Track included on CD [OJC Records - OJCCD-673-2, 1991]

G.W. [Take 1] {Eric Dolphy} (12:09)

Taken from 'Outward Bound' session

===========================

Eric Dolphy - Alto Saxophone

Freddie Hubbard - Trumpet

Jaki Byard - Piano

George Tucker - Bass

Roy Haynes - Drums

Recorded 1^st April, 1960 at Van Gelder Studio, Englewood Cliffs, New Jersey

Carlos Garnett - Black Love (1974) [re-rip>re-post]

A 70s soul jazz classic - one of those albums we go back to again and again over the years for inspiration! The album was one of the first from young reed player Carlos Garnett - and it's virtually a super-session, with a lineup that includes heavyweights like Buster Williams, Norman Connors, Charles Sullivan, Mauricio Smith, Reggie Lucas, Billy Hart, Mtume, and Dee Dee Bridgewater - all coming together in a righteous blend of soul, funk, and jazz! The vibe here is incredible - far deeper than even on any of Garnett's other albums of the time - at a level that sounds as beautiful on the mellow cuts as it does on the soaring, spiritual soul jazz anthems that have made the record a classic for years. Includes the perennial favorites "Mother of the Future" and "Taurus Woman", two cuts which transformed the global jazz dance scene years back - plus the tracks "Ebonesque", "Black Love", and "Banks Of The Nile". © Dusty Groove America, Inc.

Muse Records, MR 5040, 1974

Recorded 18^th and 21^st January, 1974 at C.I. Recording Studio, New York City

Musicians:

Carlos Garnett - Tenor, Alto & Soprano Saxophones, Vocals (#A1,A2)

Charles Sullivan - Trumpet

Mauricio Smith - Flute

Allan "Onaje" Gumbs - Piano

Reggie Lucas - Electric Guitar (#A1,B1,B2)

Alex Blake - Bass (#A1,B1,B2)

Buster Williams - Bass (#A2,A3)

Jabali-Billy Hart - Drums

Norman Connors - Drums (#A1,A3,B1,B2)

Guilherme Franco - Percussion (#A1,A3,B1,B2)

James Mtume - Congas (#A1,A3,B1,B2)

Carlos Chambers - Yodeling (#B1)

Ayodele Jenkins - Vocals (#A1), Backing Vocals (#A2, B1)

Dee Dee Bridgewater - Vocals (#A3), Backing Vocals (#A1,A2,B1)

Tracks:

A1. Black Love (5:24)

A2. Ebonesque (8:05)

A3. Banks Of The Nile (4:11)

B1. Mother Of The Future (7:39)

B2. Taurus Woman (12:12)

All Compositions by Carlos Garnett

Credits:

Producer - Carlos Garnett, Joe Fields

Recording Engineer - Elvin Campbell

Mixing Engineer - Carlos Garnett, Elvin Campbell

Arranger - Carlos Garnett

Photography [Cover] - Clarence Eastmond

Album Design, Photography [Liner] - Ron Warwell

Julian Priester - Spiritsville (1960)

Spiritsville is the second album led by American jazz trombonist Julian Priester which was recorded in 1960 for Riverside's subsidiary Jazzland label.

Smokin' Hard Bop

This hard bop set from 1960 didn't do too much for me at first. Largely, I think, because I have been listening to a lot of this stuff lately. Then something happened. I listened to this record with the headphones on and I'll be damned if I didn't experience it in a whole new way. Recorded in New York City in July 1960, Spiritsville features a cast of characters that I have not heard a lot from (except for the noteworthy piano player...). Priester was a trombone player. In fact, he's on Coltrane's Impulse debut, Africe Brass. In the manner of Curtis Fuller he does some great work on this record as a lead. Between those two I've come to enjoy that instrument far more than I ever have. Of the records McCoy Tyner played on leading up to this one, none foreshadowed exactly where his tone and style were going as much as this one. Dig his solo work on 'Blue Stride' and 'Excursion'. You'll hear it. ~ by Lawrence Peryeron, Amazon.com.

Jazzland Records, JLP 25, 1960

Recorded 12^th July, 1960 in New York City

Musicians:

Julian Priester - Trombone

Walter Benton - Tenor Saxophone (#A1,A2,A4-B3)

Charles Davis - Baritone Saxophone (#A1,A2,A4-B3)

McCoy Tyner - Piano

Sam Jones - Bass

Art Taylor - Drums

Tracks:

A1. Chi-Chi {Charlie Parker} (4:49)

A2. Blue Stride {Julian Priester} (5:58)

A3. It Might As Well Be Spring {Richard Rodgers, Oscar Hammerstein II} (5:54)

A4. Excursion {Walter Benton} (5:48)

B1. Spiritsville {Julian Priester} (7:26)

B2. My Romance {Richard Rodgers, Lorenz Hart} (5:57)

B3. Donna's Waltz {Julian Priester} (5:37)

Total Time: 41:29

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