Eddie "Cleanhead" Vinson - The "Clean" Machine (1978) [vinyl>flac]

This classic ‘Texas Blues’ LP by Eddie “Cleanhead” Vinson truly entertains. Eddie as Scott states below is in a grand setting showcasing his virtuosity on Alto. He is backed by a highly compatible crew of equally great jazz musicians. If you get down to the ‘Blues’ you’ll definitely dig this, Enjoy!

What makes this album different from many of Eddie "Cleanhead" Vinson's is that four of the seven selections are taken as instrumentals. Vinson's alto playing has long been underrated due to his popularity as a blues singer, so this release gives one the opportunity to hear his bop-influenced solos at greater length. With the assistance of a strong rhythm section led by pianist Lloyd Glenn and some contributions from trumpeter Jerry Rusch and Rashid Ali on tenor, Vinson is in excellent form throughout this enjoyable set. ~ by Scott Yanow, AMG.

Muse Records, MR 5116, 1978

Recorded 22^nd February, 1978 At Wally Heider Studio, Hollywood, California

Musicians:

Eddie "Cleanhead" Vinson - Alto Saxophone, Vocals (#A2,B1,B2)

Jerry Rusch - Trumpet

Rashid Ali - Tenor Saxophone

Lloyd Glenn - Piano

Gary Bell - Guitar

Larry Gales - Bass

Bruno Carr - Drums

Tracks:

A1. The Clean Machine {Eddie "Cleanhead" Vinson} (5:30)

A2. Taxi Driver Blues {Leonard Feather} (5:05)

A3. Corn Fed {Eddie "Cleanhead" Vinson} (6:38)

B1. When My Baby Left Me {Eddie "Cleanhead" Vinson} (4:54)

B2. Old Maid Boogie {Eddie "Cleanhead" Vinson} (2:59)

B3. Tenderly {Walter Gross} (4:32)

B4. Non-Alcoholic {Eddie "Cleanhead" Vinson} (4:37)

Credits:

Executive-Producer - Joe Fields

Engineer - Peter Granet

Art Direction - Tamar Zinn

Liner Notes, Cover Photo - Pete Lowry

Red Rodney - The 3 R's (1979) [vinyl]

Personally, I never tire of listening to Red Rodney and this particular album is a favourite. With Red joined by such excellent musicians this LP is destined to entertain. It’s sound today is just as potent when it was launched in 1982. The 3 R’s refer to Red, Richie & Ricky, in fact there is a 4^th in Roland. Add to the mix a fine rhythm section, the only regret is that this ensemble did not go on to produce more great music together, even Scottie is impressed, Enjoy!

Three of the Muse label's top artists of the time teamed up for this album: trumpeter Red Rodney, altoist Richie Cole and tenor saxophonist Ricky Ford. Actually, Ford is only on three of the six selections, but the talented Turk Mauro (doubling on tenor and baritone) fills in well, and the rhythm section (keyboardist Roland Hanna, bassist George Duvivier and drummer Grady Tate) was fully capable of playing anything. The music is mostly post-bop, with recent originals by Cole, Jack Walrath and Rodney alternating with Kenny Dorham's "Dead End," Art Farmer's "Blueport" and the standard "For Heaven's Sake." Excellent straight-ahead performances, with all of the musicians in fine form. ~ Scott Yanow, AMG.

Muse Records, MR 5290, 1982

Recorded 13^th & 14^th March, 1979 At Nola Studio, New York City

Musicians:

Red Rodney - Trumpet, Flugelhorn

Richie Cole - Alto Saxophone

Ricky Ford - Tenor Saxophone (#A1,A2,B2)

Turk Mauro - Tenor & Baritone Saxophones

Roland Hanna - Keyboards

George Duvivier - Bass

Grady Tate - Drums

Tracks:

A1. The Mack Man {Red Rodney, Gerry LaFurn} (7:38)

A2. For Heavens Sake {Donald Meyer, Elise Bretton, Sherman Edwards} (4:32)

A3. Dead End {Kenny Dorham} (6:56)

B1. Waiting For Waits {Richie Cole} (5:56)

B2. Samba De Vida {Jack Walrath} (7:06)

B3. Blueport {Art Farmer} (4:50)

Credits:

Producer - Bob Porter

Recording Engineer - Malcolm Addey

Mastering Engineer - Joe Brescio, The Master Cutting Room, NYC

Cover Photo - Joe Rosen

Liner Photos - Charles Reilly

Art Direction - W. Dale Cramer

Liner Notes - Howard Mandel

Note:

deGallo posted this LP in late 2001 at the muse blog, but unfortunately it fails audiochecker on many tracks. This newer rip addresses those issues.

Mark Murphy - Sings (1975) [vinyl>flac]

This album highlights one of singer Mark Murphy's best all-round sessions. Most memorable are his renditions of Freddie Hubbard's "Red Clay" (here renamed "On The Red Clay"), "Body And Soul" and "Canteloupe Island." Joined by a fine rhythm section led by keyboardist Don Grolnick along with occasional contributions from altoist David Sanborn, tenor saxophonist Michael Brecker and trumpeter Randy Brecker, Murphy is heard throughout in prime form, constantly stretching himself. ~ Extract by Scott Yanow, AMG.

Muse Records, MR 5078, 1975

Recorded 17^th-18^th June, 1975 At Basement Recording Studio, New York, NY

Musicians:

Mark Murphy - Vocals

Randy Brecker - Trumpet

Dave Sanborn - Alto Saxophone

Mike Brecker - Tenor Saxophone

Don Grolnick - Fender Rhodes, Keyboards, Organ, Piano

Joe Puma - Guitar

Harvie Swartz - Bass

Jimmy Madison - Drums

Sue Evans - Percussion

Tracks:

A1. On The Red Clay {Freddie Hubbard, Mark Murphy} (4:37)

A2. Naima {John Coltrane} (4:550)

A3. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (5:17)

A4. Young And Foolish {Albert Hague, Arnold B. Horwitt} (2:52)

B1. Empty Faces {Lani Hall, Milton Nascimento} (5:16)

B2. Maiden Voyage {Herbie Hancock, Jean Hancock} (5:23)

B3. How Are You Dreaming {Bob Crewe, Alan Shatkin} (4:32)

B4. Canteloupe Island {Herbie Hancock, Mark Murphy} (5:33)

Credits:

Producer - Helen Keane

Arranger, Co-Producer - Dave Matthews

Recording & Remixing Engineer - Wieslaw Woszczyk

Art Direction, Cover Illustration - Hal Wilson

Liner Notes - Michael Bourne

Various Artists - Blues For Tomorrow (1957) [vinyl>flac]

The success of this project will make listeners wish jazz of this ilk had been more frequently released in nifty compilations such as this. It is like some kind of heat-and-serve DJ set, complete with a cover that looks like a hand-colored landscape shot from a '50s science fiction movie, perhaps "Invasion of the Bluesy Snatchers." A key part of the success of any compilation is to avoid the issue of quality through careful programming or some other inexplicable mojo. Since it is impossible for every track to have the same equal value, a compilation relies on charades, presenting an image of the epic and universal appeal of music as pure enjoyment, song to song, whether it is a genius leading the band or...well, Herbie Mann. It is surely no question of fame, since the latter artist was at least for a time the commercial equal if not the better of tenor saxophone genius Sonny Rollins, whose "Funky Hotel Blues" is the ultimate performance here. In terms of quality, comparing his improvisations with the flute wheezing of Mann is like comparing Chateaubriand with "hot 'em" burgers. Yet few listeners will probably bail out of the flutist's "A Sad Thing," possibly because there is a kind of intense happiness that comes from knowing it is the sole track by this Mann in the collection, but also because it is actually an effective, moody instrumental, and not the only one to be hampered not by the lack of a really good jazz soloist. Guitarist Mundell Lowe, who could always use some more recognition, becomes a champion by suggesting to his quintet "Let's Blow Some Blues." His playing is so strong that one imagines that if this performance had actually followed that of Rollins on a stage, nobody in the audience would have complained. There are many classic jazz players lurking in the wings as this collection of tracks unfolds. The first 13 and a half minutes would make a tremendous first act in a play, a loose jam on a tune by Gigi Gryce that is full of the marvelously happy spirit of hard bop. ~ by Eugene Chadbourne, AMG.

Riverside Records, RLP-12-243, 1957

Original Jazz Classics, OJC-030, 1982

Recorded (#A1,B1-B3) At Reeves Sound Studios, New York

(#A2) At Capitol Tower, Los Angeles, California in 1957

Tracklist:

A1. East Coast All-Stars - Blues For Tomorrow {Gigi Gryce} (13:32)

Ray Copeland - Trumpet

Gigi Gryce - Alto Saxophone

John Coltrane - Tenor Saxophone

Coleman Hawkins - Tenor Saxophone

Wilbur Ware - Bass

Art Blakey - Drums

A2. Herbie Mann's Californians - A Sad Thing {Herbie Mann} (5:04)

Herbie Mann - Bass Clarinet

Jack Sheldon - Trumpet

Jimmy Rowles - Piano

Buddy Clark - Bass

Mel Lewis - Drums

B1. Sonny Rollins Quartet - Funky Hotel Blues {Sonny Rollins} (6:00)

Sonny Rollins - Tenor Saxophone

Sonny Clark - Piano

Paul Chambers - Bass

Roy Haynes - Drums

B2. Mundell Lowe Quintet - Let's Blow Some Blues {Mundell Lowe} (7:53)

Mundell Lowe - Guitar

Gene Quill - Alto Saxophone

Billy Taylor - Piano

Les Grinage - Bass

Ed Thigpen - Drums

B3. Bobby Jaspar Quartet - The Fuzz {Bobby Jaspar} (6:13)

Bobby Jaspar - Tenor Saxophone

George Wallington - Piano

Wilbur Little - Bass

Elvin Jones - Drums

Credits:

Producer, Liner Notes - Orrin Keepnews

Recording Engineer - Jack Higgins

Design - Paul Bacon

Cover Photo - Rapho Guillumette Pictures

Wally Richardson - Soul Guru (1968) [vinyl>flac]

Wally Richardson came out of a rhythm and blues, soul jazz and pop experience. Because of this background and music reading ability, he was very active as an all-around studio guitarist in the late 50's/60's/70's. He recorded a good cult album of psychedelic jazz funk which is now a collector’s item. "Soul Guru" came out in 1969 on Prestige Records in New Jersey.

Guitar driven soul jazz album with a great variety of influences, soul, jazz, east, blues, rock, from sitar-like sounds on Soul Guru to twangy style Surf Side Shuffle, acoustic songs and jazz driven themes. ~ mekkipuur, RateYourMusic.

Prestige Records, PRST 7569, 1968

BGP Records, BGPD 1113, 1988

Recorded 5^th (#A1,A3,B1-B3) & 7^th (#A2,A4,B4) February, 1968

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Wally Richardson - Guitar

Zane Zacharoff - Bass Clarinet (#A1,A3,B1-B3)

Ernest Hayes - Piano (#A2,A4,B4)

Everett Barksdale - 12-String Guitar (#A1,A3,B1-B3)

Richard Davis - Bass (#A1,A3,B1-B3)

Jimmy Lewis - Bass (#A2,A4,B4)

Orville Mason - Fender Bass (#A1,A3,B1-B3)

Bobby Donaldson - Drums

Montego Joe - Percussion (#A1,A3,B1-B3)

Tracks:

A1. Senor Boogaloo {Wally Richardson} (4:11)

A2. Elbow Blues {Wally Richardson} (5:25)

A3. Monday Monday {John Phillips} (3:08)

A4. Surf Side Shuffle {Wally Richardson} (5:43)

B1. Soul Guru {Wally Richardson} (6:02)

B2. Lonely Rider {David Raksin} (2:44)

B3. Khyber Pass Boogaloo {Wally Richardson} (3:50)

B4. Square Heels, White Stockings {Wally Richardson} (4:53)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design, Photography - Don Schlitten

Liner Notes - Chris Albertson (April, 1968)

David "Fathead" Newman - Keep The Dream Alive (1978)

An overlooked Jazz-Funk/Soul Jazz classic from the late seventies. As a profoundly versatile musician and composer “Fathead” showcases his agility on flute, alto, tenor and soprano. With the crafty arrangements of William Fischer, Newman turns an interesting mix of well-known pop compositions and other less exposed and challenging tunes into prodigious music. For this album Newman is joined by a sterling array of fine players. With the likes of George Cables, Hilton Ruiz, Lee Ritenour, Wilbur Bascomb Jr., Idris Muhammad the listener is in for an enthusiastic piece of entertainment that doesn’t falter, Enjoy!

Prestige Records, PR 10106, 1978

Recorded 23^rd May-July, 1977 at Fantasy Studios, Berkeley, California

Musicians:

David "Fathead" Newman - Flute (#A1,A3,B3), Alto Saxophone (#A1,B2,B3),
Tenor Saxophone (#A2-A4), Soprano Saxophone (#B1)

Jeff Davis, Larry Moses - Trumpets

Janice Robinson, Earl McIntyre - Trombones

Ed Xiques - Baritone Saxophone

Kenneth Harris - Flute

George Cables - Electric Rhodes (#A3,A2,B1), Clavinet (#A1,A2),

Acoustic Piano (#A4,B2) Electric Piano [Yamaha Grand] (#B3)

Hilton Ruiz - Electric Rhodes (#A1,B2,B3), Clavinet (#A4,B1), Acoustic Piano (#A2,A3)

Lee Ritenour - Guitar (#A3,B1-B3)

George Davis - Guitar

Wilbur Bascomb, Jr. - Electric Bass

Idris Muhammad - Drums

Bill Summers - Percussion (Except #B1)

Yvonne Fletcher - Vocals

Renee Manning - Vocals (Except #A2)

William Fischer - Conductor

Tracks:

A1. Keep The Dream Alive {David "Fathead" Newman} (5:37)

A2. Destiny {David Batteau, Richard Holland} (4:47)

A3. Silver Morning {Kenny & Yvonne Rankin} (3:30)

A4. Freaky Beat {David "Fathead" Newman, William Fischer} (5:37)

B1. I Am Singing {Stevie Wonder} (6:30)

B2. Clouds {Durval Ferreira, Maurício Einhorn} (5:57)

B3. As Good As You Are {William Fischer} (6:18)

Credits:

Producer - Orrin Keepnews

Producer, Arranger - William Fischer

Recording Engineer - Eddie Bill Harris

Recording & Remix Engineer - Steve Williams

Assistant & Remix Engineer - Dan Kopelson

Mastering Engineer - John Golden

Art Direction - Phil Carroll

Photography - Phil Bray

Design - Dennis Gassner

Carlos Garnett - Let This Melody Ring On (1975) [re-rip>re-post]

This is Carlos Garnett's 3rd album for Muse records. On "Let This Melody Ring On" Garnett puts together and producers his own compositions using a combination of both large groups and leanings towards bigger band ensembles with some added exhilarating strings and backing vocals. As a result the listener is presented with an enjoyable assortment of tunes which have been carefully crafted to deliver a nice spacey soul jazz feel. Garnett in his own right is a notable reed player; "Senior Trane" in particular showcases some very fiery sax playing. He is joined by other notable Free Jazz/Soul-Jazz musicians and there is room for some great soloing, especially for Olu Dara, Hubert Eaves, Reggie Lucas, Anthony Jackson and Howard King. This album is well worth a listen and like most Muse vinyls are pretty hard to find. Grab it and Enjoy!

Muse Records, MR 5079, 1975
Recorded 16th & 18th June, 1973 at Minot Sound Studios Inc., White Plains, New York

Musicians:
Carlos Garnett - Tenor & Baritone Saxophones, Ukulele (#A3), Vocals
Olu Dara - Trumpet
Kiane Zawadi - Trombone
Hubert Eaves - Keyboards
Reggie Lucas - Guitar
Carlos Jordan - Ukulele (#A3)
James Benjamin - Bass (#A1,B1)
Anthony Jackson - Bass (#A2,A3,B2,B3)
Howard King - Drums
Neil Clarke - Percussion
Charles Dalton, Diedre Murray, Howard Hall, Joe Singer, John Blake, Richard Locker - Strings
Prema - Vocals

Tracks:
A1. Good Shepherd (4:20)
A2. Panama Roots (9:24)
A3. Ghetto Jungle (4:34)
B1. Señor Trane (7:39)
B2. Samba Serenade (6:32)
B3. Let This Melody Ring On (6:44)

All Compositions by Carlos Garnett

Credits:
Producer - Carlos Garnett
Executive Producer - Joe Fields
Recording & Mixing Engineer - John Battiloro
Album Design & Photography - Ron Warwell

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.