Emanuel K. Rahim & The Kahliqs - Total Submission (1972) [vinyl>flac]

Great session of 70's Latin jazz, featuring some excellent trumpet playing by the great Virgil Jones, and some soprano work by Hugh Brodie. The band has a fairly mysterious origin - but they've got the kind of wonderful warm 70s Latin jazz sound that you'd only find on a rare few records. Tracks include the title cut, "Dorian", and "Al Haqq (The Truth)". A really nice bit of Latin from the 70's, and a solid release all the way through! ~ Dusty Groove, Inc.

Cobblestone Records, CST 9014, 1972

Muse Records, MR 5122, 1980

Recorded June, 1972 At Town Sound Studio, Englewood, New Jersey

Personnel:

Emanuel K. Rahim - Congas, Bata, Cowbell

Virgil Jones - Trumpet, Flugelhorn

Kiane Zawadi - Trombone

Hugh Brodie - Soprano Saxophone

George Gold - Piano

James Patterson - Guitar

Alex Blake - Bass

Mike Richmond - Bass (#B1)

Johnny Griggs, Ray Armando, Tommy Dirk - Percussion

Ralph Sawyer - Vocals (#A3,B3)

Tracks:

A1. Total Submission {Emanuel K. Rahim} (9:07)

A2. Spirit Of Truth {Emanuel K. Rahim} (7:51)

A3. Al-Alim [The Knower] {Emanuel K. Rahim} (3:11)

B1. Al Haqq [The Truth] {Emanuel K. Rahim} (9:49)

B2. Dorian {Emanuel K. Rahim} (5:26)

B3. Exodus {Ernest Gold} (4:37)

Credits:

Producer - Larry Fallon

Recording Engineer - Orville O'Brian

Cover - Ron Warwell

Stanley Turrentine - The Baddest Turrentine (1974)

A 4-track "best of compilation" from Stanley Turrentine’s hit years at CTI! If you know the man's tone, you know that he found a perfect home at CTI - where arrangements by the likes of Bob James or Eumir Deodato provided Stanley with a perfect foil for his warm exploratory blowing. The set list features Stan's great funky reading of Marvin Gaye's "Don’t Mess With Mr T", plus his classic reading of "Sugar" and the tracks "Speedball" and "Salt Song".

CTI Records, CTI 6048 S1, 1974

Recorded November, 1970 (#A1); July 1971 (#A2); May 1972 (#B1)

& June, 1973 (#B2) At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Stanley Turrentine, Randy Brecker, Joe Farrell, Pepper Adams, Bob James, Eric Gale, Ron Carter, Idris Muhammad, Milt Jackson, Cornell Dupree, Billy Cobham, Eumir Deodato, Freddie Hubbard, Lonnie Smith, George Benson ...

Tracks:

A1. Sugar {Stanley Turrentine} (10:03)

Released on: Sugar [CTI 6005]

A2. Salt Song {Milton Nascimento} (7:12)

Released on: Salt Song [CTI 6010]

B1. Speedball {Lee Morgan} (6:37)

Released on: Cherry [CTI 6017]

B2. Don't Mess With Mister T. {Marvin Gaye} (9:49)

Released on: Don't Mess With Mister T. [CTI 6030]

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Artwork - Bob Ciano

Photography - Alen MacWeeney

Johnny "Hammond" Smith - Love Potion #9 (1967) [re-rip>flac]

A fairly typical mid-'60s soul-jazz effort by Johnny "Hammond" Smith. This LP (not yet reissued on CD) features Smith performing several current pop tunes -- including "A Taste of Honey," "The Impossible Dream," "Sunny," and "The Shadow of Your Smile" -- while letting his quintet (which also includes trumpeter Virgil Jones, tenor saxophonist Gene Walker, guitarist Eddie Diehl, and drummer John Harris) stretch out on "Blues on Sunday" and "Up Comes Monday." Since there is less than half-an-hour of music here and nothing unexpected occurs, this is just an average outing, although it should please jazz organ fans. ~ by Scott Yanow, AMG.

This LP has been overlooked and seriously underrated as one of Smith’s better works. Regardless of its size it is well worth spinning a few times. Ripped from a well-loved vinyl, some areas suffer a few sound artifacts, but as a love potion it’ll do me. Enjoy!

Prestige Records, PRST 7482, 1967

Recorded 28^th September, 1966 at Van Gelder Studio, Englewood Cliffs, NJ

Personnel:

Johnny "Hammond" Smith - Organ

Virgil Jones - Trumpet

Gene Walker - Tenor Saxophone

Eddie Diehl - Guitar

John Harris - Drums

Track Listing:

A1. Love Potion #9 {Jerry Leiber, Mike Stoller} (2:52)

A2. A Taste Of Honey {Bobby Scott, Ric Marlow} (3:23)

A3. The Impossible Dream {Mitch Leigh, Joe Darion} (3:07)

A4. Blues On Sunday {Johnny "Hammond" Smith} (5:13)

B1. Sunny {Bobby Hebb} (3:10)

B2. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (3:38)

B3. Kimberly's Delight {Johnny "Hammond" Smith} (2:51)

B4. Up Comes Monday {Johnny "Hammond" Smith} (5:30)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Liner Notes - Christopher Peters (Jan. 1967)

Flow - Flow (1970) [vinyl>flac]

This group, originally from Ocala, Florida, is today minimally known for being the group in which he played Don Felder, before joining the group of country rock Eagles, although here not the same type of music. Felder on guitar, and Chuck Newcomb, on bass and vocals, were responsible for composing the songs of the only record they came to record. What we can hear here is, above all, a jazz rock, at times folk, other passages, Latin rhythms, more than anything by percussions, which helped in several good percussionists. In short is a jewel, has a quality, and that is, as you go listening, several times, it becomes quite attractive, it hooks you. In short, if you did not know it, and you are fond of this genre, you will not be disappointed. ~ Miguel Campoviejo [translated from Spanish]

One of only five LPs released in the CTI 1000 series while Creed Taylor was transitioning from A&M to start his own label and one of few rock-oriented albums to be put out by the label. It's also notable for being the project Don Felder left to join The Eagles, for whom he would compose their biggest hit, "Hotel California." Flow is a nice slice of jazzy, folky, West Coast style rock with some rootsy touches, including a Leadbelly cover. It's quite a creeper and grows on you after a few listens so definitely worth checking out if you're a fan of the genre. ~ Cheeba.

CTI Records, CTI 1003, 1970

Recorded 17^th & 18^th December, 1969 and 20^th January, 1970
At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

John Winter - Piano, Electric Piano, Organ, Harmonica, Tenor Sax, Soprano Sax, Flute

Don Felder - Guitar

Chuck Newcomb - Bass, Lead Vocals

Mike Barnett - Drums

Angel Allende, Johnny Pacheco - Percussion, Congas, Cowbell

Ed Shaughnessy - Percussion, Tabla

Tracks:

A1. Daddy {Chuck Newcomb} (3:36)

A2. Here We Are Again {Mike Barnett, John Winter} (6:51)

A3. Line'Em {Leadbelly, Arr. Flow} (2:48)

A4. Gotta Get Behind Your Trip {Chuck Newcomb, John Winter} (3:34)

A5. Chicken Farm {Mike Barnett, John Winter} (2:51)

B1. No Lack Of Room {Chuck Newcomb, Don Felder} (3:50)

B2. Summer's Gone {John Winter} (5:53)

B3. Mr. Invisible {Chuck Newcomb, John Winter} (4:00)

B4. Arlene {John Winter} (5:08)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Artwork - Tony Lane

Illustration - Mike Barnett

The Children of Mwandishi

Astrud Gilberto - Gilberto with Stanley Turrentine (1971)

An Indie Darling Before Her Time:
Quite Possibly The One Gilberto Album You Must Own

Astrud Gilberto With Stanley Turrentine is such a nice surprise; an overlooked "fan favorite" that's worth discovering. Released in 1971, it came nearly a decade after Gilberto's "Girl From Ipanema" heyday. But several factors make this album truly unique. First, it's the only album Gilberto made for the CTI label, after a long relationship with Verve. Secondly, on several tracks she's paired with the great saxophonist and then-labelmate Stanley Turrentine (why not?!?). And finally, the album was produced and arranged by schlock-jazz mastermind Deodato.

Put it all together and you have a fun, dreamy record that sounds oddly contemporary. Here, Deodato adds a pop flash that's lacking on Gilberto's more stately Verve material. This combination of cool reticence and clever, sometimes cloying melody has since become an indie template. And for good reason. "Wanting Things" and "Where There's a Heartache", the pair of Bacharach/David tunes which bookend the album, are airy, almost impressionistic swatches of atmosphere. "Brazilian Tapestry" is the album's high point, with Deodato's melodramatic flute/viola arrangement segueing into an effortless sigh of a chorus that finds Gilberto completely in her element. "Zazueira" is another uptempo delight that's driven along by Deodato's electric piano and Ron Carter's bass; "soulful" isn't a word that's often associated with Gilberto, but it applies here. Turrentine's energetic blasts add to the fun. The minor-key "Solo el fin (For All We Know)", on the other hand, finds Gilberto and her accompaniment in a suitably resigned, reflective mood. Gilberto's singing is markedly stronger than on her '60s material, though she'll never be mistaken for Billie Holliday.

Apparently, Gilberto wasn't so impressed with the material or arrangements; she walked out of the sessions before ...With Stanley Turrentine was completed. That explains the two instrumentals, a muzak version of Stephen Stills' "To a Flame" that not even Turrentine can enliven, and the slightly groovy "Vera Cruz", on which Deodato's piano takes Gilberto's place. And it's easy to understand why Gilberto was less than thrilled with the helplessly slight, Deodato-penned "Traveling Light" or a Spanish-language troll through the theme from Love Story. Of the three bonus tracks, only the lovely, playful, Deodato-less rendition of Harry Nilsson's "The Puppy Song" is a keeper.

As for this reissue, the remastered sound is crisp but not extremely warm, which suits the material. Original engineering by the legendary Rudy van Gelder can't have hurt. Despite that incongruity, it's sweet, slightly fey fare for those who prefer their music in pastels. ~ Extract by John Bergstrom, Popmatters.com.

CTI Records, CTI 6008, 1971

Sony Music Inc., 5127892, 2003

Recorded 13^th January, 1^st & 4^th February, 19^th March and 6^th April 1971

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Astrud Gilberto - Vocals

Eumir Deodato - Electric Piano

Stanley Turrentine - Tenor Saxophone (#2,5,6,8)

Toots Thielemans - Harmonica (#6,11)

Gene Bertoncini - Guitar (#1,3,4,7,10,12)

Sivuca - Guitar (#2,5,6,8)

Sam Brown - Electric Guitar (#1,2,5,6,8,12,13)

Bob Mann - Electric Guitar (#3,4,7,9,12)

Ron Carter - Bass (#1-3,5-8,11)

Russell George - Bass (#4,9-13)

João Palma - Drums (#1,3,7,12)

Dom Um Romão - Drums (#2,5,11)

Dennis Seiwell - Drums (#4,9,10,13)

Airto Moreira - Percussion (#2,5,11)

Hubert Laws, George Marge, Romeo Penque,
Jerome Richardson - Flutes (#2,5,7,8,10)

Paul Gershman, Emanuel Green, Julie Held, Harry Katzman,
Joe Malin, Gene Orloff - Violin (#1-5,7-10)

Harold Coletta - Viola (#1,2,4,7-10)

George Ricci - Cello (#1-5,7-10)

Tracks:

01. Wanting Things {Burt Bacharach, Hal David} (2:41)

02. Brazilian Tapestry {Mulher Rendeira} (5:16)

03. To A Flame [Instrumental] {Stephen Stills} (3:22)

04. Solo El Fin [For All We Know] {Robb Wilson, Arthur James, Kathleen Freed} (3:18)

05. Zazueira {Jorge Ben} (3:47)

06. Ponteio {Edu Lobo, Capinan} (3:43)

07. Traveling Light {Eumir Deodato, Martha Everett} (2:31)

08. Vera Cruz [Instrumental] {Milton Nascimento, Fernando Brant, Gene Lees} (5:12)

09. Historia De Amor [Love Story] {Francis Lai, Carl Sigman, Alfonso Alpin} (3:35)

10. When There's A Heartache [There Must Be A Heart] {Burt Bacharach, Hal David} (3:11)

11. Just Be You {Astrud Gilberto} (2:29) *

12. Puppy Song, The {Harry Nilsson} (3:21) *

13. Polytechnical High {Eumir Deodato, Martha Everett} (2:48) *

* Bonus Tracks [Previously Unreleased]

Credits:

Producer - Creed Taylor

Recording & Mastering Engineer – Rudy van Gelder

Arranger, Conductor - Eumir Deodato

Design [Album] - Bob Ciano

Photography [Cover] - Peter Turner

Photography [Liner] - Price Givens

Hank Crawford - We Got A Good Thing Going (1972)

Of Hank Crawford's somewhat erratic output for Kudu during 1971-78, this is the album to get. The Don Sebesky arrangements for strings and an oversized rhythm section fit Crawford's soulful style well and the altoist performs consistently strong material that was also commercially successful. Of the nine numbers, Crawford is heard at his best on "Imagination," "The Christmas Song," "Alone Again (Naturally)" (the definitive version of that pop standard), "I'm Just a Lucky So and So" and "Winter Wonderland. ~ by Scott Yanow, AMG.

Kudu Records, KU-08, 1972

Columbia Records, ZK 40820, 1987

Recorded 21^st & 28^th September and 10^th October, 1972
At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Hank Crawford - Alto Saxophone

Bob James - Electric Piano (#A4,A5,B3)

Richard Tee - Organ, Electric Piano

George Benson - Guitar

Cornell Dupree - Guitar (#A4,A5,B3,10,11)

Ron Carter - Bass

Gordon Edwards - Bass (#A1,B1)

Bernard "Pretty" Purdie - Drums

Phil Kraus - Bells, Vibraphone

Arthur Jenkins - Conga, Tambourine

Margaret Ross - Harp

Charles McCracken, George Ricci, George Ricci - Cello

Harold Coletta, Theodore Israel - Viola

Tracks:

A1. We Got A Good Thing Going {The Corporation} (5:59)

A2. Imagination {Jimmy Van Heusen, Johnny Burke} (3:10)

A3. Down To Earth {Avery Vandenberg, Ronald Miller, William O'Malley} (3:27)

A4. The Christmas Song {Mel Tormé} (3:43)

A5. Alone Again [Naturally] {Ray O'Sullivan} (3:35)

B1. I Don't Know {Bill Withers} (4:23)

B2. I'm Just A Lucky So And So {Duke Ellington} (6:55)

B3. Winter Wonderland {Dick Smith, Felix Bernard} (3:35)

B4. A Little Tear {Don Sebesky} (3:36)

Bonus Tracks CD:

10. Dirt Dobbler {Alfred Ellis} (3:35)

11. Betcha By Golly Wow {Thomas Bell, Linda Creed} (5:13)

12. This Is All I Ask {Gordon Jenkins} (3:44)

13. Jazz Bridge {Don Sebesky} 2:52)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Don Sebesky

Conductor, Arranger [Strings] - Bob James (#A3,A5,B1,B2,B3)

Design - Bob Ciano

Photography - Mort Mace

Notes:

Liner Notes, Reissue Producer - Didier C. Deutsch

Digitally Remastering - Larry Keyes, 1987 (CBS Studios, NYC)

Grover Washington, Jr. - Feels So Good (1975)

The aptly titled and much-sampled Feels So Good represents the creative apex of Grover Washington, Jr.'s sublime electric funk sound. Its shimmering, soulful grooves refute the argument that smooth jazz is little more than mere ambience, combining expert playing and intricate songwriting to create music that is both compelling and comforting. Arranger Bob James is in top form here, creating the spacious, rich milieus that are his trademark, but regardless of the name above the title, bassist Louis Johnson is the real star of the show. His supple rhythms percolate like coffee, adding oomph to the bottom of highlights "Hydra" and "Knucklehead" while Washington's cream-and-sugar soprano sax solos soar over the top. ~ by Jason Ankeny, AMG.

Kudu Records, KU-24 S1, 1975

Recorded May & July, 1975 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Grover Washington Jr. - Tenor & Soprano Saxophones

John Frosk, Jon Faddis, Randy Brecker, Bob Millikan - Trumpet, Flugelhorn

Barry Rogers - Trombone

Alan Ralph, Dave Taylor - Bass Trombone

Sid Weinberg - Oboe, English Horn

Bob James - Piano, Electric Piano, Synthesizer

Eric Gale - Guitar

Gary King - Bass (#A1-A3)

Louis Johnson - Bass (#B1,B2)

Steve Gadd - Drums (#A1,A2)

Kenneth "Spider Webb" Rice - Drums (#B1,B2)

Ralph MacDonald - Percussion

Charles McCracken, Seymour Barab - Cello

Alfred Brown, Manny Vardi - Viola

Barry Finclair, David Nadien, Emanuel Green, Guy Lumia,
Harry Lookofsky, Lewis Eley, Max Ellen, Raoul Poliakin - Violin

Tracks:

A1. The Sea Lion {Bob James} (5:57)

A2. Moonstreams {Grover Washington Jr.} (5:55)

A3. Knucklehead {Grover Washington Jr.} (7:59)

B1. It Feels So Good {Ralph MacDonald, William Salter} (8:19)

B2. Hydra {Grover Washington Jr.} (9:09)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger - Bob James

Photography - Alen MacWeeney

Art Direction & Design - Richard Mantel

Liner Note - Todd Barkan

Gene Ammons - The Black Cat! (1970) [re-rip>true flac]

One of Gene Ammons' best late-period albums, 1970's Black Cat is a bluesy, low-key album and a comparative anomaly: a primarily acoustic soul-jazz album! Ammons was experimenting heavily with the amplified, feedback-laced electric saxophone during this period, but for Black Cat he sticks to his familiar unamplified tenor, playing raunchy gutbucket lines over Ron Carter's warm, deep-toned bass, Idris Muhammad's laid-back drums, and Harold Mabern's twinkling piano (yes, piano, not the soul-jazz cliché Hammond organ). Most of the time, only guitarist George Freeman is plugged in, but even he plays with clean-toned restraint. The centerpiece tracks are the funky soul-jazz blues "Piece to Keep Away Evil Spirits" and the more danceable, groove-oriented "Jug Eyes," which would become two of Ammons' most popular tracks, but the surprises are a pair of pop covers, Gary White's "Long Long Time" (popularized by Melanie and Linda Ronstadt) and the Beatles' "Something." Most soul-jazz covers of pop songs sound like boring, uninspired feints towards radio airplay, but Ammons turns both of these melodic ballads into solo showcases for himself and Mabern that show off both players at their finest. ~ Stewart Mason, AMG.

Prestige Records, PRST 10006, 1971

Recorded 11^th November, 1970 at Van Gelder Studio, Englewood Cliffs, New Jersey

Track Listing:

A1. The Black Cat! {George Freeman} (5:34)

A2. Long Long Time {Gary White} (4:28)

A3. Piece To Keep Away Evil Spirits {Gene Easton} (7:48)

B1. Jug Eyes {Gene Ammons} (8:07)

B2. Something {George Harrison} (3:18)

B3. Hi Ruth! {Gene Ammons} (5:07)

Personnel:

Gene Ammons - Tenor Saxophone

Harold Mabern - Piano, Rhodes Piano (#A2,B2)

George Freeman - Guitar

Ron Carter - Bass

Idris Muhammad - Drums

Bill Fisher - Conductor [Strings] (#A2,B2)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Arranger - Bill Fisher (#A2,B2)

Design - Don Schlitten

Liner Notes - Harry Abraham, WHAM, N.Y. (January 1971)

One of the great funky albums that Gene Ammons cut for Prestige at the start of the 70s - quite different than his earlier work for the label, and a very different showcase for his tenor genius! The whole lineup here is amazing - a quintet that features heavy drums from Idris Muhammad, piano and Fender Rhodes from Harold Mabern, bass from Ron Carter, and some tremendously smoking guitar from the great George Freeman! Freeman goes nuts on the funky cut "The Black Cat" - and other tracks include "Jug Eyes", "Hi Ruth", "Something", and "Piece To Keep Away Evil Spirits". © Dusty Groove, Inc.

Archie Shepp - Body And Soul (1975) [vinyl>flac]

Another great LP by Archie Shepp when working in Rome, Italy in 1975.

HORO Records, HZ 10, 1978

Recorded 28^th September (#A2,B) and 16^th October (#A1), 1975 in Rome, Italy

Musicians:

Archie Shepp - Tenor Saxophone

Cicci Santucci - Trumpet (#A2)

Charles Greenlee - Trombone (#A2,B)

Irio De Paula - Guitar (#A1,A2)

Dave Burrell - Piano (#B)

David Williams - Bass (#B)

Alessio Urso - Bass (#A2)

Beaver Harris - Drums (#B)

Afonso Vieira - Drums (#A2)

------------------------------------------------------------------------------------

Tracks:

A1. Body And Soul {Johnny Green, Robert Sour, Edward Heyman, Frank Eyton} (8:19)

A2. Tropical {Irio De Paula, Alessio Urso, Afonso Viera} (8:46)

B. Dogon {Archie Shepp} (18:23)

Credits:

Producer - Aldo Sinesio

Assistant Producer - Gianni Gualberto

Recording Engineer - Raimondo Caruana (#A1-A2), Giorgio Loviscek (#B)

Cover Art - Maria Teresa Ortolan

Photography - Isio Saba

Liner Notes - Marco Cristostomi [Italian]

Note:

#A1 from Mariamar Session released on [Horo HZ 01]

#A2,B from the same session released as Jazz A Confronto [Horo HLL 101-27]

Nat Adderley - You, Baby (1968) [re-rip>true flac]

As Cannonball Adderley moved with the times in the late '60s, so did brother Nat on his own. While Adderley generally buys into Creed Taylor's A&M mixture of top-flight jazz talent, pop tunes and originals, and orchestrations packaged in bite-sized tracks, this album has its own pleasingly veiled yet soulful sound quite apart from its neighbors in the A&M/CTI series. Give credit to Adderley's successful use of a Varitone electronic attachment on his cornet, giving the horn an "electric blue" sound which he handles with marvelous rhythmic dexterity. Add Joe Zawinul's lively, funky electric piano from Cannonball's quintet, as well as the brooding, genuinely classically-inspired orchestrations of Bill Fischer that only use violas, cellos and flutes. While not always technically perfect, Adderley's solos have soul and substance; his brief, catchy bop licks on "Halftime" are some of the best he ever played and on Zawinul's "Early Minor," he evokes a sense of loneliness that Miles would have admired. A lovely intensely musical album, well worth seeking out. ~ Richard S. Ginell, All Music Guide.

A&M/CTI Records, LP 2005; SP 3005, 1968

Recorded on 26^th-28^th March & 4^th April, 1968 at Van Gelder Studio, New Jersey

Personnel:

Nat Adderley - Cornet

Joe Zawinul - Piano

Jerome Richardson - Flute, Soprano Saxophone

George Marge - Flute, Oboe

Romeo Penque - Flute

Harvey Estrin - Flute

Joe Soldo - Flute

Stewart Clarke - Viola

Bernard Zaslav - Viola

Al Brown - Viola

Charles McCracken - Cello

George Ricci - Cello

Alan Shulman - Cello

Ron Carter - Bass

Grady Tate - Drums

Track Listing:

A1. You, Baby {Ivy Hunter, Jack Goga, Jeffrey Bowen} (2:44)

A2. By The Time I Get To Phoenix {Jimmy Webb} (3:19)

A3. Electric Eel {Nat Adderley} (4:55)

A4. Early Chanson {Joe Zawinul} (2:23)

A5. Denise {Earl Turbinton} (3:56)

B1. Early Minor {Joe Zawinul} (3:43)

B2. My Son {Caiphus Semenya} (4:27)

B3. New Orleans {Nat Adderley} (4:18)

B3. Hang On In {Eric Knight} (3:30)

B4. Halftime {Julian Adderley, Nat Adderley} (2:36)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy Van Gelder

Arranger, Conductor - Bill Fischer

Photography - Pete Turner

Album Design - Sam Antupit

Liner Notes - Ira Gitler

Walter Bishop Jr. - Valley Land (1974) [vinyl>flac]

This album finds Walter Bishop Jr. in a trio setting. Here Bishop showcases his ability to play and interpret some of the more well-known jazz standards and to great effect. The highlight is the title track, one of his own compositions "Valley Land". Essentially, it is very much a standards trio album. All players are in good form and clearly state their mastery indicative of their years affiliated with the jazz scene. It is not his best album, but the listener gets to hear a well-versed trio playing some mighty fine tunes.

Muse Records, MR 5060, 1976

Recorded 30^th December, 1974

Personnel:

Walter Bishop Jr. - Piano

Sam Jones - Bass

Billy Hart – Drums

Tracks:

A1. Invitation {Bronislau Kaper} (8:35)

A2. Lush Life {Billy Strayhorn} (3:47)

A3. Sam's Blues {Sam Jones} (5:38)

B1. You Stepped Out Of A Dream {Nacio Herb Brown} (4:15)

B2. Valley Land {Walter Bishop Jr.} (5:41)

B3. Killer Joe {Benny Golson} (4:54)

B4. Make Someone Happy {Jule Styne} (4:28)

Credits:

Producer - Fred Norsworthy

Art Direction, Design and Photography - Hal Wilson

Liner Notes - Peter Keepnews

"It's all here in its purest, most unadulterated no-frills form. Put it on your turntable and prepare to take off" ~ Peter Keepnews, from Liner Notes.

Enrico Rava - Jazz A Confronto 14 (1974) [vinyl>flac]

HORO Records, HLL 101-14, 1974

Recorded 18^th November, 1974 at "Titania’s Studio" Rome, Italy

Musicians:

Enrico Rava - Trumpet

Massimo Urbani - Alto Saxophone

Calvin Hill - Drums

Nestor Astarita - Drums, Percussion

Tracks:

A1. Closer {Enrico Rava} (10:37)

A2. Maranhao {Enrico Rava} (7:08)

A3. Wrong Side {Enrico Rava} (5:25)

B1. Un Barco Hasta El Cielo {Enrico Rava} (10:41)

B2. Any Kind Of Birds {Enrico Rava} (6:33)

B3. Vento Rosso {Enrico Rava} (7:47)

Credits:

Producer - Aldo Sinesio

Assistant Producer - Roberto Gambuti

Engineer - Massimo Di Cicco

Cover Design - Piero Gratton

Photographs - Isio Saba

Morgana King - Portraits (1984) [vinyl>flac]

Competent set presenting actress/vocalist Morgana King doing jazz-oriented pop, standards, and ballads backed by a tight combo. She has good technique, delivery, and style; there is nothing innovative or particularly original about either the material or the performances, but they are thoroughly professional and often enjoyable. ~ by Ron Wynn, AMG.

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

When I was much younger, I asked a big question of a man named John Levy. The question was, "What is the essential ingredient for a musician to be great?" I have never forgotten his answer, which was, "To have your own sound." That answer has worn well with me over the years. Morgana King is the epitome of this criteria and it is a joy always to hear great quality which is instantly identifiable. She indeed has her own sound in the best sense of this concept. ~ by Bill Evans; extract from Liner Notes.

Muse Records, MR 5301, 1984

Recorded 19^th & 21^st October, 1983 At Songshop, New York City

Tracks:

A1. What's Going On?,  Save The Children {Al Cleveland, Marvin Gaye, Renaldo Benson} (5:49)

A2. You Go To My Head {Haven Gillespie, J. Fred Coots} (3:27)

A3. Moment Of Truth {Frank Scott, Tex Satterwhite} (3:24)

A4. Time Was [Duerme] {Anna Sosenko} (3:37)

B1. Send In The Clowns {Stephen Sondheim} (3:10)

B2. Lush Life {Billy Strayhorn} (4:09)

B3. You're Not The Kind {Irving Mills, Will Hudson} (3:44)

B4. If You Could See Me Now {Carl Sigman, Tadd Dameron} (5:47)

Personnel:

Morgana King - Vocals

Ben Aronov - Keyboards

Clifford Carter - Synthesizer

Joe Puma - Guitar

Art Koenig - Bass

Jay Leonhart - Bass (#A2,B2)

Ed Caccavale - Drums

John Kaye - Percussion

Credits:

Producer - Chuck Irwin, Mitch Farber

Executive Producer - Morgana King

Engineer - Chuck Irwin, John Tamburello, Wayne Vlcan

Mastering Engineer - Joe Brescio, The Cutting Room, NYC

Album Design - Ron Warwell

Album Photography - Arthur Paxton

Liner Notes - Bill Evans

Johnny Griffin - Jazz A Confronto 10 (1974) [re-rip>true flac]

On this LP Griffin is featured in a quartet backed by renowned Italian pianist Franco D'Andrea, bassist Giovanni Tommaso and drummer Bruno Biriaco. This album is his only collaboration with D'Andrea, despite spending a number of years on the continent. It's a rhythm section that swings beautifully and remains tight, qualities essential to provide the necessary background to Griffin's playing. However not only do the Italian musicians support his work well their own solos are very effective and are an additional source of interest for this album. Above all the style of Franco D'Andrea and his Trio is very distinct compared with other groups Griffin led whilst in Europe. According to all available discographies this album is the only existing testimony of his playing during all of 1974. The bulk of his European dates were set around 1973 and the recordings held at the Jazzhus Monmartre in Denmark are of great interest to aficionados. The LP consists of two fiery numbers and two slower ballads. Three of the compositions are penned by Griffin; "Keep Going" is written by Giovanni Tommaso. In all this album further demonstrates a master tenorman at work, so give it a spin.

HORO Records, HLL 101-10, 1974

Recorded 7th April, 1974 at “Titania’s Studio”, Rome, Italy

Tracks:

A1. Music Inn Blues {Johnny Griffin} (8:34)

A2. For The Love Of {Johnny Griffin} (8:01)

B1. Always Forever {Johnny Griffin} (7:06)

B2. Keep Going {Giovanni Tommaso} (11:52)

Personnel:

Johnny Griffin - Tenor Saxophone

Franco D'Andrea - Piano

Giovanni Tommaso - Bass

Bruno Biriaco - Drums

Credits:

Director - Andrea Camilleri

Sound Engineer - Massimo di Cicco

Graphic Design - Giorgio Spadanuda

Photos - Ennio Antonangeli

Liner Notes - Marcello Piras

Morgana King - Higher Ground (1980) [vinyl>flac]

Morgana King (born June 4, 1930) is an American jazz singer and actress. King was born Maria Grazia Morgana Messina in Pleasantville, New York. Her parents were from Fiumefreddo di Sicilia, Province of Catania, Sicily, Italy. She grew up in New York City. At age 16 she developed a love for big bands and as a result of her exposure she began a professional singing career along with receiving a scholarship to the Metropolitan School of Music. Historically when she sang in a Greenwich Village nightclub in 1953, a record label executive took interest after being impressed with the unique phrasing and multi-octave range. Three years later in 1956, her first album, For You, For Me, For Evermore, was released. In 1977 she signed up with Muse Records producing nine albums in all. Higher Ground is Morgana's third LP on Muse. As with her previous LP's King surrounds herself with a bunch of fine musicians and sets about interpreting a broad range of tunes of both pop and jazz standard derivation. Overall a fine outing for a great songstress, Enjoy!

Muse Records, MR 5224, 1980

Recorded 16^th May, 1979 At CI Recording Studio, New York City

Personnel:

Morgana King - Vocals

Ben Aronov - Piano

Jack Wilkins - Guitar

Art Koenig - Bass

Eddie Caccavale - Drums

Ray Mantilla - Percussion

Tracks:

A1. Feel Like Flying {Gino Vanelli} (4:04)

Medley (5:01)

A2a. The One I Love Belongs To Somebody Else {Isham Jones, Gus Kahn}

A2b. You're Driving Me Crazy {Walter Donaldson}

A3. What Is This Thing Called Love {Cole Porter} (3:53)

A4. You Can't Hide Love {Skip Scarborough} (3:33)

B1. Higher Ground {Stevie Wonder} (3:50)

B2. The Long And Winding Road, Golden Slumbers {Paul McCartney, John Lennon} (3:20)

B3. You Stepped Out Of A Dream {Gus Kahn, Nacio Herb Brown} (4:42)

Medley (5:12)

B4a. When I Fall In Love {Victor Young, Edward Heyman}

B4b. Teach Me Tonight {Gene DePaul, Sammy Cahn}

Credits:

Producer - Mitch Farber

Recording Engineer - Chuck Irwin

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

Photography, Cover Design - Bobi Pierce

Liner Notes - Joe Fields

PAUL GONSALVES - CLEOPATRA FEELIN' JAZZY - 1963 VINYL

1963

Impulse AS-41

My Vinyl Rip + Front & Back Covers
DR Value 13

WAVE

Tenor saxophonist Paul Gonsalves casts the Egyptian queen's life in a jazz set of originals and Alex North movie themes. One of just two dates Gonsalves did for Impulse and part of an all-too-thin solo catalog, Cleopatra -- Feelin' Jazzy finds the famed Ellington soloist in the prime company of hard boppers like pianist Hank Jones, organist Dick Hyman, guitarist Kenny Burrell, bassist George Duvivier, and drummer Roy Haynes. The band shines throughout, with Hyman's organ adding exotic film theater ambience on the two North cuts that kick off the album. Switching over to more straightforward fare, Gonsalves and company stretch out on Burrell's "Bluz for Liz" (read Elizabeth Taylor, one of the leads in the movie) and Ellington's "Action in Alexandria." The album's conceptual framework is maintained on standouts like "Cleo's Asp," Burrell's second piece here, and the Manny Albam blues ballad "Cleopatra's Lament." Gonsalves impresses with both complexly swinging solos and breathy ballad statements. A very fine effort by one of the unsung giants of jazz....Stephen Cook All Music

The Tracks:

01 Caesar & Cleopatra / 02 Anthony & Cleopatra Theme / 03 Bluz For Liz / 04 Cleo's Blues / 05 Action In Alexanderia / 06 Cleo's Asp / 07 Cleopatra's Lament