David "Fathead" Newman - The Many Facets Of David Newman (1969) [re-rip]

This set along with "Bigger & Better" from 1968 'are among tenor-saxophonist David "Fathead" Newman's more commercial efforts. The Many Facets of David Newman is less poppish and more blues-oriented with the lengthy "Children of Abraham" showing some passion.' According to Mr. Yanow he states that 'overall the material is rather weak and has not aged very well. Skip this set in favor of Newman's more recent efforts.' However, I am not sure he truly listened to this album. Even though he did make mention of "Children of Abraham" there is still some great playing and artistry going down across many other tunes found on this LP. Listen with an open mind and judge for yourselves. Enjoy!

Atlantic Records, SD 1524, 1969

Recorded 7/03/68 (#A2,B2,B3); 2/12/68 (#A1,B1); 3/12/68 (#A3);
4/12/68 (#B4) and 11/2/69 (#A4) in New York City

Personnel:

David "Fathead" Newman - Alto, Tenor & Soprano Saxophones, Flute

Seldon Powell - Tenor Saxophone

Haywood Henry, Jerome Richardson - Baritone Saxophone

Melvin Lastie, Joe Newman, Jimmy Owens, Ernie Royal - Trumpet

Bennie Powell - Trombone

Paul Ingram, Julius Watkins - French Horn

Jack Knitzer - Oboe

Gene Orloff, Emanuel Green, Leo Kruczek, Richard Elias, Leo Kahn - Violin

Selwart Clarke, Alfred Brown - Viola

Kermit Moore - Cello

Joe Zawinul, George Stubbs - Piano

Billy Butler, Eric Gale - Guitar

Richard Davis, Ron Carter - Acoustic Bass

Chuck Rainey - Electric Bass

Bernard Purdie, Bruno Carr - Drums

Omar Clay - Percussion

Tracks:

A1. Shiloh {David "Fathead" Newman} (4:29)

A2. We're A Winner {Curtis Mayfield} (3:06)

A3. Children Of Abraham {William Fischer} (10:06)

A4. Headstart {David "Fathead" Newman} (2:53)

B1. Chained No More {David "Fathead" Newman} (6:23)

B2. The Funky Way To Treat Somebody {Calvin Arnold} (3:05)

B3. Sylvia {Henry Cosby, Stevie Wonder, Sylvia Moy} (3:17)

B4. That's All {Alan Brandt, Bob Haymes} (6:11)

Credits:

Producer - Joel Dorn

Recording Engineer - Adrian Barber, Bruce Tergesen, William Arlt

Arranger - Arif Mardin (#A2,B2,B3), David "Fathead" Newman (#A1,A4), William Fischer (#A3,B1,B4)

Dick Griffin - The Eighth Wonder (1974)

Trombonist Dick Griffin's big, hearty sound has been a well-defined asset in any of the musical buffets he has taken part in during his long career. Whether part of a James Brown horn section or a small modern jazz band, Griffin's trombone is a steaming dish - if it was literally part of a smorgasbord spread there would always be several hungry customers lined up behind it, ladles ready. Jazz buffs wanted to dig right in when the trombonist served up his own album for the Strata-East co-operative label in the '70s, but the result was more like a stew that is not fully cooked at mealtime. By the time this one gets to full boil, many of the guests have gone home and hit the hay, to continue the analogy. When Sam Rivers takes off on a tenor solo during "Flying Back Home," the listener does the usual standing at attention, ears cocked, that is a required part of experiencing a Rivers solo. Yet by this time the record has already been flipped, it is only a bit more than ten minutes until the whole thing is over, and worst of all, the Rivers fan has already contemplated in sullen sadness why the first side went by without much more than a few peeps from the man. Bassist Cecil McBee does get in one of his gorgeous bass solos on the first side. He is part of an exceptional rhythm section partly made up of Griffin associates from Rahsaan Roland Kirk's Vibration Society. Kirk would never had let the first side of one of his albums drag so badly, despite his love of ballads. He would have known when enough was enough in terms of a beautiful sound and would have made an effort to shake things up. In many ways "The Eighth Wonder" shows that Griffin's greatest abilities may not be as a bandleader; the recorded sound and technical execution is as flawless as the multi-phonic chops he displays when the needle first hits, but there isn't much sign of the expressive drive that makes the music of many of Griffin's employers over the years so compelling. ~ Extract by Eugene Chadbourne, AMG.

Strata-East Records, SES-19747, 1974

Musicians:

Dick Griffin - Trombone

Sam Rivers - Tenor Saxophone, Soprano Saxophone, Flute

Warren Smith - Vibraphone, Percussion

Ron Burton - Piano

Cecil McBee - Bass

Freddie Waits - Drums

Leopolodo F. Fleming - Percussion, Congas, Bells

Tracks:

A1. Eighth Wonder (5:59)

A2. It Could Be     (6:50)

A3. Girl, I Really Love You So (6:43)

B1. Jakubu's Dance (4:07)

B2. Flying Back Home (8:21)

B3. Come Be With Me (9:31)

All Compositions and Arrangements by Dick Griffin

Credits:

Producer, Arranger, Composer, Liner Notes - Dick Griffin

Recording Engineer - Rudy Cotman

Photography [Front Cover] - Clarence Eastman

Grover Washington, Jr. - Inner City Blues (1971) [vinyl]

This 1971 date was Washington's first as a leader, after playing and recording with the small organ combos of Charles Earland and Johnny "Hammond" Smith. It's unheard-of for a jazz musician to make his debut complete with strings, horns, and vocal group, but Washington apparently got the opportunity when the backing tracks were in place for a Hank Crawford album and Crawford was out of the country. Stranger still, Washington is usually playing alto here rather than his customary soprano or tenor. It was an instrument he hadn't played in years, and the result of his horn switching is a compellingly original sound that's almost soprano-like. Despite the circumstances, Washington brings a lot of himself to this music, making personal statements of two contemporary Marvin Gaye songs, "Inner City Blues" and "Mercy, Mercy Me," and the standards "Georgia on My Mind" and "I Loves You, Porgy." He also puts together an effective combination of Bill Withers's "Ain't No Sunshine" and J.J. Johnson's "Theme from Man and Boy." Whether it's the tight combo of "Inner City Blues" or the full-blown orchestra with strings and backing vocals, this is soul jazz of the first rank. ~ Adam Rains.

Kudu Records, KU-03, 1971

Recorded September, 1971 at Van Gelder Studios, Englewood Cliffs, New Jersey

Musicians:

Grover Washington, Jr. - Alto & Tenor Saxophones

Thad Jones - Trumpet, French Horn

Eugene Young - Trumpet, Flugelhorn

Wayne Andre - Trombone

Don Ashworth - Baritone Saxophone

Bob James - Electric Piano

Richard Tee - Organ

Eric Gale - Guitar

Don Ashworth, Ron Carter - Bass

Idris Muhammad - Drums

Airto Moreira - Percussion

Strings:

Alan Shulman, Anthony Sophos, Charles McCracken, Maurice Brown - Cello

Harry Katzman, Julius Brand, Julius Held, Leo Kahn, Max Pollikoff, Paul Gershman, Paul Winter, Raoul Poliakin - Violin

Vocals:

Hilda Harris, Maretha Stewart, Marilyn Jackson, Tasha Thomas

Tracks:

A1. Inner City Blues {Marvin Gaye} (7:10)

A2. Georgia On My Mind {Hoagy Carmichael, Stuart Gorrell} (4:39)

A3. Mercy Mercy Me [The Ecology] {Marvin Gaye} (5:06)

B1. Ain't No Sunshine {Bill Withers} / Better Days {J.J. Johnson} (8:33)

B2. Until It's Time For You To Go {Buffy Sainte-Marie} (4:36)

B3. I Loves You Porgy {DuBose Heyward, George & Ira Gershwin} (5:06)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Bob James

Design [Album] - Bob Ciano

Photography - Steve Salmieri

This is one of Grover Washington Jr.'s finest, yet funky, and complex works. Creed Taylor (a musical magician) had obviously been an inspiration as a producer. In Grover's later works, it shows. This one is so very soulfully deep, it is not to be missed for any Grover collector! ~ Beverly P, Amazon.

This is vintage Grover Washington in all his melodic genius and mellow tones. Grover's soulful style and creative riffs will entice new listeners to this genre as it continues to amaze and delight longtime jazz and soul fans since it's release in 1971. ~ Nora Rellihcs, Amazon

Pat Bowie with Charles McPherson - Feelin' Good! (1965) [vinyl]

Like its predecessor, Out of Sight!, Feelin' Good! saddles Pat Bowie with a collection of predictable standards that compromise the singer's distinctly modern and hip approach. Unlike its predecessor, the session features contributions from altoist Charles McPherson, one of his few dates in support of a vocalist, and McPherson's rich solos ripple below the lyrics, caressing the contours of Bowie's voice. Pianist Tommy Flanagan, bassist Al Hall, and drummer Osie Johnson further underscore the set's moody, spacious approach, updating chestnuts like "Summertime" and "They Can't Take That Away from Me" with style and sophistication. ~ by Jason Ankeny, AMG.

Prestige Records, PR 7437, 1965

Recorded 7^th (#A1-A4,B5) & 9^th (#A5,B1-B4) September, 1965
At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Pat Bowie - Vocals

Charles McPherson - Alto Saxophone

Tommy Flanagan - Piano

Al Hall - Bass

Osie Johnson - Drums

Tracks:

A1. Baby Won't You Please Come Home {Charles Warfield, Clarence Williams} (2:15)

A2. Since I Fell For You {Buddy Johnson} (3:42)

A3. They Can't Take That Away From Me {George Gershwin, Ira Gershwin} (3:42)

A4. You Don't Know What Love Is {Gene DePaul, Don Raye} (3:47)

A5. Summertime {George Gershwin, Ira Gershwin, DuBose Heyward} (3:35)

B1. Why Don't You Do Right? {Kansas Joe McCoy} (3:42)

B2. Wonder Why {Nicholas Brodszky, Sammy Cahn} (4:07)

B3. I Wanna Be Loved {John Green, Billy Rose} (3:45)

B4. Look Down That Lonesome Road {Nathaniel Shilkret, Gene Austin} (3:07)

B5. Feeling Good {Anthony Newley, Leslie Bricusse} (4:11)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design, Photography - Don Schlitten

Liner Notes - Jack Yard (Dec. 1965)

Pat Bowie - Out Of Sight! (1965) [re-rip]

This LP is the first of two albums that Pat Bowie ever made. It was released on Prestige Records in 1965 and features a mighty line-up of jazz artists including: Seldon Powell on Tenor Sax & Flute; Guitarist Kenny Burrell; Ray Bryant on Piano; Milt Hinton on bass and drummer Osie Johnson. Pat performs a broad and vivid selection of tunes and the players get ample opportunity to showcase their talents whilst supporting her dynamic range of soulful vocalisations. Overall a lovely record; it's such a pity she didn't maintain her momentum and evolve her skills beyond just familiar ballads and standards, who knows how celebrated she could have become. Enjoy!

Prestige Records, PR 7385, 1965

Recorded 23^rd, 26^th & 27^th October, 1964 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Pat Bowie - Vocals

Seldon Powell - Tenor Saxophone, Flute

Kenny Burrell - Guitar

Ray Bryant - Piano

Milt Hinton - Bass

Osie Johnson - Drums

Track Listing:

A1. Get Out Of Town {Cole Porter} (1:59)

A2. Lilac Wine {James H. Shelton} (5:05)

A3. Don't Cha Go 'Way Mad {Al Stillman, Illinois Jacquet, James J. Munday} (2:30)

A4. Will I Find My Love Today {Alex Fogarty, Sydney Shaw} (4:02)

A5. Joey, Joey, Joey {Frank Loesser} (3:05)

B1. Moon And Sand {Alec Wilder, Morty Palitz, William Engvick} (2:29)

B2. The Music That Makes Me Dance {Bob Merrill, Jule Styne} (2:57)

B3. What Is This Thing Called Love {Cole Porter} (3:18)

B4. I'm Afraid The Masquerade Is Over {Allie Wrubel, Herbert Magidson} (4:26)

B5. The Sounds Of The Night {Gerald Fried, Johnny Mercer} (3:08)

B6. I've Got Your Number {Carolyn Leigh, Cy Coleman} (2:46)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Liner Notes - Jack McKinney (Jan. 1965)

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)

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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.