George Freeman - Franticdiagnosis (1972)

A legendary bit of funk - and a killer record from one of the most unique guitarists ever! George Freeman's got a sound and a style unlike any other player we can think of - an approach to funky guitar that's often got a really hard touch on the strings, and which gets nice and noisy at the best funky moments. Freeman's probably best known for the few obscure records he cut with Groove Holmes, but this album's his out and out masterpiece - a rare one-off session cut in the funky Philly scene and supervised by DJ Sonny Hopson - and featuring a rare mix of players that includes Caesar Frazier on organ and Charles Earland on Arp! The mix of organ and Arp is really incredible - especially on the side-long jammer "Franticdiagnosis", which runs for nearly 20 minutes, and is one of the most messed-up funky jazz jams of the 70s! Other players include Von Freeman on tenor sax and Dave Hubbard on alto flute - and the album features the legendary jazz dance track "The Bump", plus the cuts "Free-Man" and "God Bless The Child". © Dusty Groove, Inc.

Bam-Boo Records, GR003, 1972

Bam-Boo/Shout, SHOUT-241, 2013

Recorded At Media Sound Studios, Electric Lady Studios, New York

Musicians:

George Freeman - Guitar

Von Freeman - Tenor Saxophone

Dave Hubbard - Alto Flute

Caesar Frazier - Organ

Charles Earland - ARP Synthesizer

Gary Jenkins - Drums

Eddie Moore - Bass Drum, Cymbal

Donald Rivers - Percussion, Gores, Cowbell, Tambourine

Billy Connors - Congas

Tracks:

1. Franticdiagnosis {George Freeman} (19:16)

2. The Bump {George Freeman} (7:56)

3. Free-Man {George Freeman} (8:22)

4. God Bless The Child {Billie Holiday} (5:22)

Credits:

Producer - Sonny Hopson

Assistant Producer - Beverley Whitehead

Arranger - George Freeman

Cover Design - Lewis Buo Anderson

Cover Model - Paulete George

Charles Earland - Ready 'N Able (1995)

Another fine album from Charles Earland. His hard, simmering grooves earned him the nickname "The Mighty Burner" and burn he does. Joined by the mega stars Lew Soloff on trumpet and the masterful tenor sax player Eric Alexander this album hits another level within his Muse discography. Also, on board is the bounding guitarist Dave Sampson a great match to Earland’s pulsating organ and combined with effective drummer Vince Ector and percussionist Gary Frite this album drives the listener hard for just over 53 mins. Charles is in top form and showcases five of his own tunes and three others including the title track “Ready “N Able” by Jimmy Smith. Throughout there are some exceptional solos, Enjoy!

Muse Records, MCD 5499, 1995

Recorded 1^st January, 1995 At Van Gelder Studio, Englewood Cliffs, NJ

Musicians:

Charles Earland - Organ [Hammond B-3]

Lew Soloff - Trumpet

Eric Alexander - Tenor Saxophone

Dave Sampson - Guitar

Vince Ector - Drums

Gary Frite - Percussion

Tracks:

1. Ready 'N Able {Jimmy Smith} (5:52)

2. Free [Wanna Be Free] {Charles Earland} (8:54)

3. Nick Of Time {Bonnie Raitt} (6:14)

4. Sheila's Dream {Charles Earland} (6:49)

5. I'm Rudy's Blues {Charles Earland} (4:57)

6. Always And Forever {Rod Temperton} (6:14)

7. Knee Deep {Charles Earland} (7:55)

8. Giving Praise {Charles Earland} (6:19)

Credits:

Producer - Charles Earland

Recording Engineer - Rudy van Gelder

Cover Photo [Zandra] - Fred Flint

Art Direction and Design - Hal Wilson

JazzTimes (11/96, p.99) - "...a solid recording of classic combo swing. Earland's vibrant organ tones and thundering bass pedals swing and swoon..." ~ cduniverse.com

Ray Bryant - In The Cut (1974) [vinyl>flac]

Recorded in 1974, Ray Bryant's In the Cut is the one recording in his career that stands out from all the others - not necessarily because it is the best thing he ever cut, but because it is unlike anything in his vast oeuvre. Bryant and producer Esmond Edwards set out to make a contemporary album while the great pianist was with Cadet. No solo, no trio, no quartet - this time out, Bryant's In the Cut is recorded with a full-on big band playing everything from contemporary soul tunes (such as the Jacksons' "I'll Be There," which opens this remarkable offering) to his own hard bop blues numbers such as "Cool Struttin'" and the title track to tough line-punchers like Herbie Hancock's "Watermelon Man." The entire Cadet house band was involved in this baby, including Charles Stepney, who did all the horn and, yes, string arrangements (and plays some synth, too). Bryant also plays a fair amount of electric piano here, and is accompanied by, among others, guitarists Jimmy Ponder and John Tropea, bassists Stanley Clarke and Ron Carter, drummer Jimmy Johnson, percussionist and conguero Montego Joe, trumpeters Marvin Stamm and Joe Wilder, and George Marge on tenor, flute, and oboe. The sound of In the Cut is literally startling. Bryant's trademark gait on the piano is immediate from the very opening bars of "I'll Be There." When the horns enter full-force, it's a new sound world - disorienting, yes, especially if you can't let yourself get beyond what Bryant's "normal" m.o. is. But the groove - gentle, soulful, and pronounced - is everywhere in these tracks. ~ Extract by Thom Jurek, AMG.

Cadet Records, CA 50052, 1974

Recorded At Sound Exchange Studios and A&R Studios, New York City

Mastered At Sterling Sound, New York City

Musicians:

Ray Bryant - Piano, Electric Piano

Joe Wilder - Trumpet (#A1,A3-B3)

Marvin Stamm - Trumpet (#A1,A3-B3)

George Marge - Flute, Tenor Saxophone, Oboe (#A1,A3-B3)

Charles Stepney - Synthesizer [Moog] (#A1-A3,B1), Arranger [Strings & Horns]

Jimmy Ponder - Guitar [Soloist] (#A2)

John Tropea - Guitar, Acoustic Guitar (#A2)

Margaret Ross - Harp (#A1,A3-B3)

Richard Davis - Bass (#A1)

Ron Carter - Bass (#A2,A4))

Stanley Clarke - Bass (#A3,B1-B3)

Jimmy Johnson - Drums

Montego Joe - Congas

Alfred Brown, Emanuel Vardi, Julian Barber, Selart Clarke, Theodore Israel - Viola (#A1,A3-B3)

Diana Halprin, Emanuel Green, Harry Glickman, Max Polikoff, Paul Gershman - Violin (#A1,A3-B3)

Tracks:

A1. I'll Be There {Bob West, Hal Davis, Willie Hutch, Berry Gordy, Jr.} (4:59)

A2. Andalusan Nights {Esmond Edwards} (4:45)

A3. Stop, Look & Listen To Your Heart/You Are Everything {Thom Bell, Linda Creed} (6:47)

A4. Cool Struttin' {Ray Bryant} (4:44)

B1. Land Of Make Believe {Chuck Mangione} (5:41)

B2. In The Cut {Ray Bryant} (6:16)

B3. Watermelon Man {Herbie Hancock} (4:53)

Credits:

Producer - Esmond Edwards

Production Supervision - Bob Scerbo

Album Co-ordination - Gwen Williams

Engineer - Skip Juried (Sound Exchange Studios, NYC)

Engineer - Don Hahn (A&R Studios, NYC)

Art Direction - Neil Terk

Photography - P.B. Kaplan

Ray Bryant And His Combo - Dancing The Big Twist (1960) [re-rip]

This Ray Bryant album was released on Columbia Records in 1961. Dancing The Big Twist is basically an album of novelty tunes with a twist theme, including "Twist City," "Twistin' On A Cat's Paw," and "Do That Twist." This session will appeal to those who favour Bryant's dance hit of the era, "MadisonTime."

Columbia Records, CS 8546, 1961

Musicians:

Ray Bryant - Piano

Harry Edison - Trumpet (#B3)

Joe Newman - Trumpet (#A1-B2,B4)

Pat Jenkins - Trumpet (#A1-B2,B4)

Matthew Gee - Trombone (#A1-B2,B4)

Buddy Tate - Tenor Saxophone (#A1-B2,B4)

Ben Richardson - Baritone Saxophone (#B3)

Jimmy Rowser - Bass (#A1-B2,B4)

Bill Lee - Bass (#B3)

Mickey Roker - Drums (#A1-B2,B4)

Gus Johnson - Drums (#B3)

Ray Barretto - Bongos, Scraper (#B3)

Don Covay - Vocals (#A2)

Tracks:

A1. Twist City {Matthew Gee} (5:44)

A2. Just A Little Bit Of Twist {Don Covay} (2:47)

A3. Big Susie {Ray Bryant} (5:21)

A4. Twist On {Ray Bryant} (4:45)

B1. Twistin' On A Cat's Paw {Buddy Tate} (5:00)

B2. Mo-Lasses {Joe Newman} (5:16)

B3. Fast Twist {Harry Edison, Ray Bryant} (2:16)

B4. Do That Twist [Early In The Morning] {Matthew Gee} (5:32)

Credits:

Producer, Liner Notes - John Hammond

Ray Bryant Combo - Madison Time (1960) [re-rip]

Madison Time is an album recorded by American jazz pianist Ray Bryant recorded in 1959 and 1960 for the Columbia label. The album was released following the success of the Madison dance craze single "The Madison Time" which reached number 30 on the Billboard chart and number 5 on the R&B chart. The single also featured in the soundtrack to the 1988 film Hairspray.

Columbia Records, CL 1476, 1960

Recorded 16^th March, 1959 (#A1,A2); 20^th March, 1960 (#A3,B3,B4) and 12^th July, 1960 (#A4-B2) in New York City

Musicians:

Ray Bryant - Piano

Harry Edison - Trumpet

Urbie Green - Trombone (#A1,A2)

Benny Morton - Trombone (#A3,B3,B4)

Al Grey - Trombone (#A4,A5,B1,B2)

Buddy Tate - Tenor Saxophone

Tommy Bryant - Bass

Bill English - Drums (#A1,A2)

Jimmy Griffin - Drums (#A3,B3,B4)

Dave Pochonet [Gérard Pochonet] - Drums (#A4,A5,B1,B2)

Eddie Morrison - Caller (#A1,A4,B1)

Tracks:

A1. The Madison Time, Part I {Eddie Morrison, Ray Bryant} (3:01)

A2. The Madison Time, Part II {Eddie Morrison, Ray Bryant} (2:44)

A3. Centerpiece {Harry Edison} (4:14)

A4. Split T, Part I {Ray Bryant} (3:55)

A5. Split T, Part II {Ray Bryant} (5:11)

B1. Hit It!, Part I {Ray Bryant} (3:14)

B2. Hit It!, Part II {Ray Bryant} (4:02)

B3. Young Buddy {Ray Bryant} (3:54)

B4. The Huckle-Buck {Andy Gibson, Roy Alfred} (4:59)

Budd Johnson with Joe Newman - Off The Wall (1964) [vinyl>flac]

A great little album from tenor legend Budd Johnson - and a record that nicely updates his sound by pairing him with a hip 60s-styled group! The album's got a jaunty feel that's like the best soul jazz sessions on Impulse at the time - taking Budd's tenor and placing it next to trumpet by Joe Newman, piano by Albert Dailey, bass from Richard Davis, and drums by Grady Tate. Upbeat tracks bounce along in a swinging take on mainstream soul jazz - and the mellower cuts feature some really wonderful blowing from Budd - done with a raspy tone that's got a nice earthy quality! Includes the jazz dancer "Off The Wall", the samba-styled "Strange Music", a snapping take on "Baubles Bangles & Beads", and the syncopated groover "Playin' My Hunch". ~ The Jazz Cooperative

Personally, alongside Ya! Ya! this one of my favourite Budd LPs. Having Joe Newman on board really opens up the music. Budd alone plays beautifully right-throughout; Newman’s solos are sharp and exhilarating. As for Albert Dailey his piano work it is par excellence. Not to overlook the rhythm men, some haunting bass lines and unswerving drumming, all add to this album’s appeal. One complaint is that it’s not long enough, but always pure pleasure with additional spins, enjoy you’ll be jumping 'Off The Wall".

Argo Records, LPS-748, 1965

Recorded 3^rd December, 1964 At RCA Recording Studios, New York City

Musicians:

Budd Johnson - Tenor Saxophone

Joe Newman - Trumpet

Al Dailey, Jr. - Piano

Richard Davis - Bass (#A1,A2,B3,B4)

George Duvivier - Bass (#A3,B1,B2)

Grady Tate - Drums

Tracks:

1. Off The Wall {Budd Johnson} (4:55)

2. The Folks Who Live On The Hill {Jerome Kern, Oscar Hammerstein II} (5:09)

3. Love Is The Sweetest Thing {Ray Noble} (7:14)

4. Strange Music {Robert Wright, George Forrest} (3:47)

5. Baubles, Bangles, And Beads {George Forrest, Robert Wright} (5:50)

6. Ill Wind {Harold Arlen, Ted Koehler} (4:51)

7. Playin' My Hunch {Budd Johnson} (4:58)

Credits:

Producer, Cover Photo - Esmond Edwards

Engineer - Ray Hall

Cover Design - Don Bronstein

Liner Notes - Joe Segal

Charles Earland - Unforgettable (1991)

Charles Earland is definitely a survivor. The Hammond hero had lost his first wife to cancer when he made a triumphant return to soul-jazz in the late '80s, and he had recovered from a major heart attack when he recorded the appropriately titled Unforgettable. Earland was in the Intensive Care Unit in August 1991, and by December 1991, was back in the studio to record this superb and varied CD. The Philadelphian stressed that he was lucky to be alive, and he celebrates his survival with imaginative interpretations of everything from Joe Henderson's The Kicker to Nat King Cole's Unforgettable (which he takes a medium speed instead of its usual ballad tempo) to Santana's Europa. Earland has consistently demonstrated that commercial appeal and accessibility can go hand-in-hand with musical integrity, and Unforgettable is one of many fine examples. ~ Alex Henderson, AMG.

Muse Records, MCD-5455, 1992

Recorded 6^th December, 1991 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Charles Earland - Organ

Kenny Rampton - Trumpet

Clifford Adams - Trombone

Eric Alexander - Soprano & Tenor Saxophones

Houston Person - Tenor Saxophone (#1,5,7)

Oliver Nevels - Guitar

Gregory Williams - Drums (#1,2,5)

Buddy Williams - Drums (#3,4,6,7)

Larry Killian - Percussion

Tracks:

1. Unforgettable {Gordon} (5:26)

2. Europa [Earth's Cry, Heaven's Smile] {Santana} (12:49)

3. Sheila {Earland} (6:32)

4. Commitment To Love {Earland} (5:46)

5. Heart Attack {Earland} (4:52)

6. Yes, I Love Her {Earland} (6:53)

7. The Kicker {Henderson} (3:34)

Credits:

Producer - Houston Person

Engineer - Rudy van Gelder

Cover Photo - Tom Barnhart

Back Photo - Joe Flint

Graphic Design - Ron Warwell/NJE

Billy Parker's Fourth World - Freedom Of Speech (1975)

One of the greatest albums ever on the legendary Strata East label - and that's saying a hell of a lot! Drummer Billy Parker is a player that we don't know much, but he'll always be well-remembered for this album's sublime blend of spiritual jazz styles! The lineup is wonderful - a hip quintet with Ron Bridgewater on tenor and Cecil Bridgewater on trumpet - plus sister Dee Dee on additional vocals at a few points too! Donald Smith (Lonnie Liston's brother) also plays piano, and sings a bit - with his warmly soulful style that makes the album's leadoff track a killer classic - and the rest of the group is rounded out by Cecil McBee on bass and Parker on drums. Tracks have those perfect blends of searching, soaring elements that virtually define the Strata East vision in the 70s - and titles include the sublime "Dance of The Little Children", plus "Gemini's Lullaby", "Home", "Get With It", and "Freedom Of Speech".

Strata-East Records, SES-19754, 1975

Recorded 24^th May, 1974

Musicians:

Billy Parker - Drums

Cecil Bridgewater - Trumpet

Ronald Bridgewater - Tenor Saxophone

Donald Smith - Piano, Vocals

Cecil McBee - Bass

Dee Dee Bridgewater - Vocals

Tracks:

A1. Dance Of The Little Children {Donald Smith, Ronald Bridgewater} (5:06)

A2. Gemini's Lullabye {Cecil Bridgewater} (6:56)

A3. Home {Arr. Cecil McBee, Cecil McBee} (8:19)

B1. Get With It {Arr. Cecil Bridgewater, Ronald Bridgewater} (4:05)

B2. Freedom Of Speech {Billy Parker} (15:29)

Credits:

Producer - Billy Parker

Recording Engineer - Ron Carran

Mixing Engineer - Randy Adler

Design [Inside Cover Design] - Vernon Grant

Photography - Darnell C. Mitchell

Liner Notes - Billy Earl Parker Jr.

Charlie Earland - Whip Appeal (1990) [re-rip]

Here’s another great album by the ‘Mighty Burner’ Charles Earland; an excellent late CD produced by Houston Person and recorded by the master engineer Rudy van Gelder. For this album Earland assembles a fantastic crew of old and newer blood and without any doubt there are no dead spots. Half the tracks are his; the rest either well-known or ideally suited to Earland’s interpretation. Issued on the now defunct Muse label and not so easily found. The listener is in store for a pure ride of sheer entertainment. Highlights include the old school guys Person and Coles doing their stuff and the newer ones in particular Newell’s rich soprano sax and Block’s stunning guitar work. Of much importance is Killian’s conga playing, something that consistently drives the rhythm to enable Earland ‘s organ to soar. If you dug his previous work don’t miss this fine album.

A jazz version of Babyface's "Whip Appeal"? It's hard to believe, but then, Charles Earland has always had an impressive ability to recontextualize pop and R&B songs that seem the most unlikely vehicles for jazz improvisation. On this fine CD, which marked the end of his association with Muse Records, Earland transforms that urban contemporary number into hard-swingin' soul-jazz, successfully revisits the Spiral Starecase's "More Today Than Yesterday," and adds a lot of grit and spice to something not exactly known for those things: Kenny G's "Songbird." The latter does have a pretty melody, and it becomes quite soulful in the imaginative hands of Earland -- whose excellent support includes fellow Philadelphian Johnny Coles (flugelhorn) and longtime ally Houston Person (tenor sax). ~ by Alex Henderson, AMG.

Muse Records, MCD 5409, 1994

Recorded 23^rd May, 1990 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ

Houston Person - Tenor Saxophone

Johnny Coles - Flugelhorn

Jeff Newell - Soprano & Alto Saxophones

Robert Block - Guitar

Marvin Jones - Drums

Lawrence Killian - Percussion, Congas

Tracks:

1. Songbird {Kenny G, Kenny Gorelick, Jesse Colin Young} (6:31)

2. Whip Appeal {Babyface, Perri Arnette Smith} (8:43)

3. Burner's Desire {Charles Earland} (7:08)

4. No Brain, No Pain {Charles Earland} (3:47)

5. Eight After Ten {Charles Earland} (7:21)

6. More Today Than Yesterday {Pat Upton} (8:05)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Design - Ron Warwell

Photography - Fred Salaff, Rick Laird

Liner Notes - Neil Tesser

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