Marion Brown - Le Temps Fou (1968) [vinyl>flac]

Marion Brown not long after launching his first albums on ESP and Impulse; journeyed to Europe and became associated with Günter Hampel's Free Jazz Ensemble. Here, he was approached to write the music for the French film "Un Été Sauvage" by Marcel Camus. It was a unique project where he utilised the majority of the players heard on "Gesprächsfetzen", namely Gunter Hampel, Ambrose Jackson and Steve McCall plus the emerging jazz bassist Barre Phillips (especially heard on his penned tune "Cascatelles") and Alain Corneau on Claves. Even though this album is essentially compiled of tracks written conceptually as a soundtrack it covers a amazing array of genres ranging from Modal Jazz, Folk Rock to fully blown Free Improvisation. A highlight is "Song For Serge And Helle", where Marion's alto duets with Barre's haunting bass drawn alongside Ambrose's trumpet and Günter's vibes. Equally "Boat Rock" is a lively tune with Steve McCall driving the beat. All players extend themselves further by contributing a vivid mixture of percussive sounds. Still to be released on CD this LP gives the listener a unique example of a rich period in Jazz's development by an artist sadly underrated in his lifetime. RIP Marion.

Polydor Records, 658.142, 1968

Recorded 20^th September, 1968 at Studio Davout, Paris, France

Musicians:

Marion Brown - Alto Saxophone, Bells

Günter Hampel - Vibes, Bass Clarinet, Tree Bells

Ambrose Jackson - Trumpet, Cow Bells, Tambour

Barre Phillips - Bass, Castanetes, Whistle

Steve McCall - Drums, Triangle, Tambour

Alain Corneau - Claves, Cow Bells (#B3)

Tracks:

A1. Le Temps Fou {Marion Brown} (5:22)

A2. Cascatelles {Barre Phillips} (5:22)

A3. Song For Serge And Helle {Marion Brown} (6:32)

B1. Boat Rock {Marion Brown} (4:55)

B2. Ye Ye {Marion Brown} (6:01)

B3. En Arrière {Marion Brown} (11:22)

Credits:

Producer - Jean Van Parys

Photos - W. R. Stephens

Willis Jackson - Cool "Gator" (1959-1960) [vinyl]

Raw early stuff by Willis Jackson – and an album that has hard wailin' soul jazz solos by Brother Jack McDuff on organ and Wild Bill Jennings on guitar! Those two, plus Gator, make up the core of the combo that features additional backing by bass and drums, but you won't need to worry about the additional players, because the triple threat of tenor/organ/guitar will hold all your attention. Tracks are long, and as usual, the best ones are the originals, including "Blue Strollin", "A Smooth One", and "Keep On A Blowin". © Dusty Groove, Inc.

A tenor sax ought to sound like a tenor, Willis Jackson has said, and he is here to prove it. In this album he has put together for the first time in half a young lifetime on the horn a collection of tunes that he wanted to blow. The musicians who work with him here have been caught up in the mood of 'Gator's musical dream and they turn in performances of rare musicianship. ~ Extract from Liner Notes by Dale Wright.

Prestige Records, PRLP 7172, 1960

Recorded 25th May (#A2,B2,B3) & 9th November (#A3,B1) 1959;

26th February (#A1) 1960 At Van Gelder Studio, Hackensack, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Jack McDuff - Organ

Bill Jennings - Guitar

Tommy Potter - Bass (#A2,B2,B3)

Wendell Marshall - Bass (#A3,B1)

Milt Hinton - Bass (#A1)

Alvin Johnson - Drums

Buck Clarke - Conga Drum (#A1)

Tracks:

A1. Keep On A Blowin' {Jack McDuff, Willis "Gator" Jackson} (10:23)

A2. How Deep Is The Ocean {Irving Berlin} (4:04)

A3. On The Sunny Side Of The Street {Dorothy Fields, Jimmy McHugh} (3:29)

B1. Blue Strollin' {Willis "Gator" Jackson} (7:44)

B2. The Man I Love {George Gershwin, Ira Gershwin} (7:12)

B3. A Smooth One {Benny Goodman} (5:23)

Credits:

Producer - Esmond Edwards

Recording Engineer - Rudy Van Gelder
Design - Don Schlitten

Liner Notes - Dale Wright

Note:

Also issued on Prestige [PR 7830] entitled Keep On A Blowin'

Billy Butler - Yesterday, Today & Tomorrow (1970) [re-rip]

Billy Butler is well known to guitarists only, as the co-author of the early R&B funked-up standard "Honky Tonk," with organist Bill Doggett. But the almighty groove wasn't Butler's only strength. With a saxophonist like Houston Person, he could play the most elegant swing - as in their read of the Rodgers & Hart classic "Dancing on the Ceiling" The wildest tune on the Person sessions is Neil Hefti and Bobby Troup's "Girl Talk." Before this I could never have imagined hearing this tune as an instrumental, but it works like grease on a bicycle chain with Butler punching up the melody and bending his strings all over it to make the language impenetrable to all but his rhythm section, and Person who flies over the top making the simple pop song into a work of groove jazz artistry. This album is a welcome introduction to one of the great, all-but-lost talents in jazz history. Billy Butler was a guitarist's guitarist and an innovator in both production and arrangements. This album is solid from top to bottom and reveals the restless spirit of a quiet yet demanding artist. ~ extracts taken from review by Thom Jurek, AMG.

This album is a continuation of display of ability and versatility presented in his first Prestige albums: This is Billy Butler! (Prestige 7622) and Guitar Soul! (Prestige 7734). This goes a bit further than the others in that it presents some music written and arranged by Billy for a guitar choir as well as some cooking things and standards he is known for. Most of the album reunites Billy with Ernie Hayes and Houston Person who were a part of his debut album for Prestige. Jimmy Lewis is no stranger to Billy since they worked together with King Curtis for some time. I think that once you have listened to the latest effort of Billy Butler you'll agree that it is every bit as good as his other two albums. If you are unfamiliar with him up to this point, welcome aboard! ~ Extract from Liner Notes by Sonny Mann.

Prestige Records, PRST 7797, 1970

Recorded 27th April (#B2,B3) & 29th June (#A1-B1,B4), 1970 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Billy Butler - Guitar, Bass Guitar

Houston Person - Tenor Saxophone (#A1-B1,B4)

Jerome Richardson - Tenor Saxophone, Flute (#B2,B3)

Ernie Hayes - Organ, Electric Piano (#A1-B1,B4)

Sonny Phillips - Organ, Electric Piano (#B2,B3)

Everett Barksdale - Guitar (#B2,B3)

Billy Suyker - Guitar (#B2,B3)

Jimmy Lewis - Electric Bass (#A1-B1,B4)

Chuck Rainey - Electric Bass (#B2,B3)

Jimmy Johnson - Drums

Track Listing:

A1. Yesterday, Today And Tomorrow {Billy Butler} (5:12)

A2. Girl Talk {Bobby Troup, Neal Hefti} (4:56)

A3. Dancing On The Ceiling {Lorenz Hart, Richard Rodgers} (5:43)

B1. Hold It! {Billy Butler, Clifford Scott} (3:51)

B2. Evening Dreams {Billy Butler} (4:10)

B3. The Butler Did It {Billy Butler} (3:47)

B4. Sweet Georgia Brown {Ben Bernie, Kenneth Casey, Maceo Pinkard} (4:49)

Credits:

Supervision - Bob Porter

Recording Engineer - Rudy van Gelder
Photo - Al Johnson
Design - Don Schlitten

Liner Notes - Sonny Mann, WFAS Radio, White Plains, N.Y. (Sept. 1970)

Billy Butler - Night Life (1971) [re-rip]

Butler was a versatile musician who, on ballads in particular displayed a very interesting sound, sometimes sliding between notes as if he were playing a steel guitar. ~ Scott Yanow, AMG.

The music on this LP is generally in the Soul Jazz vein. Butler apart from the title track Nightlife performs mostly standards including Wave, Watch What Happens, Prelude To A Kiss and In A Mellow Tone; along with one of his own; Peacock Alley. His sidemen include Houston Person or Jesse Powell on tenors, Johnny "Hammond" Smith on keyboards (electric piano or organ), electric bassist Bob Bushnell, and Jimmy Johnson on drums. This is a distinct improvement on "This Is BillyButler!" and is highly recommended

Prestige Records, PRST 7854, 1971

Recorded in 1971 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Billy Butler - Guitar

Johnny "Hammond" Smith - Organ, Electric Piano (#A3)

Jesse Powell - Tenor Saxophone

Houston Person - Tenor Saxophone (#A3,B3)

Bob Bushnell - Electric Bass

Jimmy Johnson - Drums

Tracks:

A1. Nightlife {Walt Breeland, Paul Buskirk, Willie Nelson} (5:57)

A2. Wave {Antonio Carlos Jobim} (5:52)

A3. Watch What Happens {Jacques Demy, Norman Gimbel, Michel Legrand} (5:03)

B1. Peacock Alley {Billy Butler, Bill Doggett} (4:08)

B2. Prelude To A Kiss {Duke Ellington, Irving Mills, Irving Gordon} (5:07)

B3. In A Mellotone {Duke Ellington, Milt Gabler} (9:44)

Credits:

Producer, Recording Supervisor - Bob Porter

Recording Engineer - Rudy van Gelder
Design - Don Schlitten

Liner Notes - Sonny Mann: WFAS Radio, White Plains, N.Y. (February, 1971)

Whether you as an individual are a “day lifer" or a "night lifer", Billy Butler has something to say to you. Within this jacket is an album that will appeal to people young and also not so young. And better appeal - or diversity - is hard to come by! ~ Extract from Liner Notes by Sonny Mann.

Billy Butler - Guitar Soul! (1969) [re-rip>flac]

If you haven't heard Billy Butler before this, you're due for a welcome surprise. On the other hand, if you've checked out Billy’s first Prestige LP This Is Billy Butler! (Prestige 7622) or remember his work with Bill Doggett's combo, then you already know that he's just about the best all-around guitarist going. The first thing about Billy's music that's likely to get to you is the rich, deep tone he produces on every member of the guitar family he plays. Interestingly, that sound is matched almost exactly by the warm, masculine baritone of his speaking voice. Of course, when you're talking about sound you can't neglect the unique "singing sound" which is becoming Billy's trademark. He politely declined when I asked him if he cared to reveal the method he uses to make the guitar sound like a swinging violin - after all, when you've got something good that's all your own you don't broadcast trade secrets. Still, he did explain that it involves careful co-ordination between the volume control and picking. You can hear the results all through 'Honky Tonk' and as occasional spice on other tracks. After sound, there’s the matter of swing and ideas, and here too Billy is right on top. His time has the mellow maturity that can only come from experience, and, to quote from my review of his first album, he has the ability to construct long, graceful melodies which resolve with an all’s-right-with-the-world equilibrium. You might say that there's something for everyone on this LP, but I prefer to think that everyone will dig all of it. And, if there's an annual award for the Noblest Deed By A Record Company. I nominate Prestige for turning the spotlight on Billy Butler. Albums like this are going to keep him there. ~ Extract from Liner Notes by Larry Kart (November, 1969).

Prestige Records, PRST 7734, 1969

Recorded 22^nd September, 1969 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Billy Butler - Guitar, Bass Guitar, Classic Guitar, Vocals (#A1)

Seldon Powell - Tenor Saxophone, Flute, Varitone

Sonny Phillips - Organ

Bob Bushnell - Electric Bass

Specs Powell - Drums

Tracks:

A1. Blow For The Blessing {Billy Butler, Charles Black} (9:28)

A2. Golden Earrings {Ray Evans, Jay Livingston, Victor Young} (4:04)

A3. The Thumb {Wes Montgomery} (4:18)

B1. Honky Tonk {Bill Doggett, Billy Butler, Clifford Scott, Shep Shepherd} (5:46)

B2. B & B Calypso {Bob Bushnell} (3:03)

B3. Seven Come Eleven {Benny Goodman, Charlie Christian} (5:43)

B4. Autumn Nocturne; You Go To My Head {Josef Myrow, Kim Gannon; J. Fred Coots, Haven Gillespie} (3:28)

Credits:

Supervision - Bob Porter

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Larry Kart

Billy Butler - This Is Billy Butler! (1968) [re-rip]

In the 1960s, Billy Butler was not only one of the top guitarists in the soul-jazz field - he was also a busy, in-demand session player who backed his share of R&B heavyweights. Butler, one of the countless jazz greats who came out of Philadelphia, had so much work as a sideman that it took him a long time to record an album under his own name. In fact, the guitarist had just turned 43 when, in December 1968, he recorded his first session as a leader, This Is Billy Butler. This vinyl LP is a soul-jazz/hard bop classic, and Butler has a talented cast of players to help him pull it off - one that includes producer Bob Porter and engineer Rudy van Gelder, as well as tenor saxman Houston Person and pianist/organist Ernie Hayes (among others). While Person delivers his share of inspired solos, Butler is the man in the driver's seat, and he really soars on material that ranges from Nat Adderley's "Work Song" to Butler originals like "Bass-ic Blues" and "The Soul Roll." Butler and his sidemen also turn their attention to Don Redman's "Cherry," a standard that has often been heard in classic jazz and swing settings, but easily lends itself to an inspired soul-jazz makeover. In retrospect, it's surprising that a guitarist of Butler's stature didn't record as a leader extensively - after providing four of his own LPs for Prestige in 1968-1970, he only recorded a few more LPs for various independent labels. But then, Butler's sidemen work didn't leave him with a lot of free time. It took the Philadelphian 43 years to record as a leader, and this excellent LP proved that he was certainly up to the task. ~ by Alex Henderson, AMG.

Prestige Records, PRST 7622, 1969

Recorded 16^th December, 1968 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Billy Butler - Guitar, Bass Guitar (#B3)

Houston Person - Tenor Saxophone (Except #B3)

Ernie Hayes - Organ (#A1,A3-B2), Electric Piano (#A2,B3)

Bob Bushnell - Electric Bass

Rudy Collins - Drums

Tracks:

A1. The Twang Thang {Billy Butler, Ernie Hayes} (5:13)

A2. Cherry {Don Redman, Ray Gilbert} (6:44)

A3. Work Song {Nat Adderley} (5:52)

B1. The Soul Roll {Billy Butler} (4:41)

B2. She Is My Inspiration {Connie Wharton, Edward Wharton} (5:12)

B3. Bass-ic Blues {Billy Butler} (6:23)

Credits:

Supervision, Liner Notes - Bob Porter

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Sonny Rollins - Sonny's Time (1957)

A great compilation of Sonny’s work heralding from 1957 and his time with Riverside. He surrounds himself with an exciting array of players all well-known contemporaries of equal status. An LP full of jazz standards and two of his own tunes. The majority of the tracks come from his album ‘The Sound Of Sonny’ and two from ‘Jazz Contrasts’ led by Kenny Dorham.

Jazzland Records, JLP 972, 1962

Recorded 19^th June, 1957 (#A1-A3); 12^th June 1957 (#A4,B1);

27^th May, 1957 (#B2) & 21^st May, 1957 (#B3)

At Reeves Sound Studios, New York City

Musicians:

Sonny Rollins - Tenor Saxophone

Kenny Dorham - Trumpet (#B2,B3)

Betty Glamann - Harp (#B2)

Sonny Clark - Piano (#A1,A3-B1)

Hank Jones - Piano (#B2,B3)

Paul Chambers - Bass (#A1-A3)

Percy Heath - Bass (#A4,B1)

Oscar Pettiford - Bass (#B2,B3)

Roy Haynes - Drums (#A1-B1)

Max Roach - Drums (#B2,B3)

Tracks:

A1. Funky Blues Hotel {Sonny Rollins} (6:00)

A2. The Last Time I Saw Paris {Oscar Hammerstein II, Jerome Kern} (2:55)

A3. What Is There To Say? {E.Y. Harburg, Vernon Duke} (4:54)

A4. Cutie {Sonny Rollins} (5:52)

B1. Mangoes {Sid Wayne, Dee Libbey} (5:32)

B2. My Old Flame {Sam Coslow, Arthur Johnston} (5:22)

B3. La Villa {Kenny Dorham} (7:01)

Credits:

Producer - Orrin Keepnews

Recording & Remastering Engineer - Jack Higgins

Album Design - Ken Deardoff

Liner Notes - Joe Goldberg

Notes:

Compilation of tracks from Riverside albums:

Various - Blues For Tomorrow [RLP-243]

Sonny Rollins - The Sound Of Sonny [RLP-241]

Kenny Dorham - Jazz Contrasts [RLP-239]

Willis Jackson - Gator's Groove (1968) [vinyl]

The sound of Willis Jackson is one that is steeped in tradition. It is a sound that brings to mind the glorious era of big-toned tenormen; Dexter Gordon, Illinois Jacquet, Wardell Grey, Gene Ammons and Sonny Stitt. Those men frequently worked in partnerships and there are places on this LP where one wishes for another horn man for one of those friendly duels. Willis used to be known as "Gaitor tail" and I can remember "partying down" while listening to Willis burn on the tune of that name. When Willis later turned to jazz and formed his organ combo he had more hits. Willis Jackson, Bill Jennings, Jackie Ivory, Jerry Potter and Richard Landrum - I thank you. Thank you for bringing us a music that has stood the test of time and in your hands still sounds new and refreshing. ~ Extract from Liner Notes by Ed Love.

Prestige Records, PRST 7648, 1969

Recorded 11^th Nov., 1968 at Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone, Gatorhorn (#A2,B2)

Jackie Ivory - Organ [Hammond B-3]

Bill Jennings - Guitar

Jerry Potter - Drums

Richie "Pablo" Landrum - Conga, Bongos

Tracks:

A1. Brother Ray {Ray Barretto} (4:11)

A2. A Day In The Life Of A Fool {Carl Sigman, Luiz Bonfá} (6:27)

A3. This Is The Way I Feel {Willis Jackson} (9:42)

B1. Blue Jays {Bill Jennings, Jackie Ivory, Willis Jackson} (7:17)

B2. Stolen Sweets {Wild Bill Davis, Dickie Thompson} (5:37)

B3. Long Tall Dexter {Dexter Gordon} (7:03)

Credits:

Supervision - Bob Porter

Recording, Mastering Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Ed Love (March 1969)

James Spaulding - Plays The Legacy Of Duke Ellington

Duke Ellington's passing in 1974 left a giant hole not only in Jazz, but in music itself.  Undoubtedly one of the 20th century's most important artists.  Many musicians were moved to pay tribute, and James Spaulding was one of them.

There are no shortage of Duke tribute albums, and I certainly have my favorites.  A couple that stand out for me are Art Farmer's - To Duke With Love; and Sempre Amore from the duo of  Steve Lacy & Mal Waldron.  That said, Spaulding has given us a solid upbeat treatment of some Ellington classics.

A few things stand out on this record for me.  Firstly, Spaulding moves between several instruments and is technically wonderful on all.  His flute work is particularly incredible.  The addition of Avery Brooks also makes this session a touch different.  The vocalist has a baritone voice, akin to Paul Robeson and adds a nice flavour to the chosen songs.  Mtume's presence is also strongly felt, and helps to drive the band with an upbeat and joyous feel to all of the songs.  Overall, a really strong album which serves to honour the great Duke Ellington.  I would say it's a must have for fans of James Spaulding.

This minty vinyl was ripped at 24/48 wav and compressed to 24/48 FLAC for your convenience.  As always, hi-rez scans of the cover are included.  Remember people... "it don't mean a thing if it ain't got that swing!!"  Enjoy!!

_____________________________________________________

Storyville ‎– SLP 4034

1978

Willis Jackson - Swivel Hips (1968) [vinyl]

Swivel Hips; Music to party by, exercise to or swing along with, low and inspirational sounds to help elevate your spirits and move your body. Sounds to be played over the vacuum cleaner as you clean up the pad the morning after the party; sounds to remind the head as it clears the pad that was a party in the first place. Swivel Hips is a party by itself. Extracts from Liner Notes by Linda Solomon (January 1969).

Great stuff! Like the rest of his late 60's Prestige recordings, this is a lively session with a good late 60's funky jazz sound that widen's Gator's range past the usual tenor/organ bag of his early 60's records. He plays tenor and his trademark Gator horn on this one, and he's backed by Jackie Ivory on organ and Bill Jennings on guitar. The tracks are long, with a stretched out groove, and include "Swivel Hips", "Y'Understand Me", and "Florence Of Arabia". Tough LP to find, too! © Dusty Groove America, Inc.

Prestige Records, PRST 7602, 1968

Recorded 9^th September, 1968 At Van Gelder Studio, Englewood Cliffs, NJ

Personnel:

Willis Jackson - Tenor Saxophone, Gator Horn (#B2)

Jackie Ivory - Organ

Bill Jennings - Guitar

Ben Tucker - Bass, Electric Bass

Jerry Potter - Drums

Ralph Dorsey - Conga

Track Listing:

A1. Swivel Hips {Willis Jackson} (6:55)

A2. In A Mellow Tone {Duke Ellington, Milt Gabler} (8:55)

A3. Win, Lose Or Draw {Willis Jackson} (3:56)

B1. Y’Understand Me {Willis Jackson} (9:04)

B2. By The Time I Get To Phoenix {Jimmy Webb, Burt Bacharach} (6:05)

B3. Florence Of Arabia {Howard Roberts} (7:07)

Credits:

Supervisor - Bob Porter

Recording Engineer - Rudy van Gelder

Liner Photo - Don Schlitten
Liner Notes - Linda Solomon (January 1969)

Willis Jackson - The Good Life (1963) [vinyl]

A sweet soul jazz burner from Willis Jackson - one that features his combo with Pat Martino on guitar and Carl Wilson on organ, as well as some great trumpet lines form Frank Robinson - shimmering nicely over the top of the tunes! The style here is a bit more laidback and late nite than some of Jackson's other cookers from the time - but there's still a really strong tenor/organ approach on the whole set, one that transforms familiar tunes wonderfully! Titles include "As Long As She Needs Me", "Troubled Times", "Fly Me To The Moon", and "Days Of Wine & Roses". © Dusty Groove America, Inc.

Cut at the same May 1963 session as Jackson's LP Grease 'n' Gravy, this too features an 18-year-old Pat Martino on guitar and Carl Wilson (not the Beach Boys guitarist) on organ. It's pleasing, if unsurprising, early-'60s organ soul-jazz with a good balance between brass, organ, and guitar, perhaps more useful as club groove music than home listening. They verge on cooking when the rhythm gets choked on "Troubled Times," the sole original, and the version of "Fly Me to the Moon" has some lively exuberance (and a Latin rhythm) not matched by the other tracks. Indeed, "Days of Wine and Roses" and "Walk Right In" are kinda hokey choices for the organ soul-jazz repertoire. If you have to choose between Grease 'n' Gravy and The Good Life, The Good Life is at a disadvantage, due to its greater reliance on covers of pop standards. ~ by Richie Unterberger, AMG.

I don’t necessarily agree that this is ordinary. Young Pat Martino’s solos are wonderful and both organ and trumpet blend beautifully. Overall a mixture of great Soul Jazz tunes. Enjoy!

Prestige Records, PRST 7296, 1963

Recorded 23rd (#A1-B1) & 24th (#B2,B3) May, 1963
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Frank Robinson - Trumpet

Carl Wilson - Organ

Pat Martino - Guitar

Leonard Gaskin - Bass (#B2,B3)

Joe Hadrick - Drums

Track Listing:

A1. The Good Life {Sacha Distel, Jack Reardon} (5:03)

A2. Days Of Wine And Roses {Henry Mancini, Johnny Mercer} (4:03)

A3. As Long As She Needs Me {Lionel Bart} (3:42)

A4. Fly Me To The Moon {Bart Howard} (2:55)

B1. Angel Eyes {Earl Brent, Matt Dennis} (4:13)

B2. Troubled Times {Willis Jackson, Wade Marcus, William "Mickey" Stevenson} (4:51)

B3. Walk Right In {Gus Cannon, Hosea Woods} (6:06)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Cover Photo - Lawrence N. Shustak

Liner Notes - H. G. MacGill

Dorothy Ashby - Concierto de Aranjuez (1984)

Here is a later example of the superb mastery of Dorothy Ashby; a rare 1984 Phillips album released in Europe and Japan. This album was released in Europe two years before the death of Dorothy Ashby.

There have been very few jazz harpists in history and Dorothy Ashby was one of the greats. Somehow, she was able to play credible bebop on her instrument. As a pianist she studied at Wayne State University, and in 1952 she switched to harp. Within two years, Ashby was gigging in jazz, and in 1956 she made her first recording as a leader. Between 1956-1970, she led ten albums for such labels as Savoy, Prestige, New Jazz, Argo, Jazzland, Atlantic, and Cadet, guested on many records, and was firmly established as a top studio and session player. She moved to the West Coast in the 1970s and was active up until her death. ~ AMG.

Philips Records, 814 197-2, 1984

Digitally Recorded 7^th-8^th March, 1983 At Capital Recording Studio, Hollywood, California

Dorothy Ashby - Harp, Arranger

Tracks:

1. Concierto De Aranjuez {Joaquín Rodrigo} (9:34)

2. Gypsy Airs {Pablo de Sarasate} (3:58)

3. Greensleeves {Traditional} (4:36)

4. Gershwin Medley: Summer Time, Someone To Watch Over Me, Porgy {George Gershwin} (7:55)

5. Autumn Leaves {Joseph Kosma} (5:22)

6. Dear Old Stockholm {Stan Getz, Traditional} (4:23)

7. Yesterday {John Lennon, Paul McCartney} (2:59)

Credits:

Producer - Kiyoshi Koyama

Recording Engineer - John L. Mills

Assistant Engineer - Steve Himelfarb

Illustration - Yoko Ochida

Album Design - Naoe Arano

Photography - Bruce Talamon

Lou Donaldson - Hot Dog (1969) [re-rip>flac]

From the title, to the cover, to the gritty grooves way down in the wax - this has got to be one of the funkiest Blue Note albums ever - a real landmark from the legendary Lou Donaldson! The set kicks off with a hard and heavy groove from the very first note - thanks to some super-tight drumming by a young Idris Muhammad - still billed under his birth name of Leo Morris on the sleeve, but already hitting the kit with that snapping post-Popcorn style that would revolutionize funky jazz in years to come! Donaldson's plenty smoking himself on electrified alto sax - played with that great mix of flatness and echo that you'd hear in Eddie Harris' albums of the same time - and the rest of the lineup is equally cooking, with Melvin Sparks on guitar, Charles Earland on organ, and Ed Williams blasting away on funky trumpet! Titles include killer remakes of "It's Your Thing" and "Who's Making Love" - plus Donaldson originals "Hot Dog" and "Turtle Walk" - all nice and long, and with a really raw sound!  © Dusty Groove, Inc.

A wildly erratic slice of funky soul-jazz in keeping with Lou Donaldson's late-'60s commercial accessibility, Hot Dog isn't a total washout, but it's just as hit-and-miss as many of Donaldson's albums from the era (even if you are a fan of the style). The main sticking points are the contemporary R&B covers that open and close the album. "Who's Making Love" has an out-of-tune group vocal that fails to be charming in its amateurishness, and the funk of "It's Your Thing" sounds leaden and lifeless despite the best efforts of breakbeat legend Leo Morris (later Idris Muhammad) on drums. Take those away and Hot Dog would be a fairly decent effort. Also featuring guitarist Melvin Sparks, organist Charles Earland, and trumpeter Ed Williams, the ensemble really catches fire on "Turtle Walk," a Donaldson original where the groove sounds natural and helps push the soloists. The Donaldson-penned title cut also gets pretty funky, though the underlying vamp is a little insubstantial to stretch out over ten minutes. The Tommy Turrentine ballad "Bonnie" returns Donaldson to the sweet, romantic territory he's mined so well over the years. So Hot Dog does have some worthwhile moments; it's just a pity the overall finished product isn't more consistent -- the cover photo is great. ~ by Steve Huey, AMG.

Blue Note, BST 84318, 1969

Recorded 25^th April, 1969 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Lou Donaldson - Alto Sax [Varitone], Vocals (#A1,B2)

Ed Williams - Trumpet

Charles Earland - Organ

Melvin Sparks - Guitar

Leo Morris - Drums

Track Listing:

A1. Who's Making Love? {Homer Banks, Bettye Crutcher, Don Davis, Raymond Jackson} (6:44)

A2. Turtle Walk {Lou Donaldson} (7:53)

A3. Bonnie {Tommy Turrentine} (4:55)

B1. Hot Dog {Denny Dedmon, Lou Donaldson, Buck Owens} (10:42)

B2. It's Your Thing {Rudolph Isley, O'Kelly Isley, Ronald Isley} (8:58)

Credits:

Producer - Francis Wolff

Recording Engineer - Rudy van Gelder

Art Direction, Cover Photo - Frank Guana

Back & Inside Photos - Clyde Stringer

Liner Notes - George Butler

Neal Creque - Contrast! (1972) [vinyl>flac]

Neal Creque was a soul-jazz luminary of the late ‘60’s and ‘70’s, recording extensively with Grant Green, and writing and arranging many of Cuban conguero Mongo Santamaria’s funkiest efforts. This album of his is all over the map stylistically, from solo piano tunes to Latin-funk fusion, and it encapsulates a number of varied moods within its relatively short playing time. Not easy to acquire. ~ by dmay28.

Ripped from a well-used LP, contains a few artifacts, otherwise a great listen, Enjoy!

Cobblestone Records, CST 9023, 1972

Personnel:

Neal Creque - Piano, Electric Piano, Clavinet, Organ, Bells

Billy Butler - Guitar

John Hart - Fender Bass

Kermit Moore - Cello

Al Foster - Drums

James Morrison, Leo Flemming, Richard Landrum, Steve Kroon, William Bivins:
Congas, Bongos, Tambourine, Triangle, Cuica, Shekere, Bells, Oboe [African],
Bajo Quinto, Claves, Guiro, Percussion [Other Miscellaneous]

Alfred Brown, Selwart Clarke, Winston Collymore - Viola

Tracks:

A1. Kenya (8:00)

A2. Help Yourself (4:32)

A3. Bacalau (4:24)

A4. Happy Go Lucky (2:23)

A5. Just A Moment (2:52)

B1. D Train (3:27)

B2. Love And Life (5:18)

B3. Jasmine (2:59)

B4. Two Loving Hearts (3:19)

B5. All This World Has To Offer (6:00)

All Compositions by Neal Creque

Credits:

Producer, Design, Photography - Don Schlitten

Executive-Producer, A&R Coordinator - Joe Fields

Recording Engineer - Paul Goodman

Mastering - Sam-Feldman (Bell Sound Studios, New York City)

Composer, Arranger - Neal Creque

The Jazztet - Nostalgia (1983) [vinyl>flac]

NEW LINK in comments.

I've remarked elsewhere that it's a damning indictment of the American Record industry that so much of the best jazz recorded by American musicians in the US itself, in the 70s and 80s, was done by European or Japanese companies!

Here’s atypical example. The Jazztet reformed in 1982. The first studio album to result was recorded by East Wind in Japan, the second by the Italian Soul Note label in Milan and then this in New York by the Japanese Baystate label. It was to be another three years before the next studio recording, also in New York but at last by a US company, the resurrected Contemporary label.

The New York Times: The Jazztet Comes In , But Leaves Nostalgia Out
By John S. Wilson, Published: November 18, 1983:

When a jazz group that was once a great success gets together again after a long separation, the expectation is that there will be a good deal of nostalgia involved, a revival of tunes and arrangements associated with the group. But when the Jazztet - a sextet organized in 1959 by Art Farmer, then a trumpeter and now a flugelhornist, and Benny Golson, the saxophonist - came together in 1982 after a lapse of two decades, the musicians made a point of not getting out their old arrangements.
''Never would we play that stuff again!'' Mr. Golson declared the other day as the Jazztet prepared to go into Fat Tuesday's for the third time since its revival a year and a half ago.
''Initially, the Jazztet was a sensation,'' the saxophonist continued. ''But after about a year, there was growing criticism that the group was too organized, too tight, too big-little- bandish, like the old John Kirby group but a little more up to date.''
To get away from both the appearance and the sound of organized formality, Mr. Golson recalled, the six musicians got rid of their music and their music stands and held ''memorizing rehearsals.'' ''We rehearsed mentally,'' he explained. ''We'd just look at a new arrangement before we played a note - just look and look and look. Then we'd go up on the stand with no music and no rehearsal and play it.''

Just Two Holdovers
The only holdovers from the Jazztet's original scores are Mr. Golson's ''Killer Joe'' and Mr. Farmer's ''Mox Nix.'' Otherwise, Mr. Golson's new arrangements are structured to give either Mr. Farmer or himself the melody, while the trombonist Curtis Fuller, another member of the old Jazztet, weaves around them.
After the 1962 breakup of the original group, which also included McCoy Tyner on piano, Mr. Farmer's late brother Addison on bass and Dave Bailey on drums, Mr. Golson and Mr. Farmer went on to separate careers. Mr. Farmer led his own groups for several years, and in the late 1960's, settled in Vienna and toured the world, picking up rhythm sections wherever he played.
Mr. Golson stayed in New York, working in recording studios, making television commercials and playing for pop singers while he studied the techniques of writing for movies and television. When he finally pulled up stakes and moved to Hollywood in 1967, he began working steadily on both films and television series, including ''It Takes a Thief'' and ''M*A*S*H.''
''Once I got to Hollywood, I made a conscious effort not to play,'' Mr. Golson said. ''I didn't want to be labeled a be-bopper or a jazzman or an orchestrator. Out there, you can fall into a niche that you can never get out of. I wanted to be labeled a composer.''
But in 1975, he got a call from New York to play a concert of his own compositions at Town Hall with the 18- piece Collective Black Artists Ensemble.
'I'd Be Playing in My Mind'
''By then I'd found that when I was listening to music, I'd be playing in my mind,'' Mr. Golson said. ''My fingers were moving mentally, and I was getting the emotional feeling that I had when I was actually playing. I was beginning to get the itch to play and when the Town Hall offer came, I took it.''
He began practicing and discovered, to his surprise, that his style had completely changed.
The success of that concert led him into what he describes as ''semi-retirment'': every eight or nine months, he would do a short tour in Japan or Europe, then go back to his writing.
Two years ago he got a call from a European promoter, Alexander Zivkovic, suggesting that he come to Europe and asking what ideas he had for a group. ''I'd been working in Japan with Curtis Fuller, who was the trombonist in the Jazztet, and I suggested that he and I might be part of a quartet,'' Mr. Golson recalled. ''Then I added, on the spur of the moment, 'Maybe we could put the Jazztet together again.' '' ''Fantastic!'' Zivkovic exclaimed. So I called Art and Curtis and Tootie Heath, who had followed Dave Bailey as our drummer. I knew it was too late to get McCoy Tyner because he'd become a star, and stars don't like to travel in somebody else's group.''

01 - Autumn Leaves
02 - Jam 'n Boogie
03 - Caribbean Runabout
04 - Dark Eyes
05 - Red Dragonfly
06 - Solstice
07 - From Dream To Dream

Benny Golson (ts), Art Farmer (fh), Curtis Fuller (tb), Mickey Tucker (p), Rufus Reid (b), Billy Hart (d)
New York City, November 22 & 23, 1983
(Baystate LP)

Helen Humes - New Million Dollar Secret

Every now and then an album fits both here and at Chitlins. Most of us who know Helen Humes are more aware of her as a Jazz singer, but in this rare 1950's recording she is more on the Blues/R&B side much like Dinah Washington in this same era. This is my 24/48 FLAC rip of this rare LP.

Art Blakey - Art's Break (1976) [vinyl>flac]

New link in comments.

This obscure Blakey release on the Italian Lotus label presents a typical Messengers' live date from the group with Hardman & Schnitter. The recording date of 1972, given on the sleeve, is obviously incorrect and 1976 seems far more likely, this being the same band that appeared on an Umbria Jazz Festival video.

Bird Like
Whisper Not
Blues March
Perception

Bill Hardman (tp) David Schnitter (ts) Mickey Tucker (p) Cameron Brown (b) Art Blakey (d)
label claims: Oslo, Norway & Tunis, Tunisia, 1972 but most likely Tunis, 1976.

Alpax suggests Perception sounds like it's from another date, possibly 1969 or 1972 with Woody Shaw on trumpet.

Art Farmer - Plays The Great Jazz Hits (1967) [vinyl.flac]

New link in comments.

Review by Scott Yanow:
The title of this reissue LP is a bit ironic for jazz was really struggling commercially in 1967 and the "hits" were few and far between. In fact flugelhornist Art Farmer, who leads the notable hard bop quintet (with Jimmy Heath on tenor, pianist Cedar Walton, bassist Walter Booker and drummer Mickey Roker), would be moving to Europe the following year where he would work much more often than he had in the U.S. The ten numbers on this LP were fairly popular, particularly such tunes as "Song for My Father," "The Sidewinder," "Watermelon Man" and "Take Five." The quintet's concise interpretations (no performance is over six minutes) are melodic without being overly predictable. As usual Farmer's lyricism by itself is a good reason to search for this underrated album.

01 - Song For My Father
02 - Round Midnight
03 - Sidewinder
04 - Moanin'
05 - Watermelon Man
06 - Mercy, Mercy, Mercy
07 - I Remember Clifford
08 - Take Five
09 - Gemini
10 - The In Crowd

Art Farmer (flh) Jimmy Heath (ts) Cedar Walton (p) Walter Booker (b) Mickey Roker (d)

CANNONBALL ADDERLEY - with ERNIE ANDREWS - LIVE SESSION! 1964 VINYL (FLAC)

1964
Capitol ST 2284
My Vinyl Rip
Front & Back Covers
DR Value 13
FLAC 8 (250 MB)

While Cannonball Adderley is a fine and well-known alto saxophonist, his equal partner on Live Session!, vocalist Ernie Andrews, is a more obscure figure.  Andrews recorded frequently during the late '40s and throughout the '50s, but retained a lower profile during the '60s.  That's one reason why Live Session!, recorded in 1964, is such a special work.  Backed by Adderley, cornetist Nat Adderley, pianist Joe Zawinul, bassist Sam Jones, and drummer Louis Hayes, Andrews' warm, rich vocals offer lovely interpretations of an even dozen songs.  The material cuts a wide swath across non-jazz genres, from the bluesy "Next Time I See You," to the popular "Since I Fell for You," to the fun nonsense of "Green Door."  Although the instrumental work takes a backseat to the vocals, both Adderleys find room to offer pithy solos that spice up the proceedings.  The accompaniment is an active one, too, with intricate piano and horns highlighting and underlining Andrews as needed.  Interestingly, the songs were recorded live on two different dates, two years apart.  The album nonetheless flows as a piece.   AllMusic Review by Ronnie D. Lankford, Jr.  

The Tracks:
A1 Big City
A2 Next Time I See You
A3 I'm Always Drunk In San Francisco
A4 Ten Years Of Tears
A5 Bill Bailey
B1 I'm A Born World Shaker
B2 Don't Be Afraid Of Love
B3 Since I Fell For You
B4 If You Never Fall In Love With Me

RON CARTER - PARADE - 1979 - VINYL - FLAC

1979
Milestone 9088
My Vinyl Rip
DR Value 14
Front & Back Covers
FLAC (8) 357mb

Bassist Carter heads a sterling mid-sized band with three trumpeters and saxophonists and two trombones. He handles the job of being both the primary and secondary rhythm support, while guests Joe Henderson, Jon Faddis, and Frank Wess, among others, provide some standout solos. The ensemble interaction clicks as well....AllMusic Review by Ron Wynn

The Tracks:
A1 Parade / A2 A Theme In 3 Quarter / A3 Sometimes I Feel Like A Motherless Child
B1 Tinderbox / B2 Gypsy / B3 G.J.T.

Marion Brown - Passion Flower (1978)

Marion Brown whilst alive was a desperately underappreciated jazz artist. He spent the bulk of his active musical life delving into a highly emotive and improvisational form of free and avant-garde jazz. He expounded a truly lyrical voice and on this rare album he showcases his great ability to also play rich expressions of straight-ahead compositions in a tribute to Johnny Hodges. Working alongside superb players such as pianist Stanley Cowell, bassist Reggie Workman and drummer Roy Haynes, Brown adds magical touches to beautiful tunes penned by Strayhorn, Hodges, Ellington and others. This is an album that can't not please any jazz enthusiast, Enjoy!

Baystate Records, BVCJ 1030, 1994

Recorded 3^rd July, 1978 At Sound Ideas Studio "C", New York

Musicians:

Marion Brown - Alto Saxophone

Stanley Cowell - Piano

Reggie Workman - Bass

Roy Haynes - Drums

Tracks:

1. Passion Flower {Billy Strayhorn} (4:53)

2. Smada {Billy Strayhorn} (8:52)

3. Prelude To A Kiss {Irving Gordon, Irving Mills, Duke Ellington} (2:22)

4. Spotted Dog {Johnny Hodges} (5:57)

5. Solitude {Duke Ellington, Eddie DeLange, Irving Mills} (13:00)

6. Day Dream {John Latouche, Billy Strayhorn, Duke Ellington} (7:41)

Credits:

Producer - Yoshio Ozawa

Co-Producer - Fumimaru Kawashima

Recording & Mixing Engineer - Jim McCurdy

Mastering Engineer - T. Kotetsu

Photos - Y. Yoneda

Design [Front Cover] - K. Iida

Design [Back Cover] - T. Aoyagi

Art Blakey & The Jazz Messengers - Copenhagen 1959

Hello everybody!!  I have not been actively posting in quite some time.  The reasons are two fold.  First and foremost, my young family & job extract most of my time and energy.  Secondly, I had been downloading & collecting with great intensity, but not listening.  I had gathered most of what I wanted, and of course more than any single human could possibly listen to in a lifetime.

That said, I have finally struck a balance in my personal life that allows me some time, and motivation, for sharing music.  As some of you may know, I am infact on Youtube and have been slowly sharing albums which were otherwise unavailable to that platform.  Those are albums which I already have in my digital collection, so not much effort is required.

Apologies for the decidedly unmusical intro!!  I found this CD in a thrift shop and wasn't really sure what I had.  As it turns out, it's a legit recording from Blakey's '59 tour of Europe.  The set list is of course, similar to all of the other dates you will find, with the exception of Nellie Blye.  I find myself regularily irritated with people who complain about the sound quality of these various live recordings.  My own opinion, is that this is a good live recording & we are blessed to have it available to us.  If you are truly listening for the music, you won't be disappointed.

This was ripped using EAC and compressed to FLAC 16/44.1 for your convenience.  Golden age Messengers... how can you lose?!?!?!  Enjoy!!!

_____________________________________________

Earl Klugh - Finger Paintings (1977)

This might be one of Earl's greatest albums whereby the intricacies and yet simple music only Earl can produce. The music in the album ranges from slow heartbreaking "Christina" to finger snapping "Cabo Frio". The arrangements in "summer song" is nice. His renditions of Dance with Me, This Time (another great song from a great jazz artist, Al Jarreau),John Taylor's "Long ago and far away" are timeless classics! ~ C. Tongol, Amazon.com

I've been listening to Earl Klugh for over 30 years and this is one of my favorites. Great for dedicated listening and for just having in the background, very accessible and relaxing. ~ ejr1953, Amazon.com

Blue Note; BN-LA737-H, 1977

Mobile Fidelity Sound Lab, UDCD 549, 1991

Recorded, Mixed, and Mastered at Kendun Recorders, Burbank, California

Personnel:

Earl Klugh - Acoustic Guitar

Dave Grusin - Fender Rhodes, Synthesizer, Percussion (#5,6)

Lee Ritenour - Electric Guitar (#1-3,5,9), 12-String Guitar (#9)

Chuck Findley, Dick Hyde, Jack Nimitz, Jerome Richardson, Tom Scott, Lawrence Williams - Horns

Anthony Jackson - Electric Bass (#1-3,5,9)

Louis Johnson - Electric Bass (#4,6,7)

Francisco Centeno - Electric Bass (#8)

Harvey Mason - Drums (#2,3,5,9)

Steve Gadd - Drums (#1,4,6-8)

Ralph MacDonald - Percussion (#1,2,7,9)

Steve Forman - Percussion (#3,4,8)

Arnold Belnick, Pamela Goldsmith, Endre Granat, Allan Harshman, Karen Jones, Jacob Krachmalnick, Bernard Kundell,

Edgar Lustgarten, David Montagu, Constance Pressman, Dana L. Rees, Sheldon Sanov, Marshall Sosson, Ann M. Stockton, and Gerald Vince - Strings

Alexandra Brown, Lisa Roberts, Stephanie Spruill - Vocals (#4)

Dave Grusin - Arranger, Conductor

Tom Scott - Arranger [Horns] (#4)

Tracks:

1. Dr. Macumba {Earl Klugh} (4:26)

2. Long Ago And Far Away {James Taylor} (5:36)

3. Cabo Frio {Earl Klugh} (3:32)

4. Keep Your Eyes On The Sparrow{Dave Grusin, Morgan Ames} (4:40)

5. Catherine {Earl Klugh} (4:11)

6. Dance With Me {Johanna Hall, John Joseph Hall} (3:26)

7. Jolanta {Earl Klugh} (3:02)

8. Summer Song {Earl Klugh} (4:09)

9. This Time {Earl Klugh} (3:41)

Credits:

Producer - Dave Grusin, Larry Rosen

Executive-Producer - Dr. George Butler

Recording & Mixing Engineer - Larry Rosen

Mastering Engineer - John Golden

Recording [Strings & Horns] - Phil Schier

Photography - Greg Heisler

Design - Bill Burks

Notes:

"Summer Song" recorded at Electric Lady Studios, New York

Strings recorded at Columbia Studios, 30th Street, New York