Shirley Scott & Kenny Burrell - Travelin' Light (1964) [re-rip]

Kenny Burrell joins the trio of organist Shirley Scott for this sweet little album – a set that seems to burn a bit more than usual for Shirley, probably because of the cool-toned guitar lines from Kenny! The album's got the same laid back feel as other Scott albums of the time, but Burrell really digs in during his solos - adding a bit more bite, and inspiring Shirley to do the same on her own Hammond lines. Bass is by Eddie Khan and drums are by Otis Finch – and titles include "Solar", "The Kerry Dance", "They Call It Stormy Monday", "Nice N Easy", and "Baby It's Cold Outside". © Dusty Groove, Inc.

In February 1964 - sandwiched between two recording sessions with then husband and tenor saxophonist Stanley Turrentine - organist Shirley Scott recorded with guitarist Kenny Burrell. She had just wrapped Hustlin' with Turrentine at the end of January and would be back in the studio for Blue Flames at the end of March. Backing Scott and Burrell on this Ozzie Cadena-produced album for Prestige were bassist Eddie Khan and drummer Otis "Candy" Finch. What makes this album so exciting is what's missing - a boss. Turrentine's appeal on Scott dates was his soulful command and searing reed statements before and after Scott solos. Here, Scott and Burrell play off each other in tender ways. It's a hip rhythm-section date - with all the swinging, playful interchanges you find when the sax on an organ date sits out. After Scott's solos, instead of the Turrentine train roaring out of the tunnel, you get Burrell's ringing, single-note lines. The ear likes what it hears. The session's song choices also are perfect in every way. The track list features Travelin' Light, Solar, Nice 'n' Easy, They Call It Stormy Monday, Baby It's Cold Out There and The Kerry Dance. What's interesting is how Scott plays behind Burrrell. Fully aware of the guitar's sonic limitations, she offers huge support to fill the space - offering both texture and a frame for Burrell. Scott and Burrell played well together. For me, the title tune, Solar and Nice 'n' Easy say it all - a glorious pace, groovy ideas and earthy camaraderie. ~ Marc Myers, jazzwax.com.

Prestige Records, PRST 7328, 1964

Recorded 17th February, 1964 at Van Gelder Studio, Englewood Cliffs, New Jersey

         

Musicians:

Shirley Scott - Organ

Kenny Burrell - Guitar

Eddie Khan - Bass

Otis Finch - Drums

Tracks:

A1. Travelin' Light {Trummy Young, Johnny Mercer, Jimmy Mundy} (4:41)

A2. Solar {Miles Davis} (6:03)

A3. Nice 'N' Easy {Marilyn Keith, Alan Bergman, Lew Spence} (4:34)

B1. They Call It Stormy Monday {Aaron Walker} (11:08)

B2. Baby It's Cold Outside {Frank Loesser} (3:49)

B3. The Kerry Dance {Traditional} (3:04)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten

Liner Notes - R. D. Harlan (May 1964) WNCN, New York City

Georges Arvanitas Trio - Porgy And Bess (1973) [re-rip]

Porgy and Bess is an opera, first performed in 1935, with music by George Gershwin, libretto by DuBose Heyward, and lyrics by DuBose Heyward and Ira Gershwin. It was based on DuBose Heyward's novel Porgy and subsequent play of the same title, which he co-wrote with his wife Dorothy Heyward. All three works deal with African-American life in the fictitious Catfish Row (based on the area of Cabbage Row in Charleston, South Carolina, in the early 1920s. Originally conceived by George Gershwin as an "American folk opera", Porgy and Bess premiered in New York in the fall of 1935 and featured an entire cast of classically trained African-American singers—a daring artistic choice at the time. Gershwin chose the African-American musician Eva Jessye as the choral director for the opera. Wikipedia

Many Musicians and especially Jazz artists have been inspired to develop their own interpretation of this famous work. In this regard the well known French pianist Georges Arvanitas in 1973 took on such a challenge. So here we have the Georges Arvanitas Trio playing in their own style some of the best known tunes from the opera. It is a well arranged great work. Enjoy!

AFA Records, N.E.C. 20777, 1973

Personnel:

Georges Arvanitas - Piano

Jacky Samson - Bass

Charles Saudrais - Drums

Track Listing:

           Acte 1

A1. Summertime (4:25)

A2. A Woman Is A Something (2:09)

A3. Gone Gone Gone (2:06)

A4. My Man's Gone Now (3:47)

           Acte 2

A5. I Got Plenty O' Nuttin' (3:17)

           Acte 3

B1. You Bess Is My Woman (2:29)

B2. Oh, I Can't Sit Down (3:07)

B3. I Ain't Got No Shame (2:35)

B4. It Ain't Necessary So (3:42)

B5. I Loves You, Porgy (2:07)

           Acte 4

B6. There's A Boat Dat's Leavin' Soon For New-York (2:13)

Credits:

Music by George Gershwin

Lyrics by Du Bose Heyward, Ira Gershwin

Artwork by Arc-En-Ciel

Recorded by Roger Delongeas

David Liebman - Light'n Up, Please! (1976) [re-rip]

Along with mainstay Pee Wee Ellis, Dave Liebman turns his hand to funk. Many admirers of his Post-Bop adventures may not at first be impressed but with further appraisals this LP is still a solid bit of well-crafted jazz and not to be so easily written off as a less important album within his now vast discography. He is joined by some mighty fine players including the poorly acknowledged Link Chamberland. Others include the splendid pianist Richie Beirach, drummer Al Foster and percussionists Juma Santos and Sonny Brown. Not to overlook the mighty voice of Leon Thomas on three tunes. Overall Liebman still continues to showcase his multi-instrumental talents with great prowess. A highlight is his soprano mastery on “Tranquility Of The Protective Aura.” Enjoy!

Horizon Records, SP-721, 1977

Recorded May, 1976 at the Record Plant, Sausalito, California
and September, 1976 at Electric Lady Studio, New York City

Personnel:

David Liebman - Tenor Saxophone, Soprano Saxophone, C Flute, Alto Flute,
Electric Piano, Talking Drum, Percussion, Vocals

Pee Wee Ellis - Tenor Sax, Soprano Sax, Electric Piano, Percussion, Vocals

Harold Williams - Electric Piano, Minimoog, Vocals (#A3,B2,B3,B5)

Richie Beirach - Acoustic Piano (#B4)

Link Chamberland - Electric Guitar (#A1,A3,B1-B3,B5)

Chris Hayes - Electric Guitar (#A1,A2,A4,B1)

Jeff Berlin - Electric Bass (#A3,B2,B3,B5)

Tony Saunders - Electric Bass (#A1,A2,A4,B1)

Jimmy Strassburg - Drums, Percussion

Al Foster - Drums (#A3,B2,B3,B5)

Juma Santos - Congas, Percussion (#A1,A3,B1-B3,B5)

Sonny Brown - Percussion (#B2)

Leon Thomas - Vocals, Percussion (#A1,B1,B2)

Tracks:

A1. Light'n Up, Please! {David Liebman} (6:39)

A2. Children Of The Ghetto {David Liebman, Leon Thomas, Eleana Steinberg, Pee Wee Ellis} (3:44)

A3. Tranquility Of The Protective Aura {Harold Williams} (5:54)

A4. The Fonz's Strut {David Liebman, Pee Wee Ellis} (5:55)

B1. Got To Work {David Liebman, Pee Wee Ellis, Leon Thomas} (3:17)

B2. Chicken Soup {David Liebman, Pee Wee Ellis} (3:52)

B3. Exquisite Torture {David Liebman} (5:05)

B4. Win Your Love {David Liebman} (1:31)

B5. Slow Dance On The Killing Ground {David Liebman} (4:24)

Credits:

Producer - David Liebman, John Snyder, Pee Wee Ellis

Engineer - Skip Juriad , Assistant - Jerry Soloman [Electric Lady]

Engineer - Tom Anderson [The Record Plant]

Mixing - Bob Edwards, Assistant - Eric Schilling [The Record Plant]

Photography - James Fee [Front], Benno Friedman [Back]

Photography - Barbara Ellis

Art Direction - Roland Young

Design - Phil Shima

Sax boffin and one-time Miles Davis sideman, David Liebman, and James Brown's sax man Pee Wee Ellis get together for a light-hearted rhythm workout. On two tracks ("Light'n Up Please!" and "Got To Work") they lock swords with their tenors and Ellis plays electric piano and tenor on the others. Liebman tries his hand at funky stuff on side one, and although the whole album sounds hastily produced rather than spontaneous, we are treated to some wonderfully creative and searching soprano solos on "Slow Dance On The Killing Ground", "Exquisite Torture" and "Tranquility Of The Protective Aura". ~ vitalwill, RYM.

Houston Person - Suspicions (1980) [re-rip]

Here we have another solid outing by Houston Person. He is joined with the mastery of some other fine musicians, including to name a few; Virgil Jones, Melvin Sparks, Horace Ott, Sonny Phillips and Idris Muhammad. The title tune “Suspicions” gets it all started with a funky soul jazz beat. On the rest of the album he turns his tenor to a challenging mixture of tunes from the popular “If” and the more intrinsic “Blue Monk” and a classic standard “This Bitter Earth”, not to mention a funky composition by Sonny Phillips “Me and Me Brudder”, but as always, his interpretation and musicianship excels across anything he producers. Another highlight is the two compositions on offer by Horace Ott; “Pieces” and “Let’s Love Again”. By and large the listener will find something that gets the Soul A-Movin’.

Muse Records, MR 5199, 1980
Recorded 24^th April, 1980 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Virgil Jones - Trumpet

Melvin Sparks - Guitar

Jack Cavari - Guitar

Sonny Phillips - Keyboards

Horace Ott - Keyboards

Ernie Hayes - Keyboards

"Bad" Wilbur Bascomb - Bass

Idris Muhammad - Drums

Ralph Dorsey - Percussion

Tracks:

A1. Suspicions {Eddie Rabbitt, Randy McCormick, David Malloye, Even Stevens} (5:22)

A2. If {David Gates} (3:56)

A3. Me & Me Brudder {Sonny Phillips} (3:25)

A4. Pieces {Horace Ott} (5:02)

B1. Blue Monk {Thelonious Monk} (8:43)

B2. This Bitter Earth {Clyde Otis} (4:44)

B3. Let's Love Again {Horace Ott} (4:58)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Arranger - Horace Ott (#A1,A4,B3)

Art Direction & Design - Mark Larson

Cover Photo - Charles Redly

Liner Notes - Maxine S. Harvard

Houston Person - Stolen Sweets (1977) [vinyl>flac]

Person is a master of moving, luxuriant melody, of sweeping, tuneful saxophone lines. Much of his best work--in person and on record--is devoted to attractively structured pop songs--and this collection is no exception. On "At Last" and "Skylark", Person conjures up his richest, warmest ballad sound. "If Ever I Would Leave You" finds Houston fluent and exhilarating at a faster tempo. On "Stolen Sweets", one hears echoes of Jug's brusque tone and soulful emotion. Finally, on "T-Bone Steak", finds Person riding an earthy, instrumental blues and getting excellent support from organist Sonny Phillips and guitarist Jimmy Ponder. "Stolen Sweets" is unabashedly recommended. I think you'll agree that Houston Person and his band play my kind and your kind of jazz--music that is mellow, relaxed, warm, tasty and inventive. In startling contrast to the tenseness and turbulence fashionable in some jazz quarters, Houston Person offers a joyful, soulful musical experience, ~ Excerpts by Jon Lissner, New York Times; from Liner Notes.

Muse Records, MR 5110, 1977

Recorded 29^th April, 1976 at Blue Rock Studio, New York City

Musicians:

Houston Person - Tenor Saxophone

Jimmy Ponder - Guitar

Sonny Phillips - Organ

Frankie Jones - Drums

Buddy Caldwell - Congas

Tracks:

A1. If Ever I Would Leave You {Alan Jay Lerner, Frederick Loewe} (10:38)

A2. At Last {Harry Warren, Mack Gordon} (7:42)

B1. Stolen Sweets {Wild Bill Davis} (5:35)

B2. Skylark {Hoagy Carmichael, Johnny Mercer} (7:31)

B3. T-Bone Steak {Jimmy Smith} (6:32)

Credits:

Producer - Michael Cuscuna

Recording Engineer - Eddie Korvin

Art Direction, Design, Photography - Hal Wilson

Liner Notes - John Lissner, New York Times

This is album could easily be rated as one of Houston Person's best on Muse, if not definitely to be noted as a great sounding Soul Jazz LP from the classic 70's. Person is in excellent form producing some fantastic up-tempo and plenty of robust tenor sounds. The assortment of tunes allows him to display his masterful skills as a very talented ballad player to just breaking out into some juicy funk number. He is joined by a mighty crew; with Jimmy Ponder on guitar given many opportunities to perform some riveting solos; and along with Sonny Phillips' magnificent swirling organ the listener is taken on one hell of a Soul-Jazz-Funky ride. Backing these great men are two percussion and rhythmic experts in Frankie Jones and Buddy Caldwell. Right throughout the album their driving beats assist the soloists to hold it perfectly together. The only real fault is that its joyful ride ends so quickly. There's one thing to do just spin it again.

Houston Person - Always On My Mind (1985) [vinyl>flac]

Tenorman, Houston Person has collected some recent and not so recent vocal hit records and made an incredibly beautiful instrumental album. What will always stay on our minds is the title song here "Always On My Mind." It's haunting and timeless theme will be with us long after Willie Nelson leaves the road. Houston Person is the interpreter. Here he plays the melody and what beautiful melodies...his music will stay "ALWAYS ON MY MIND." ~ Excerpts from Liner Notes

Muse Records, MR 5289, 1985

Recorded 3^rd September, 1985 At Sound Heights Studio, Brooklyn, New York

Musicians:

Houston Person - Tenor Saxophone

David Brahim - Organ, Electric Piano

Ted Brancato - Acoustic Piano, Keyboards

Wilbur Bascomb - Bass

Bernard Purdy - Drums

Ralph Dorsey - Percussion

Tracks:

A1. I Can't Help Myself {Holland, Dozier, Holland} (4:28)

A2. Always On My Mind {Christopher, James, Carson} (5:30)

A3. Endlessly {Brook Benton} (7:04)

B1. How Do You Keep The Music Playing {Legrand, Bergman, Bergman} (6:10)

B2. Cutie Pie {Zapp, Roger} (5:30)

B3. It Might Be You [Theme From Tootsie] {David Grusin} (5:53)

Credits:

Producer - Houston Person

Arranger - Jimmy Roach

Engineer - Vince Traina

Mastering Engineer - Joe Brescio, The Cutting Room, NYC

Cover Photo - Hugh Bell

Art Direction - Dick Smith

Gene Ammons - Makes It Happen (1948-51) [re-rip]

This 1967 Cadet release repackages the 1958 Chess date Soulful Saxophone, itself a session originally recorded in 1950 in the months prior to Gene Ammons' landmark stint with the Prestige label--and while the provocative cover suggests a collection of lush romantic ballads, Gene Ammons Makes It Happen is instead deep and dark, underscored by the tenorist's potently soulful sound. A melancholy reading of "My Foolish Heart" was Ammons' first hit and sets the tone for the remainder of the material, which boasts an affecting, late-night atmosphere--the music absolutely marinates in echo, transcending the waking world into the dreamscape. ~ Jason Ankeny, AMG.

Argo Records, LPS-783, 1967

Cadet Records, CA 783, 1977

Recorded October 1948 through May 1951 in Chicago, Illinois

12^th October, 1948; (#B5)

28^th February, 1949; (#B4)

8^th January, 1950; (#B1)

2^nd May, 1950; (#A1,A3,B3)

August, 1950; (#A2,A4)

3^rd May, 1951; (#A5,B2)

Personnel:

Gene Ammons - Tenor Saxophone

Bill Massey - Trumpet (#A1-A4,B3)

Matthew Gee - Trombone (#A1-A4,B1,B3)

Charlie Bateman - Piano (#A1-A4,B3)

Gene Wright - Bass (#A1-A5,B2,B3)

Wesley Landers - Drums (A1-A4,B1,B3,B5)

Sonny Stitt - Baritone Saxophone (#A2,A4)

Junior Mance - Piano (#A5,B1,B2)

Teddy Stewart - Drums (#A5,B2)

Jesse Miller - Trumpet (#B1)

Leo Blevins - Guitar (#B1,B4)

Leroy Jackson - Bass (#B1,B5)

Christine Chatman - Piano (#B4,B5)

Lowell Pointer - Bass (#B4)

Ike Day - Drums (#B4)

Tom Archia - Tenor Saxophone (#B5)

Tracks:

A1. My Foolish Heart {Victor Young, Ned Washington} (2:48)

A2. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (2:59)

A3. Goodbye {Gordon Jenkins, Benny Goodman} (3:08)

A4. Can Anyone Explain {Bennie Benjamin, George David Weiss} (2:52)

A5. It's You Or No One {Jule Styne, Sammy Cahn} (2:43)

B1. Pennies From Heaven {Johnny Burke, Arthur Johnston} (2:36)

B2. Happiness Is A Thing Called Joe {Harold Arlen, E.Y. "Yip" Harburg} (2:48)

B3. You Go To My Head {J. Fred Coots, Haven Gillespie} (2:59)

B4. Once In A While {Michael Edwards, Bud Green} (3:11)

B5. It's The Talk Of The Town {Jerry Livingston, Marty Symes, Al J. Neiburg} (2:50)

Preserved in the tracks of this album are ten memorable performances that represent an early Gene Ammons. This time, these sounds have been further enhanced through the process of re-channeled stereo. The crooning tones emanating from Gene's tenor on these ballads are the ideal purveyors of warmth and thoughtfulness of a quiet mood. To those who recall with fondness the excitement created by these recordings when they first were issued, this album will be a welcome treat. This album is a good starting place, and as you listen to evergreens like My Foolish Heart, Prelude To A Kiss, Pennies From Heaven, Once In A While, and You Go To My Head, I'm sure you'll nod in agreement with this album title ...Gene Ammons always MAKES IT HAPPEN. ~ Excerpts from Liner Notes by Burt Burdeen (WSDM, Chicago).

Credits:

Cover Photo - Michel Ditlove

Art Direction - Howard Blume, Bill Sharp

Note:

Originally released in 1959 as "Soulful Saxophone" [Chess Records - LP 1442]

Robin Kenyatta - Take The Heat Off Me (1979) [vinyl>flac]

A rare bit of jazz-funk from the superlative saxophonist Robin Kenyatta. Released on an obscure label Robin is joined by a diverse array of personnel including the likes of Lew Soloff, Cornell Dupree, Dom Salvador, David Eubanks with some beautifully crafted playing and arrangements by Pat Coil and Masao Nakajima. Included are some colourful vocalists and even a tap dancer doing his stuff in the background. Enjoy this hard to procure LP.

Jazz Dance Records, JD-01, 1979

Recorded 1979 At East Coast Studios & Quadrasonic Studio, New York City

Personnel:

Robin Kenyatta - Alto Sax, Soprano Sax, Flute, Vocals (#A2)

Pat Coil - Piano, Keyboards, Arranger

Lew Soloff - Trumpet

Ed Montiero - Accordion, Vocals (#B1)

Masao Nakajima - Piano, String Arranger (#A2)

Dom Salvadore, Peter Solomon - Piano, Keyboards

Cornell Dupree, Darryl Thompson, Marcus Fiorillo - Guitar

David Eubanks, John Lee, Sal Cuevas - Bass

Brian Janszen, John Susswell, Leroy Clouden - Drums

'Crusher' Bennett, Mike Pomier - Percussion

Chuck Hudson - Vocals (#A3)

Chuck Green - Tap Dance (#B3)

Tracks:

A1. Bad Boy {François Roland, Robin Kenyatta} (3:19)

A2. Sheik Of Araby {Sydney R. Smith} (3:15)

A3. Every Body's Talkin {Pat Coil, Robin Kenyatta} (4:37)

B1. Take The Heat Off Me {Pat Coil, Robin Kenyatta} (9:00)

B2. Inscrutable Miss' O' {Pat Coil, Robin Kenyatta} (5:31)

B3. Jazz Dance [Theme] {Pat Coil, Robin Kenyatta} (5:28)

Credits:

Producer - Robin Kenyatta

Engineer - Richie Corsella

Front Cover - Miquel Bejarano

Back Cover - Denny Tillman

Marion Brown - Soul Eyes (1979) [re-rip]

On this date Brown assembles an amazing quartet of similarly gifted musicians of which none need any introduction. This album eluded US sales by being released in Japan. Although a CD was released later, it still remains hard to obtain. The music presented is a well performed mixture of Brown, Waldron, Heyman, Sour, Eyton & Green Mingus and Monk compositions. Apart from Brown’s own tunes all players place their mark to great effect and cohesion to the other familiarised pieces. If you were to procure this album for just one track my choice would be the beautifully executed title track “Soul Eyes” {Mal Waldron}. Brown’s tone and deliverance is impeccable and alongside Barron’s clean piano lines the piece is a joy right throughout. In having praised the main soloists it would be criminal not to shower additional accolades on the rhythm section. McBee manages to really lock together these sets and of course without Jones’ driving percussive force there would have been ample opportunity for the tunes, especially Mingus’ and Monk’s to be trivialised. Overall this album is a must have if you are a Marion Brown aficionado or a newcomer to Modern-Avant-Garde Jazz.

Baystate Records, RVJ-6036, 1979

Recorded 14^th & 15^th November, 1978 at Sound Ideas Studios, New York City

Personnel:

Marion Brown - Alto Saxophone

Kenny Barron - Piano

Cecil McBee - Bass

Philly Joe Jones - Drums

Track Listing:

A1. Sunshine Road {Marion Brown} (9:13)

A2. Soul Eyes {Mal Waldron} (10:15)

A3. Body And Soul {Heyman, Sour, Eyton, Green} (7:14)

B1. Afrisa {Marion Brown} (5:18)

B2. Goodbye Pork Pie Hat {Charles Mingus} (8:40)

B3. Blue Monk {Thelonious Monk} (11:25)

Credits:

Producer - Yoshio Ozawa

Co-Producer - Fumimaru Kawashima

Recording & Mixing Engineer - Jim McCurdy

Assistant Engineer - Kathy Dennis

Mastering Engineer - Tohru Kotetsu

Photography - Shingo Satoh

Design - Katsuhiko Iida

Cannonball & Nat Adderley Sextet - Soul Zodiac (1972) [vinyl>flac]

ASTROLOGY, the study of the signs of the Zodiac. How does one rationalize a development with astrological significance? RICK HOLMES, the creator of the narrative indigenous to the artistic creativeness formed in this recording, is a person whose day-to-day behavioral continuity by his own concepts of the influence of the activities of astrological movement. Mr. Holmes, well known in the greater Los Angeles area, is a radio personality who is recognised by various people who have the privilege of being exposed to "RICK'S FAMILY AFFAIR" aired nightly on radio station KBCA-FM. (One of the most important outlets for Jazz and other musical expression, including sophisticated rhetoric, in Southern California.) Devoted listeners to Rick's program are well aware of his expertise with regards to astrology. This recording marks the first effort to broaden any interested audience or to enhance the awareness with regards to astrology or to enhance the awareness of people to whom the soulful exhortations of Rick have never been available. ~ Cannonball Adderley, Liner Notes.

Capitol Records, SVBB-11025, 1972

Recorded in 1972, Capitol Records Inc.

Personnel:

Rick Holmes - Voice [Narration], Writer

Cannonball Adderley - Alto Sax (#A2), Soprano Sax (#A3)

Nat Adderley - Cornet

Ernie Watts - Tenor Saxophone, Flute, Tambourine

Mike Deasy - Guitar

George Duke - Fender Electric Piano

Walter Booker - String Bass & Guitar

Roy Mac Curdy - Drums

Tracks:

A1. Introduction {Adderley, Holmes} (2:59)

A2. Aries {Adderley, Holmes} (4:51)

A3. Libra {Booker, Holmes} (3:17)

A4. Capricorn {Duke, Holmes} (6:04)

B1. Aquarius {Deasy, Holmes} (7:49)

B2. Pisces {Adderley, Holmes, Watts} (3:51)

B3. Sagittarius {Holmes, McCurdy} (5:14)

C1. Gemini {Adderley, Booker, Holmes, McCurdy} (3:37)

C2. Leo {Adderley, Holmes} (2:54)

C3. Virgo {Deasy, Duke, Holmes} (4:23)

C4. Scorpio {Holmes, Watts} (4:12)

D1. Cancer {Adderley, Booker, Holmes, McCurdy} (2:44)

D2. Taurus {Adderley, Holmes} (13:42)

Credits:

Producer - Cannonball Adderley, David Axelrod

Engineer - Howard Gale

Artwork [Direction] - John Holmes

Photography - Rick Rankin

Photography [Body Painting] - Abe Gurvin

Robin Kenyatta - Beggars And Stealers (1969+75) [vinyl>flac]

Robin Kenyatta is a versatile artist who has worked in a number of associations, playing with characters as varied as Archie Shepp, Barry Miles, Sonny Stitt and Mongo Santamaria. Kenyatta with his strong vibrato and earthy tone is quite at home playing styles ranging from Coleman Hawkins through to Charlie Parker. Apart from his musicianship, he clearly articulates an ability to craft astounding abstract musical concepts into his tunes. “Beggars And Stealers” documents a 1969 concert on which Kenyatta played tenor sax. This was the only time he ever used that instrument recorded on an album. An additional treat made available on this album is a magnificent duet with Muhal Richard Abrams on “Ruby My Dear”. Enjoy!

Muse Records, MR 5095, 1977

Recorded 8^th April, 1969 (#A1,A2,B1) Live at Columbia University, New York

And September, 1975 (#B2) at Generation Sound, New York

Musicians:

Robin Kenyatta - Tenor Sax (#A1-B1), Alto Sax (#B2)

Larry Willis - Piano (#A1-B1)

Muhal Richard Abrams - Piano (#B2)

Walter Booker - Bass

Alphonse Mouzon - Drums

Tracks:

A1. Nairobi Hot {Robin Kenyatta} (11:31)

A2. Dream Bug {Robin Kenyatta} (10:14)

B1. Beggars And Stealers {Robin Kenyatta} (12:30)

B2. Ruby My Dear {Thelonious Monk} (5:57)

Credits:

Producer - Robin Kenyatta

Producer, Liner Notes - Michael Cuscuna

Recording Engineer - Tony May (#B2)

Cover Design, Photography - Price Givens

Liner Design, Photography - Mark Larson, Charles Reilly

Also Released as:

Alphonse Mouson - Dream Bug (1977)

American Jazz & Blues History, Vol. 51

Tobacco Road [B/2551]

Germany

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

Happy Bird B/90085 (1977)

Germany

Robin Kenyatta - Nomusa (1975) [vinyl>flac]

When I interviewed him in 1974, Robin Kenyatta allowed that, for him, "jazz has always been about stomping your feet or clapping your hands; it's always been about being happy. I don't mean I just want to work in discotheques or play for dancers, but I want the feeling to be there. People should feel like dancing, feel like being happy. That's the feeling I always try to keep in my mind." Nomusa isn't a heavy, get-down dancing album. It's a light, pirouetting, on-your-toes-and-into-the-air dancing album. And feelings, happy feelings, are definitely what it's about. ~ Bob Palmer.

Muse Records, MR 5062, 1975

Recorded 28^th January, 1975 at Blue Rock Studios, New York

Musicians:

Robin Kenyatta - Alto Saxophone, Soprano & Alto Saxes (#A1)

Xaba Ndikho - Piano (#A1)

Dom Salvador - Piano, Organ (#A1)

Stafford James - Bass

Joe Chambers - Drums

Tracks:

A1. Nomusa {Xaba Ndikho} (9:33)

A2. Warm Valley {Duke Ellington} (7:35)

B1. Slow Boat To China {Frank Loesser} (6:29)

B2. Afternoon Outing {John Handy} (5:35)

B3. Prettyside Avenue {John Handy} (6:19)

Note:

#B1 is a duet between Robin Kenyatta and Dom Salvador with each musician overdubbing a second part.

Credits:

Producer - Michael Cuscuna

Recording Engineer - Eddie Korvin

Jacket Photo and Design - Leandro Katz

Liner Notes - Bob Palmer

Also Released as:

Robin Kenyatta - Warm Valley

American Jazz & Blues History, Vol. 56

Tobacco Road [B/2556]

Germany

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

Happy Bird B/90091 (1975)

Germany

Willis Jackson - Nothing Butt... (1980) [vinyl>flac]

Tenor saxophonist Willis Jackson got into a routine on his Muse albums, but never lost his enthusiasm and creativity within the genre. This album features Jackson on a current hit ("Just the Way You Are"), a couple of ballads, and three romps ("Nothing Butt," "Hittin' and Missin'," and "Move"). Guitarist Pat Martino is heard in excellent form just before a serious illness; organist Charles Earland is up to his usual groovin' form, and drummer Grady Tate and percussionist Buddy Caldwell keep the music moving. An excellent effort full of enjoyable and fairly accessible music. ~ by Scott Yanow, AMG.

Here we have another exciting album by Willis Jackson. He is joined by a veteran team of musicians well versed in the “Soul Jazz” groove. Both Charles Earland and Pat Martino have worked alongside Jackson on previous outings and this adds to the dynamics. As usual Jackson chooses a diversity of tunes, mostly of his own doing that showcases effectively his skills and that of the other soloists. Pat Martino in particular takes the groove to greater heights. Similarly, Charles Earland’s organ licks undeniably meshes the tunes together. Willis’ strong tenor sound is at heart of all the compositions, especially on those penned by him. However, the listener is also presented with some wonderful interpretations of both newer and older ballad style compositions. In the end the album is definitely a keeper in that with continual playing it always delivers an enjoyable an uplifting mood. In some regards the title indicates “Nothing Butt…” the best from Jackson and his team.

Muse Records, MR 5294, 1983

Recorded 20^th June, 1980 at Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Pat Martino - Guitar

Charlie Earland - Organ

Grady Tate - Drums

Buddy Caldwell - Percussion

Tracks:

A1. Just The Way You Are {Billy Joel} (7:03)

A2. Nuages {Willis Jackson} (4:50)

A3. Nothing Butt {Willis Jackson} (4:43)

B1. Hittin' And Missin' {Willis Jackson} (7:55)

B2. Autumn Leaves {Joseph Kosma, Johnny Mercer, Jacques Prevert} (4:28)

B3. Move {Willis Jackson} (4:04)

Credits:

Producer - Bob Porter

Recording & Mastering Engineer - Rudy van Gelder

Art Direction - W. Dale Cramer

Cover Photo - Hugh Bell

Liner Notes - Cliff Tinder

Willis Jackson - 'Gator Tails (1964) [vinyl>flac]

A great range of tunes, some standards and two of his own, Willis is in fine form backed by an unidentified Orchestra that is beautiful arranged and conducted by Robert Banks or Claus Ogerman. His tone is vibrant and powerful, and some of the other players set up some wonderful solos. If you are Willis fan like me you’ll want to hear this, enjoy!

Verve Records, V6-8589, 1964

Recorded 18^th March (#A4,B4) & 23^rd June (#A1-A3,B1-B3) 1964

At A&R Studios, New York City

Personnel:

Willis Jackson - Tenor Saxophone

Unidentified Orchestra

Robert Banks or Claus Ogerman - Arranger, Conductor

Tracks:

A1. I Almost Lost My Mind {Ivory Joe Hunter} (2:50)

A2. The Crocodile {Robert Banks, Willis Jackson} (4:03)

A3. On Broadway {Barry Mann, Cynthia Weil, Jerry Lieber, Mike Stoller} (2:30)

A4. Swimmin' Home, Baby [Fruit Cake] {Ben Tucker} (2:19)

A5. The Skillet {Claus Ogerman} (2:54)

B1. Frankie And Johnny {Traditional} (4:26)

B2. Someone To Watch Over Me {George Gershwin, Ira Gershwin} (4:17)

B3. Lonesome Road {Nathaniel Shilkret, Gene Austin} (3:27)

B4. Early One Morning (Part 2) {Willis Jackson} (5:52)

Credits:

Producer - Creed Taylor

Recording Engineer - Phil Ramone

Director of Engineering - Val Valentin

Cover Photo - Chuck Stewart

Cover Design - Acy R. Lehman

Richard Davis - With Understanding (1975) [vinyl>flac]

Pure brilliance from the brief flowering of Richard Davis as a leader - that great time when he was stepping out of his role as a sideman in the 60s, and making some really wonderful 70s albums for Muse! This album's got a really well-crafted feel - a spiritual, somewhat mellow approach that's laidback, and nicely understated - drawing strongly on Richard's work with other great players over the years, yet never pushing its own presence too strongly. The group features Chick Corea on piano, Sam Brown on guitar, Sonny Brown on drums, Frankie Dunlop on percussion and Bill Lee as a second bassist. Corea's piano is nicely restrained, and he gives the set a good mellow edge, but the real highlight is the writing - as Bill Lee contributed an entire set of beautiful compositions that stand among his best work from the 70s. Tracks include "The Rabbi", "Oh My God", "Juan Valdez", "Baby Sweets", and "Monica". ~ Dusty Groove, Inc.

This album runs in a similar vein to that of "Dealin'" and "Harvest", whereby Davis continues to explore the use of bowing an arco bass across an assortment of compositions. According to one reviewer: "But the preponderance of arco bass makes the music a bit too bottom-heavy. The same can be said of the selections from “With Understanding”. The band is better, however. It includes Chick Corea, at a time when the pianist wasn't playing a great deal of acoustic music. Unfortunately, the piano is not recorded very well. Sam Brown's acoustic guitar adds a nice dimension, and Bill Lee again plays second bass but is utilized with more subtlety. Lee's three originals, "Monica," "The Rabbi," and "Baby Sweets," are varied and rewarding." ~ David R. Adler [cduniverse.com].

Muse Records, MR 5083, 1975

Recorded November, 1971, New York City

Musicians:

Richard Davis - Bass

Chick Corea - Piano

Sam Brown - Guitar

Bill Lee - Bass

Sonny Brown - Drums

Frankie Dunlop - Percussion

Tracks:

A1. Dear Old Stockholm {Traditional} (5:36)

A2. Monica {Bill Lee} (4:05)

A3. Oh My God {Nadi Koma} (9:31)

B1. The Rabbi {Bill Lee} (7:17)

B2. Baby Sweets {Bill Lee} (6:14)

B3. Juan Valdez {Bill Lee} (5:04)

Credits:

Producer - Larry Fallon

Executive Producer - Joe Fields

Engineer - B. Arthur

Liner Notes - Doug Ramsey

Art Direction, Photography -  Hal Wilson

Richard Davis - Dealin' (1974) [vinyl>flac]

This album was released on Muse in 1974. The first side is made up of a couple of funky jazz groovers while the second side is on a more mellow tip. The session is led by bassist Richard Davis, who also wrote the tunes. Marvin Peterson is on trumpet, Clifford Jordan on saxophone, Paul Griffin plays Piano, Rhodes, Organ and Clavinet, David Spinozza plays guitar and Freddie Waits is on drums.

“After Scott LaFaro, Richard Davis is the most important of the young bassists who helped extend the role of their instrument during the early Sixties. He influenced every important bassist of his generation. Like many brilliant sidemen, Davis doesn’t score so well as a leader. There is a general lack of focus that few of his LP’s have overcome.” ~ Steve Futterman. ~ Listening to this album years later brings a different perspective and in a lot ways the reviewer’s comment may seem a bit over stated.

Muse Records, MR 5027, 1974

Recorded 14^th September, 1973

Musicians:

Richard Davis - Bass, Vocals (#A3)

Marvin Peterson - Trumpet, Tambourine, Cow Bell

Clifford Jordan - Tenor Saxophone, Soprano Saxophone, Cow Bell

Paul Griffin - Piano, Organ, Rhodes Piano, Clavinet

David Spinozza - Guitar

Freddie Waits - Drums

Tracks:

A1. What'd You Say (6:17)

A2. Dealin' (5:59)

A3. Julie's Rag Doll (5:33)

B1. Sweet'n (3:49)

B2. Sorta (3:10)

B3. Blues For Now (10:50)

All Compositions by Richard Davis

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Paul Goodman [RCA]

Liner Notes - Dan Morgenstern

Willis Jackson - The Gator Horn (1977) [vinyl>flac]

Virtually all of tenor saxophonist Willis "Gator" Jackson's albums for Muse in the 1970s (and fortunately, there are many of them) are well worth picking up. Jackson's basic tenor always contained plenty of soul, the potential of exploding, and an attractive warm sound. For this fine set, Gator alternates between romps (some of which are funky) and ballads ("You've Changed" and "This Is Always"). Excellent support is contributed by organist Carl Wilson, guitarist Boogaloo Joe Jones, bassist Dud Bascomb, drummer Yusef Ali, and Buddy Caldwell on conga. ~ by Scott Yanow, AMG.

Muse Records, MR 5146, 1979

Recorded 8^th March, 1977 in Rosebud Studio, New York City

Musicians:

Willis Jackson - Tenor Saxophone (#A1-A3), Saxophone [Gator Horn] (#B1-B3)

Ivan 'Boogaloo' Joe Jones - Guitar

Carl Wilson - Organ

Dud Bascomb Jr. - Bass

Yusef Ali - Drums

Buddy Caldwell - Congas

Tracks:

A1. Ungawa {Willis Jackson} (8:32)

A2. You've Changed {Bill Carey, Carl Fischer} (4:44)

A3. Hello, Good Luck {Peter Griffin} (7:32)

B1. The Gator Horn {Willis Jackson} (5:05)

B2. This Is Always {Mack Gordon, Harry Warren} (5:29)

B3. Gooseneck {Willis Jackson} (8:15)

Credits:

Producer - Frederick Seibert

Engineer - Richard Alderson

Assistant Engineer - Eric Bowman

Album Design - Ron Warwell

Cover Photo - Hugh Bell

Liner Notes - Clifford Jay Safane

For about a decade (1968-78) the avant-garde in jazz sparked a fashion of solo recordings, particularly with not so obvious solo instruments like saxophones. Wanna be that I was, I loved it, and thought it would be cool for Willis to try it on our second session together. He thought I was crazy but figured if I was willing to take his warm up and do the work to edit it into something reasonable he’d get off the session a little early and still get paid. ~ Fred Seibert.

Willis Jackson - In The Alley (1977) [vinyl>flac]

Smooth and mellow 70s funk from Willis Jackson - a record that still has him working with funky stalwarts from earlier years, but which has a more 70s-influenced kind of groove! There's actually a nice dose of older soul jazz lurking underneath a few of the tracks - making for a record that skirts both sides of Willis' career at the time nicely - and tracks are all longish, with enough room for good tenor work. Players include Sonny Phillips, Carl Wilson, Jimmy Ponder, and Buddy Caldwell - and titles include "Niamani", "Gator's Groove", "More", and "In The Alley". © Dusty Groove America, Inc.

Muse Records, MR 5100, 1977

Recorded At Dimensional Sounds Studio, New York City

Musicians:

Willis Jackson - Tenor Saxophone

Sonny Phillips - Piano

Carl Wilson - Organ

Jimmy Ponder - Guitar

Jimmy Lewis - Bass

Yusef Ali - Drums

Buddy Caldwell - Congas, Percussion

Tracks:

A1. Niamani {Sonny Phillips} (7:22)

A2. Gator's Groove {Yusef Ali} (7:06)

A3. Blues, Blues, Blues {Willis Jackson} (5:07)

B1. Young Man With The Horn {Ray Anthony} (5:54)

B2. More {Riziero Ortolani, Nino Oliviero, Norman Newell, Marcello Ciorciolini} (7:39)

B3. In The Alley {Willis Jackson} (9:07)

Credits:

Producer - Fred Seibert

Engineers - Malcolm Addey and Fred Seibert

Art Direction, Design, Photography - Hal Wilson

Willis Jackson - Headed And Gutted (1974) [vinyl>flac]

Willis "Gator" Jackson's series of albums for Muse during the 1970s helped keep alive the soulful, tough tenor tradition of Illinois Jacquet, Gene Ammons, and (later on) Houston Person. For this particular set, the participation of guitarist Pat Martino made the date more notable than it might have been. With Mickey Tucker on keyboards, electric bassist Bob Cranshaw, drummer Freddie Waits, and Richard Landrum and Sonny Morgan on percussion, Jackson still sounds very much in his prime, particularly on the exciting "Gator Whale." The other selections tend to emphasize ballads "My One and Only Love" and funky jazz "The Way We Were". ~ Scott Yanow, AMG.

Headed And Gutted is basically a one-tracker. That comes in the form of the title track that is a real nice, mid-tempo funky Jazz piece. It has a driving rhythm and Jackson’s soloing over the top. The rest of the album is more straight-ahead Jazz splitting between the slow and mellow Blue Velvet and The Way We Were, and the more upbeat Miss Ann and Gator Whale. ~ Soulstrut.com.

Muse Records, MR 5048, 1974

Recorded 16^th May, 1974

Musicians:

Willis Jackson - Tenor Saxophone

Mickey Tucker - Piano, Electric Piano, Organ

Pat Martino - Guitar

Bob Cranshaw - Bass

Freddie Waits - Drums

Sonny Morgan - Percussion

Richard Landrum - Congas

Tracks:

A1. Headed And Gutted {Sonny Phillips} (5:21)

A2. Blue Velvet {Bernie Wayne, Lee Morris} (8:16)

A3. Miss Ann [Willis' Wife] {Willis Jackson} (6:28)

B1. The Way We Were {Marvin Hamlisch} (6:49)

B2. Gator Whale {Sonny Phillips} (6:06)

B3. My One And Only Love {Guy Wood, Robert Mellin} (5:44)

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Paul Goodman [RCA]

Liner Notes - Ralph Berton