Mose Allison - Greatest Hits (1957-59)

From Tippo, Mississippi to the tip of jazz’s pantheon, Mose Allison has had one of the genre’s most enduring and beloved careers. Now well into his golden years, the honey and chickoree-voiced storyteller continues to reminisce about his beloved South. Among the prevalent themes on this gently sparkling collection are the infamous 12-foot cotton sack and other elements of life on the plantation (including life on the penal farm for spousal homicide). It was a different place and a different age, but Allison sing-songs about it as if he lived it himself. And when he’s not singing about a life not lived, Allison offers equally personalized renditions of the greats, from Ellington to Williamson and Ray Charles to Willie Dixon. Though his Chet Baker-y vocals are occasionally under-propped, Allison’s jaunty keywork is impressive and fun on its own. His pianistic take on "Blueberry Hill" gets up there a bit faster than Fats Domino, but the svelte Allison is in better shape anyhow. While waiting for one or the other of his musical skills to take shape on "Trouble in Mind," the Baker comparison takes on more weight as Allison reveals himself as a capable horn man as well. So many skills over so many years make this collection and this man a treasure for Rebel and Yankee alike. ~ AAJ.

OJC Records, OJCCD-6004-2, 1988

Recorded 7^th March, 1957 (#19,12,14);

Recorded 8^th November, 1957 (#4,7,15);

Recorded 24^th January, 1958 (#6,9,11);

Recorded 18^th April, 1958 (#5);

Recorded 15^th August, 1958 (#1,8,16);

Recorded 13^th February, 1959 (#2,3,13)

At Van Gelder Studio, Hackensack, New Jersey

Musicians:

Mose Allison - Piano, Vocals

Addison Farmer - Bass (#1-9,11,13,15,16)

Taylor La Fargue - Bass (#10,12,14)

Ronnie Free - Drums (#1-3,5,8,13,16)

Nick Stabulas - Drums (#4,6,7,9,11,15)

Frank Isola - Drums (#10,12,14)

Tracks:

01. The Seventh Son {Willie Dixon} (2:41)

02. Eyesight To The Blind {Sonny Boy Williamson} (1:44)

03. Do Nothin' 'Till You Hear From Me {Ellington, Russell} (3:14)

04. Lost Mind {Percy Mayfield} (3:34)

05. I've Got A Right To Cry {Joe Liggins} (2:52)

06. Baby, Let Me Hold Your Hand {Ray Charles} (3:18)

07. Parchman Farm {Mose Allison} (3:21)

08. If You Live {Mose Allison} (2:35)

09. Don't Get Around Much Anymore {Ellington, Russell} (2:50)

10. One Room Country Shack {Mary Dee Walton} (3:04)

11. I Hadn't Anyone 'Till You {Ray Noble} (2:34)

12. Young Man's Blues {Mose Allison} (1:27)

13. That's All Right {Jimmie Rogers} (2:29)

14. Blueberry Hill {Lewis, Stock, Rose} (2:59)

15. Trouble In Mind {Richard Jones} (3:15)

16. Creek Bank {Mose Allison} (4:36)

Credits:

Supervision - Bob Weinstock (#1,4-12,14-16), Esmond Edwards (#2,3,13)

Recording Engineer - Rudy van Gelder

Remastering - Phil De Lancie, 1988 (Fantasy Studios, Berkeley)

Art Direction - Phil Carroll

Photography - Lee Tanner

Liner Notes - Pete Townshend

Shirley Scott - Lean On Me (1972) [vinyl]

A great little Shirley Scott album - perhaps her best for Cadet! Unlike the others, which have a complicated set of arrangements, this one has a stripped-down jazz funk feel that reminds us a lot of the classic early 70s groovers on Prestige Records. Shirley plays some very nice lines on the organ, over tight drums from Idris Muhammad that hit that tasty breakbeat sound on the best cuts! The standout numbers are the album's versions of "Lean On Me" and "By The Time I Get To Phoenix", both strong sample tracks with nice drums. The rest of the group includes George Coleman, Roland Prince, and J. Daniel Turner - and tracks include Carla's Dance", "Funky Blues", and "Royal Love". © Dusty Groove, Inc.

Cadet Records, CA 50025, 1972

Recorded and Mixed 1972 At Sound Exchange Studio, New York City

Musicians:

Shirley Scott - Organ

George Coleman - Tenor Saxophone

J. Daniel Turner - Alto Saxophone, Flute

Roland Prince - Guitar

Idris Muhammad - Drums

Tracks:

A1. Lean On Me {Bill Withers} (4:51)

A2. Royal Love {Shirley Scott} (5:07)

A3. Smile {Charlie Chaplin, Geoffrey Parsons, John Turner} (5:32)

A4. Funky Blues {Shirley Scott} (8:30)

B1. By The Time I Get To Phoenix {Jimmy Webb} (8:31)

B2. How Insensitive {Antônio Carlos Jobim, Norman Gimbel} (8:54)

B3. You Can't Mess Around With Love {Shirley Scott} (5:56)

B4. Carla's Dance {Shirley Scott} (5:09)

Credits:

Producer - Esmond Edwards

Supervision - Bob Scerbo

Engineer - Steve Katz

Mastering - Lee Hulko (Sterling Sound)

Art Direction - David Krieger

Coordinator [Album] - Mia Krinsky

Photography - Joel Brodsky

This is the 2^nd of Shirley Scott’s LP’s released on Cadet. She is joined by a powerhouse of other players including the formidable tenorist George Coleman, alto and flautist J. Daniel Turner, the remarkable guitarist Roland Prince and the mighty drummer Idris Muhammad. In many ways within this unique grouping Shirley takes a back seat, but between the other’s soloing she burst forth with some magnificent and striking lines on her gutsy organ. For this album she chooses some popular tunes and three of her own. But without a doubt having the presence of George Coleman in the mix this album truly evolves into a top-notch session; and with 46 years gone by it’s still a great chunk of jazz to get your teeth into, Enjoy!

Charles Kynard - The Soul Brotherhood (1969) [re-rip]

Charles Kynard's name is an obscure one to those not interested or educated enough to be enamored with '60s and '70s organ-driven soul-jazz -- which at the dawn of the 21st century, was being played by generations whose parents were children at best when this music was in its heyday. But he was an essential player and the proof is in the caliber of players he could draw to play on any given session. One of those sessions a real bad-assed soul groove set was released as "The Soul Brotherhood" in 1969. The musicians joining Kynard on Soul Jazz LP were: the enigmatic jazz drummer Mickey Roker, guitarist Grant Green, tenor saxophonist David "Fathead" Newman, trumpeter Blue Mitchell, and electric bassist Jimmy Lewis. From the title track, Kynard has the proceedings firmly in hand; his sweeping right hand carries both the middle and the high registers of the instrument in a flighty idiomatic spiral of harmonic invention that never leaves its root in the blues. Lewis is merely a time keeper, but a funky one, and that's all Green needs when it's his turn to solo, with his arpeggios and stinging trills and 16th notes slipping all over Kynard's top-heavy surface. Green glides and slips and flies through the mix as Newman and Mitchell cover the fills with a harmonic front that swings in soft blue. The same goes for "Blue Farouq," which begins as a soul-blues strut by the horns; Green comps, laying back, and Kynard is down in the deep with his left hand seeking to fill the whole thing with enough water for the mosquito -- Mitchell -- to get steamed up and fly. And he does this with as inspired a solo as he ever played. He took the 12-bar blues and caught its tail moving just far enough behind the beat to stretch the whole thing out. Honking lines of feeling and slippery hooks smatter notes all over the palette before Newman straightens it all out with an in-the-pocket groove for three or four choruses. This is, of all the groove records of the late '60s, the one that pushes all the boundaries. ~ Extracts by Thom Jurek, AMG.

Prestige Records, PRST 7630, 1969

Recorded 10^th March, 1969 at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Charles Kynard - Organ

Blue Mitchell - Trumpet

David "Fathead" Newman - Tenor Saxophone

Grant Green - Guitar

Jimmy Lewis - Electric Bass

Mickey Roker - Drums

Tracks:

A1. The Soul Brotherhood {Charles Kynard} (6:06)

A2. Big City {Marvin Jenkins} (7:26)

A3. Jealjon {Charles Kynard} (7:46)

B1. Piece O' Pisces {David "Fathead" Newman} (10:07)

B2. Blue Farouq {Blue Mitchell} (9:04)

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Shirley Scott - Mystical Lady (1971) [vinyl]

An overlooked early 70's LP by the 'Queen Of The Organ'. The first of three albums she would cut for Cadet Records. At the age of 37 Shirley seeing the threat of the rock world started to turn her hand to a funkier soul jazz vibe. Her mastery on the organ is increasingly evident on this LP. She surrounds herself with a proven core of fine players, all of whom embrace and express the soul jazz style to the full on their own releases. For this album Shirley presents a number of covers of popular songs leaving space for only one her own co-written tunes. Overall the sound is dynamic and truly reflects how jazz musicians were trying to move with the times. This is a great sounding rip [DR 14] taken from an original LP, which is yet to surface as a CD. Enjoy!

Cadet Records, CA 50009, 1971

Recorded 1971 At Sound Exchange, New York, New York

Musicians:

Shirley Scott - Organ, Vocals (#A2)

George Patterson - Alto Saxophone (#B1)

Danny Turner - Tenor Saxophone (#A1,A2,B1,B2)

Pee Wee Ellis - Tenor Saxophone (#A3,B3)

Wally Richardson - Guitar (#A1,A2,B1,B2)

George Freeman - Guitar (#A3,B3)

Ron Carter - Bass (#A1,A2,B1,B2)

Richard Davis - Bass (#A3,B3)

Bobby Durham - Drums (#A1,A2,B1,B2)

Freddie Watts - Drums (#A3,B3)

Tracks:

A1. Mystical Lady {Esmond Edwards} (7:54)

A2. Your Song {Elton John, Bernie Taupin} (5:52)

A3. Hall Of Jazz {Shirley Scott, Gregg Hall} (6:17)

B1. Proud Mary {John C. Fogerty} (6:39)

B2. Love Dreams {George Patterson} (5:00)

B3. Let It Be {John Lennon, Paul McCartney} (7:14)

Credits:

Producer - Esmond Edwards

Recording Engineer - Steve Katz

Arranger - George Patterson (#A3)

Album Design - Maurer Productions

Geri Allen - Eyes... In The Back Of Your Head (1997)

This is possibly pianist Geri Allen's most advanced release. Always a pianist with her own voice, the increasingly original Allen performs three atmospheric piano solos, including a version of Ron Carter's "Little Waltz," during which she adds a little bit of synthesizer. There is a duet with percussionist Cyro Baptista, two duets with altoist Ornette Coleman (who through the years has almost never recorded as a sideman), and four numbers in which Allen is joined by her husband trumpeter Wallace Roney (two of which also include Baptista). Except for the Ornette pieces, Allen is the dominant force throughout the intriguing set, which includes the very haunting "Windows to the Soul" (dedicated to the recently departed drummer Tony Williams). The music is mostly avant-garde, but purposeful and logical in its own fashion. Well worth several listens. ~ Scott Yanow, AMG.

Blue Note, 7243 8 38297 2 9, 1997

Recorded 1997

Personnel:

Geri Allen - Piano, Synthesizer

Ornette Coleman - Alto Saxophone

Wallace Roney - Trumpet

Cyro Baptista - Percussion

Tracks:

01. Mother Wit {Geri Allen} (3:06)

02. New Eyes Opening {Geri Allen} (5:37)

03. Vertical Flowing {Geri Allen, Ornette Coleman} (5:27)

04. M.O.P.E. {Geri Allen} (6:12)

05. FMFMF [For My Family, For My Friends] {Geri Allen} (5:33)

06. Dark Eyes (Geri Allen, Wallace Roney} (4:20)

07. Little Waltz {Ron Carter} (6:11)

08. In The Back Of Your Head {Geri Allen, Wallace Roney} (5:52)

09. Windows To The Soul {Geri Allen} (5:11)

10. The Eyes Have It {Geri Allen, Ornette Coleman} (7:23)

Credits:

Producer - Geri Allen, Teo Macero, Herb Jordan

Executive Producer - Hitoshi Namekata

Engineer - Glen Kolotkin

Photography - Jules Allen

Art Direction - Kaoru Taku

Arthur Jones - Scorpio (1969) [vinyl]

Arthur Jones was a particular kind of free jazz cat - think Alan Shorter, Ric Colbeck, Jacques Coursil, Don Ayler - one whose almost chimerically brief moment of blazing creativity flashed across the firmament before streaking off into the night sky, leaving only faint traces and contrails. Jones came out of Cleveland, was schooled in rock bands before being introduced to the New Thing, version 1.0, via Dolphy and Coleman.

In the later 1960s he played with, among others, Frank Wright, Sunny Murray, and Coursil, who escorted Jones to Paris in 1969 to take in the whole BYG scene coalescing there in the wake of the Pan-African festival in Algiers - not to mention the open revolt. It was in Paris in the summer of 1969 that Jones recorded this date as a leader, one of his very few, while also appearing around that time on discs with Archie Shepp, Burton Greene, Clifford Thornton, Dave Burrell, etc. According to the invaluable liner notes to the Jazzactuel box set, written by Thurston Moore and Byron Coley, Jones died in New York in 1998.

Jones' sound is warm, almost sweet, with hints of Johnny Hodges and Cannonball Adderley around the edges. That said, the soaring opening of "B.T." reminds us of nothing other than Coltrane’s "Afro Blue" from Live at Birdland. They both take flight in the same manner, heading straight for the clouds with a determined whoop. The trilling notes in the theme also recall "Afro Blue," if that theme had been boiled down to a few resonant tremors - a sister tune to that performance. There’s not much higher praise we can offer.

Jones' insistent and incantatory tone throughout this track is spine-tingling, really; the rhythm section breakdown just there to throw his playing into relief, so we can catch our collective breath and better appreciate his second run at the melody. This is so melodic and easy to follow, structured without ever being simple or over-considered. It’s emotional without losing its complexity, or sense of form. A total fucking bravura performance. Damn.

"C.R.M." is storming in a different mode, with Jones throwing out cycles of notes, doing frantic figure eights. Where you could feel his steadily beat upward in "B.T.," Here he’s chasing himself in a circle, creating a whirlwind, a gravitational pull - a cloud of sparrows massing from tree to tree.

There are also lovely ballads on the album - one of which, "Brother B," can be heard on the Jazzactuel collection. These showcase Jones’ range, his tenderness, his romantic side; but these qualities can be heard here as well, in the midst of some of the barn-burners. Needless to say, we find Scorpio to be a lost gem, an overlooked album that features a super-strong alto voice that was ultimately heard far too little. ~ Destination Out.

BYG/Actuel Records, 529.350, 1971

America Records, 30 AM 6112, 1971

P-Vine, PLP-6501, 1989

Recorded August, 1969 in Paris, France

Musicians:

Arthur Jones - Alto Saxophone

Beb Guerin - Bass

Claude Delcloo - Drums

Tracks:

A1. C.R.M. {Arthur Jones} (10:09)

A2. B.T. {Arthur Jones} (8:00)

B1. Sad Eyes {Arthur Jones} (13:05)

B2. Brother B. {Arthur Jones} (7:19)

Credits:

Producer - Jean Georgakarakos, Jean-Luc Young

Executive-Producer, Photography - Jacques Bisceglia

Engineer - Daniel Vallencien

Sleeve Notes - Jean-Michel Max

Charles Kynard - Professor Soul (1968) [vinyl>flac]

Charles Kynard released this ultra groovy hammond happening in 1968. With just John Kirkwood on drums and Cal Green on guitar, Professor Soul is a true soul-jazz testament, you can see it on the album cover that the combo are flirting with the young groovy hippies around - very atmospheric! Groovy! ~ Trollkarlens Hatt, Groover’ Choice.

An ultra-hip album from organist Charles Kynard - one of his earliest outings as a leader for Prestige, and a set that's much more in the Groove Holmes mode than some of his later, funkier sides! The setting here is quite lean - a trio that features the wonderful Cal Green on guitar - playing here with a hard, off-kilter sound that sounds a lot like George Freeman at the best moments. Tracks are all relatively long - open and laidback, with Kynard and Green hitting a nice exploratory mode on their solos. Titles include "Cristo Redentor", "Sister Lovie", "JC.", and "Professor Soul". (OOP) © Dusty Groove, Inc.

Prestige Records, PRST 7599, 1968

Recorded 6^th August, 1968 at RCA Victor Studios, Los Angeles, California

Musicians:

Charles Kynard - Organ

Cal Green - Guitar

Johnny Kirkwood - Drums

Tracks:

A1. Professor Soul {Charles Kynard} (6:48)

A2. Christo Redentor {Duke Pearson} (4:34)

A3. Song Of Delilah {Victor Young, Jay Livingston, Ray Evans} (6:46)

B1. Sister Lovie {Johnny Kirkwood} (5:42)

B2. By The Time I Get To Phoenix {Jimmy Webb} (7:50)

B3. J.C. {Charles Kynard} (5:28)

Credits:

Producer - Bob Porter

Liner Notes - Bob Porter (October, 1968)

Ray Bryant Trio - Potpourri (1981) [vinyl]

Ray Bryant's fifth and final album for Pablo (all are quite worthwhile) features his 1980 trio which also includes bassist Jimmy Rowser and drummer Mickey Roker. It is a pity that this excellent session is not yet available on CD for it is a delight for both bebop and small-group swing fans. Bryant stretches out on eight superior jazz standards with the highlights including Lester Young's "D.B. Blues," "One O'Clock Jump," "In Walked Bud" and "My One And Only Love." Actually, all eight numbers are quite enjoyable, making this one of Ray Bryant's best trio records. ~ by Scott Yanow, AMG.

Pablo Records, 2310-860, 1981

Recorded 13^th & 14^th May, 1980 At RCA Recording Studio, New York City

Musicians:

Ray Bryant - Piano

Jimmy Rowser - Bass

Mickey Roker - Drums

Tracks:

A1. D.B. Blues {King Pleasure, Lester Young} (7:02)

A2. One O'Clock Jump {Count Basie} (3:53)

A3. Milestones {Miles Davis} (4:32)

A4. Undecided {Sydney Robin, Charlie Shavers} (5:32)

B1. In Walked Bud {Thelonious Monk} (4:11)

B2. In A Mellow Tone {Duke Ellington, Milt Gabler} (5:53)

B3. My One And Only Love {Robert Mellin, Guy Wood} (7:05)

B4. Night In Tunisia {Dizzy Gillespie, Frank Paparelli} (4:45)

Credits:

Producer - Norman Granz

Recording Engineer - Bob Simpson

Photography - Phil Stern

Layout & Design - Norman Granz, Sheldon Marks

Liner Notes - Benny Green

Harry Edison and Eddie "Lockjaw" Davis - Simply Sweets (1978) [vinyl]

Trumpeter Harry "Sweets" Edison and tenor saxophonist Eddie "Lockjaw" Davis always made a potent pair. They both possessed immediately identifiable sounds, were veterans of Count Basie's Orchestra and never had any difficulty swinging. The repertoire of this Edison album is not too creative with five blues among its eight songs and one of the others, "Feelings," being quite forgettable. However, the playing of the principals (along with pianist Dolo Coker who also makes a couple of surprising appearances on electric keyboard) holds one's interest throughout. ~ by Scott Yanow, AMG

If you love 'Sweet' jazz you have to have this LP, Harry is 'Simply' at his best.

Pablo Records, 2310-806, 1978

Recorded 22^nd September, 1977 At Group IV Recording Studios, Hollywood, CA

Musicians:

Harry "Sweets" Edison - Trumpet

Eddie "Lockjaw" Davis - Tenor Saxophone

Dolo Coker - Piano

Harvey Newmark - Bass

Jimmie Smith - Drums

Tracks:

A1. Dirty Butt Blues {Harry "Sweets" Edison} (6:49)

A2. Feelings {Morris Albert} (5:23)

A3. One For The Count {Harry "Sweets" Edison} (5:38)

A4. My Ideal {Richard A. Whiting, Leo Robin, Newell Chase} (5:55)

B1. Simply Sweet {Harry "Sweets" Edison, Dolo Coker} (4:28)

B2. Opus Funk {Harry "Sweets" Edison} (7:06)

B3. Lax {Harry "Sweets" Edison} (3:26)

B4. Miz Kitty's Blues {Harry "Sweets" Edison} (8:00)

Credits:

Producer - Norman Granz

Recording Engineer - Val Valentin

Cover Design and Layout - Norman Granz, Bill Smith

Photography - Phil Stern

Liner Notes - Benny Green

Don Patterson - The Exciting New Organ Of Don Patterson (1964) [vinyl]

Great album with Booker Ervin on tenor sax. ~ by Michael Erlewine, AMG.

Presumably, as it goes, Prestige headquarters called it The Exciting New Organ Of Don Patterson for marketing purposes. Three years of experience playing alongside tenor and alto giant Sonny Stitt saw Patterson cooperating with guitar player Paul Weeden, and the remaining decade he would strike up an engaging companionship with Pat Martino. Martino and Patterson certainly inspired each other to career heights. Without the guitar, however, Patterson is far from handicapped. The dynamics are not so much better as different.

Patterson original S'Bout Time is a whole different ballgame. By far the album’s greatest achievement, eclipsing the rendition of Sonny Rollins' Oleo, itself a fine performance that receives meticulous attention to its tricky theme and a fair dose of fast-fingered bop-blues riffs from Patterson and tenorist Booker Ervin, and Up In Betty's Room, a lively blues composition containing some freewheeling improvisation. S'Bout Time stretches the boundaries of soul jazz by way of a modal "feel" reminiscent of the work of contemporaries such as Joe Henderson, Wayne Shorter and Herbie Hancock.

A sassy build-up from drummer Billy James and Patterson's "walkin" bass lines is followed by a simple melody that is somewhat in the vein of (a speeded-up) So What, from whence Booker Ervin takes off. And I do mean take off! Ervin, an astute contributor to many of Charles Mingus' finest recordings, is fiery all the way, splendid in his combination of blues and the depth of Coltrane. Patterson's answer to Ervin's spontaneous combustion is dynamic, coherent, unashamedly free flowing. Patterson uses his right hand almost exclusively and the effect is mesmerizing. After four and a half minutes of classy soloing, Ervin re-enters for a few heated bars and the trio trades fours down to the coda.

It’s a powerful statement from a refreshing record of organ jazz. ~ Extract from Flop House Magazine

Prestige Records, PRST 7331, 1964

Recorded 12^th May, 1964 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Booker Ervin - Tenor Saxophone (#A1-B1)

Billy James - Drums

Tracks:

A1. S'bout Time {Don Patterson} (10:08)

A2. Up In Betty's Room {Don Patterson, Billy James} (5:12)

A3. Oleo {Sonny Rollins} (3:50)

B1. When Johnny Comes Marching Home {Traditional} (10:56)

B2. The Good Life {Sacha Distel, Jack Reardon} (9:59)

Credits:

Supervision - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Robert Levin (July, 1964)

Willis Jackson - Bar Wars (1978) [Bonus]

Willis Jackson, aka "The Gator", produced some of the finest examples of the "soul jazz" genre. This type of music was very popular in the late 50's, 60's and 70's but now seems to be forgotten. What’s a shame: If you dig jazz that has a heavy blues vibe, then Gator is your man. This disc is a stellar example, with the always solid Charles Earland on organ, as well as Jackson's most famous sideman, Pat Martino, by this time a legend in the jazz guitar world. While all the tracks feature stellar playing, the title track, and "The Goose is Loose" are especially noteworthy, with all three soloists giving you breathtaking work. Jackson in particular, takes chorus after fiery chorus, with each one building in intensity. There were few if any saxophonists who could hang with the Gator on an up-tempo blues. And as much as many fans wax poetically about Kenny Burrell being the master at combining blues with jazz guitar, for my money no one can touch the work Martino did with Jackson not only on this disc, but also on "Headed and Gutted" and "Single Action". Simply Superb!

Willis Jackson, a veteran of the jazz-oriented R&B music of the late '40s, was a powerful tenor in the tradition of Gene Ammons. This is a particularly exciting release with Charles Earland pumping away at the organ, guitarist Pat Martino offering a contrasting solo voice and Jackson in top form, wailing away on the uptempo pieces. The CD reissue of the original LP adds two alternate takes to the program. The chord changes might be fairly basic but Willis Jackson plays with such enthusiasm and exuberance that it almost sounds as if he had discovered the joy of playing music. ~ Scott Yanow, AMG.

Muse Records, MR 5162, 1978

32 Jazz, 32018, 1997

Recorded 21^st December, 1977 at Van Gelder Studio, Englewood, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Pat Martino - Guitar

Charles Earland - Organ

Idris Muhammad - Drums

Buddy Caldwell - Conga

Tracks:

A1. Later {Tiny Bradshaw, Sil Austin, Henry Glover} (5:53)

A2. Blue & Sentimental {Count Basie, Jerry Livingston, Mack David} (3:02)

A3. Bar Wars {Willis "Gator" Jackson} (7:00)

B1. The Breeze And I {Ernesto Lecuona, Al Stillman} (4:54)

B2. The Goose Is Loose {Willis "Gator" Jackson} (5:03)

B3. It's All Right With Me {Cole Porter} (7:11)

Bonus Tracks [32 Jazz]

07. The Breeze And I [Alternate] {Lecuona, Stillman} (5:11)

08. It's All Right With Me [Alternate] {Cole Porter} (7:02)

Credits:

Producer, Liner Notes - Joel Dorn

Executive Producer - Joe Fields

Production Coordination - Michael Weiner

Recording Engineer - Rudy van Gelder

Mastering Engineer - Gene Paul

Art Direction, Photography - Hal Wilson

Design - Nancy Dwyer, Page Simon

Illustrations - Oliver Wasow

Liner Notes - W.A. Brower

Willis Jackson with Jack McDuff - Cookin' Sherry (1959-60) [vinyl]

Seminal early work from Willis Jackson - Cookin' Sherry is solid-sending soul jazz from the great Willis Jackson! The album features Gator blowing in a group that includes Jack McDuff and Wild Bill Jennings on all cuts - plus bass by either Milt Hinton or Wendell Marshall, drums by Bill Elliott or Al Johnson, and some tasty added conga by Buck Clarke on a few cuts! The album's got a tight, yet laidback feel to - perfect kickback jam session material, in that classic Prestige soul jazz mode. Titles include "Contrasts", "Cookin Sherry", "Mellow Blues", and "Sportin". ~ Dusty Groove.

Prestige Records, PR 7211, 1961

Recorded 9^th November, 1959 (#A3); 26^th February, 1960 (#A2,B2)

& 16^th August, 1960 (#A1,B1,B3) at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Brother Jack McDuff - Organ

Bill Jennings - Guitar

Wendell Marshall - Bass (#A1,A3,B1,B3)

Milt Hinton - Bass (#A2,B2)

Bill Elliot - Drums (#A1,B1,B3)

Alvin Johnson - Drums (#A2,A3,B2)

Buck Clarke - Conga (#A2,B2)

Track Listing:

A1. Mellow Blues {Willis Jackson, Bill Jennings, Jack McDuff} (9:02)

A2. Sportin' {Willis Jackson, Bill Jennings} (4:49)

A3. When I Fall In Love {Edward Heyman, Victor Young} (4:03)

B1. Cookin' Sherry {Willis Jackson} (8:15)

B2. Where Are You? {Harold Adamson, Jimmy McHugh} (5:42)

B3. Contrasts {Jimmy Dorsey} (5:48)

Credits:

Supervision, Photography - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Howard Cook

Billy Harper Quintet - In Europe (1979) [re-rip]

Billy Harper is a huge exponent of what is termed ‘Spiritual Jazz’ and here we have one of his albums which demonstrates a clear and powerful example of that style. Harper is an exemplary saxophone player with an extremely full and warm tone, somewhat in the vein of Coltrane, but also in a league of his own and noted for his fierce soloing verging on Free Jazz. This LP was recorded and released on the unique Italian Soul Note label. At that time Billy was in Europe with his quintet and producer Giovanni Bonondrini seized the opportunity to grab some of that repertoire emanating from his 1979 tour. The listener is treated to three tunes all composed by Billy and delivered with amazing energy by Harper as a leader of a phenomenal quintet. It consists of Billy on tenor, Everett Hollins on trumpet, Fred Hersch on piano, Louis "Mbiki" Spears on bass and Horacee Arnold on Drums. The group as a whole seamlessly merges together exuding a deep and rich soulful sound. The first track ‘Priestess’ is a thriller from start to finish. It starts so serenely with an effortless solo from Fred Hersch’s soulful piano, building with bass lines from Mbiki Spears and the crashing drums of Horacee Arnold, and then joining together Harper and trumpeter Everett Hollins. The next tune ‘Calvary starts with Spears’ bass and is more uptempo with rest of the group joining with some great interchanging solos, again just as awesome. The final track ‘Illumination’ takes up the whole of side B is an epic tune truly showcasing some fantastic duo work between Harper and Arnold with Harper and Hollins holding down the basic melody; the coda is progressively built and gently finished off at the end. Overall this album exposes a brilliant ensemble sound and is an essential LP for any Billy Harper devotee, Enjoy!

Soul Note, SN 1001, 1979

Recorded 24^th & 25^th January, 1979 at Barigozzi Studio in Milano, Italy

Personnel:

Billy Harper - Tenor Saxophone

Everett Hollins - Trumpet

Fred Hersch - Piano

Louis "Mbiki" Spears - Bass

Horacee Arnold - Drums

Track Listing:

A1. Priestess (13:06)

A2. Calvary (7:21)

B. Illumination (21:44)

All Compositions by Billy Harper

Credits:

Producer - Giovanni Bonondrini

Engineer - Giancarlo Barigozzi

Photography - Fabio Traves & Mici Toniele

Cover Art - Francesco Gregoricchio

Willis Jackson - Really Groovin' (1961) [vinyl]

A killer batch of tracks from Willis Jackson - recorded in a slightly different format than some of his other work for Prestige! The album features Gatortail in two different piano-based quartets - one with the obscure Jimmy Neely on the keys, the other with the great Richard Wyands riffing things up. Juan Amalbert of the Latin Jazz Quintet plays conga on a number of tracks - giving them that rolling groove that you'd often hear with Gene Ammons or Lou Donaldson during the time, and Jackson more than does his job of matching those two in adapting to the slight Latin tinge of the format. Titles include "Sweet Peter Charleston", "A Twist of The Blues", "Oatmeal", and "He Said She Said I Said". ~ Dusty Groove America.

Prestige Records, PRLP 7196, 1961

Recorded 10^th January (#A1-B3) and 11^th April (#B4), 1961

At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Jimmy Neeley - Piano (#A1-B3)

Richard Wyands - Piano (#B4)

Wendell Marshall - Bass (#A1-B3)

Peck Morrison - Bass (#B4)

Gus Johnson - Drums (#A1-B3)

Mickey Roker - Drums (#B4)

Juan Amalbert - Conga (#A1-B3)

Tracks:

A1. Careless Love {W. C. Handy, Spencer Williams} (4:28)

A2. Oatmeal {Johnny Griffin} (4:28)

A3. I Remember Clifford {Benny Golson} (3:53)

A4. A Twist Of Blues {Willis Jackson} (5:47)

B1. Sweet Peter Charleston {Johnny Griffin} (6:56)

B2. Again {Lionel Newman, Dorcas Cochran} (4:11)

B3. He Said, She Said, I Said {Willis Jackson} (3:58)

B4. Girl Of My Dreams {Sunny Clapp} (6:48)

Credits:

Supervision - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Joe Goldberg

Willis 'Gator Tail' Jackson - Mellow Blues (1970) [vinyl]

In the early 1970s, work became scarce for Willis. He was recording for the extremely dubious Paul Winley and his records were not publicised well. He was rescued from plans to leave music by Don Schlitten, who recorded him for Muse in 1973 and 1974. Then he made a couple of Disco albums for Atlantic, the first of which was his second hit album. And he was back on the road again, with a succession of recordings for Muse that were as good as anything he’d made. Indeed one, “Bar wars”, is among the greatest classics of Soul Jazz. This LP finds Willis in good form backed by an assortment of accomplished players, a bluesy affair, enjoy!

UpFront Records, UPF-184, 1970

Recorded 1970 in New York, NY

Musicians:

Willis Jackson - Tenor Saxophone

Dave "Baby" Cortez - Organ

George Benson, Sterling McGee - Guitar

Earl Williams - Drums

Kako - Conga

Tracks:

A1. Mellow Blues (Winley, Winley} (10:14)

A2. Funky Sterling (Winley, Winley} (7:27)

B1. Cryin' (Winley, Winley} (8:43)

B2. Groove On (Winley, Winley} (9:19)

Credits:

Co-Producer, Composer - Ann Winley, Paul Winley

Engineer - Tom Owen

Art Direction - David Lartaud

Jazz On Film... Crime Jazz!, Disc 1-8

Add caption

Moochin About set a new standard when they issued the box set Jazz on Film: Crime Jazz by revealing just how seamless the relationship between fine jazz and cinema can be. And while noir is probably the most common example of how the two collaborate, this release proves it was simply a matter of addressing that topic first. Jazz on Film, Vol. 2: Beat Square and Cool provides more and perhaps further-reaching examples of how profound jazz can be in illustrating the moving image. There are eight scores represented over these five discs. The first opens with Leith Stevens' music for The Wild One. The first four cues are led by Shorty Rogers & His Orchestra, and all contain suggestions of Stan Kenton-esque progressivism. The remainder are by Stevens' group, which includes Rogers and Maynard Ferguson; many of these cues are closer to fingerpopping hard bop. This disc is rounded out by three selections from Franz Waxman's excellent score for Panic in the Streets. Two Gerry Mulligan groups bridge discs two and four, but on two different scores. In the first case it's in six selections from Johnny Mandell's brilliant music for I Want to Live. The composer's own orchestra fills out the rest and it's as compelling as the film itself. Mulligan's group appears again in the complete Andre Previn score for The Subterraneans (based on Jack Kerouac's novel of the same name). In the past, the music from the film has gotten a raw deal. While the film is problematic, Previn's music -- for quartet and orchestra, as well as a vocal tune from Carmen McRae -- is anything but: it's sublime. The music for the French film Les Tricheurs and Martin Ritt's set-in-France Paris Blues are on disc three. The former compiles bop- and hard bop-era American jazz tunes from Coleman Hawkins, Stan Getz, Oscar Peterson, Dizzy Gillespie, and more. Paris Blues was composed by Duke Ellington and is arguably better than the one he turned in for Anatomy of a Murder. What's more, it features Louis Armstrong on trumpet (he plays the character Wild Man Moore in the film). The final disc in the set includes the four pieces Charles Mingus wrote for Shadows that reflect his solo work of the period, and the iconic bop and hard bop Freddie Redd composed for the Jack Gelber play-cum-Shirley Clark film The Connection -- with Jackie McLean on alto saxophone. The collection features great sound, fantastic liner notes by series producer Selwyn Harris, complete personnel lineups, loads of stills, and other photographs all packaged in a killer slipcase box.

Disc1
Disc2
Disc3
Disc4
Disc5
Disc6
Disc7
Disc8

Jazz On Film...The New Wave II, Disc 1 - 8

Add caption

Jazz In Camera (Film Never Released) (1958)

Seelische Grausamkeit / Mental Cruelty (1960)

Saturday Night And Sunday Morning (1960)

We Are The Lambeth Boys (1958)

All Night Long (1962)

The Criminal (1960)

Too Late Blues (1961)

Eve / Eva (1962)

Une Femme Est Une Femme / A Woman Is A Woman (1961)

Les Sept Peches Capitaux / The Seven Deadly Sins (1962)

La Baie De Anges / Bay Of Angels (1963)

Cléo De 5 À 7 / Cleo From 5 To 7 (1962)

Le Doulos (1962)

Satan In High Heels (1962)

J'Irai Cracher Sur Vos Tombes / I Spit On Your Grave (1959)

Deux Hommes Dans Manhattan / Two Men In Manhattan (1959)

The Hustler (1961)

Gli Arcangeli (1962)

Morte Di Un Amico / Death Of A Friend (1959)

Room At The Top (1959)

Nowhere To Go (1958)

La Notte / The Night (1961)

L'eau À La Bouche (1959)

Château En Suède (1962)

Los Jovenes Viejos / The Old Young People (Aka The Sad Young Men (1961)

The Little Fugitive (1953)

Disc1

Disc2

Disc3

Disc4

Disc5

Disc6

Disc7

Disc8

Jazz On Film, Vol. 2 - Beat Square & Cool 1 - 5

Moochin

About set a new standard when they issued the box set Jazz on Film: Crime Jazz by revealing just how seamless the relationship between fine jazz and cinema can be. And while noir is probably the most common example of how the two collaborate, this release proves it was simply a matter of addressing that topic first. Jazz on Film, Vol. 2: Beat Square and Cool provides more and perhaps further-reaching examples of how profound jazz can be in illustrating the moving image. There are eight scores represented over these five discs. The first opens with Leith Stevens' music for The Wild One. The first four cues are led by Shorty Rogers & His Orchestra, and all contain suggestions of Stan Kenton-esque progressivism. The remainder are by Stevens' group, which includes Rogers and Maynard Ferguson; many of these cues are closer to fingerpopping hard bop. This disc is rounded out by three selections from Franz Waxman's excellent score for Panic in the Streets. Two Gerry Mulligan groups bridge discs two and four, but on two different scores. In the first case it's in six selections from Johnny Mandell's brilliant music for I Want to Live. The composer's own orchestra fills out the rest and it's as compelling as the film itself. Mulligan's group appears again in the complete Andre Previn score for The Subterraneans (based on Jack Kerouac's novel of the same name). In the past, the music from the film has gotten a raw deal. While the film is problematic, Previn's music -- for quartet and orchestra, as well as a vocal tune from Carmen McRae -- is anything but: it's sublime. The music for the French film Les Tricheurs and Martin Ritt's set-in-France Paris Blues are on disc three. The former compiles bop- and hard bop-era American jazz tunes from Coleman Hawkins, Stan Getz, Oscar Peterson, Dizzy Gillespie, and more. Paris Blues was composed by Duke Ellington and is arguably better than the one he turned in for Anatomy of a Murder. What's more, it features Louis Armstrong on trumpet (he plays the character Wild Man Moore in the film). The final disc in the set includes the four pieces Charles Mingus wrote for Shadows that reflect his solo work of the period, and the iconic bop and hard bop Freddie Redd composed for the Jack Gelber play-cum-Shirley Clark film The Connection -- with Jackie McLean on alto saxophone. The collection features great sound, fantastic liner notes by series producer Selwyn Harris, complete personnel lineups, loads of stills, and other photographs all packaged in a killer slipcase box.

Disc1
Disc2
Disc3
Disc4
Disc5

Frank Ricotti Quartet - Our Point Of View (1968) [vinyl]

Hard to find 1969 UK 7-track stereo LP, from the British vibraphonist who played with everyone from Gordon Beck, Norma Winstone, Neil Ardley to Mike Gibbs, Stan Tracey and Graham Collier. Ricotti takes the spotlight here with authority and apparent ease in a quartet outing alongside Chris Spedding on guitar, Chris Laurence bass and drummer Bryan Spring. Includes the groover Three Times Loser, Three Times Blueser.

CBS Realm Jazz, 52668, 1968

Recorded 1968

Musicians:

Frank Ricotti - Vibraphone, Alto Saxophone

Chris Spedding - Guitars

Chris Laurence - Bass

Bryan Spring - Drums

Tracks:

A1. Late Into The Night {Chris Speding, Pete Brown} (3:52)

A2. Three Times Loser, Three Times Blueser {Stan Tracy} (5:29)

A3. Don't Know Why {Brian Miller} (6:31)

A4. House In The Country {Al Kooper} (3:27)

B1. Abbadatt The Cat {Brian Miller} (4:05)

B2. Dark Through Sun Shines {Brian Miller} (8:33)

B3. Walter L {Gary Burton} (5:55)

Credits:

Produced - David Howells

Engineer - Mike FitzHenry

Sleeve Notes - Humphrey Lyttleton

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

I really shouldn't allow this to happen!

Young players of 15 or less are being far more creative nowadays and playing an awful lot of more right notes. I am speaking personally of course, as I haven't given the other guys a chance to say anything, mainly for fear of them saying 'burn the f****** thing!'

My recollection of the recording is unfortunately very sketchy, as was my life at 20. Have your own band, get a few gigs, do an album - everything seemed to be easy and fine.

Everything is still fine, but quite a lot has changed. Having spent most of the last 30 years playing in studios my appreciation of what is good and bad is very confused. For the most part I've been fortunate to work and play with some fantastic musicians, but on the other hand freelance studio work can be labouring and unfulfilling.

So, what can I say about this album? Chris Laurence, Chris Spedding and Bryan Spring are three bloody fine musicians and we had lots of fun doing this record. If you like it that's fine, but for my own contribution I am deeply embarrassed. Modern technology would be very handy to reshape some of my vibe solos, (or lose them completely), put the sax playing back in tune, and generally tidy everything up. all these devices and more are available now to every recording musician.

I'm not looking for an excuse for my playing - far from it, but nowadays ninety percent of the music we listen to has been tampered with in one way or other. Hence my confusion. To hear myself naked is a very big bringdown. I only hope with the passing years I've improved - maybe I should do another album and let you decide. ~ Frank Ricotti, March, 1999.

Hank Crawford - Double Cross (1968) [re-rip]

Here we have another classic early album by Hank Crawford on Atlantic Records from 1968. Similar to his other recordings on that label Hank puts together a powerful soulful collection of tunes. Four are penned by him; the others an engaging selection of notable standards. He is joined by a stellar array of players including: David "Fathead" Newman, Pepper Adams, Joe Newman, Jack McDuff, Carl Lynch & Bruno Carr to nominate a few. On one tune Hank plays piano, but it’s his alto playing that is truly sensational. There is not much more to add other than just give it a spin!

Atlantic Records, SC 1503, 1968

Recorded in 1968 at Atlantic Studios, New York

Personnel:

Hank Crawford - Alto Saxophone, Piano (#B3)
Joe Newman, Melvin Lastie - Trumpet (#A1-B2)
John Hunt, Fielder Floyd - Trumpet (#B3,B4)
Tony Studd - Trombone (#A1-B2)

David "Fathead" Newman - Tenor Saxophone (#A1-B2)

Wendell Harrison - Tenor Saxophone (#B3,B4)
Pepper Adams - Baritone Saxophone (#A1-B2)

Alenzo C. Shaw - Baritone Saxophone (#B3,B4)

Jack McDuff - Piano (#B1)

Carl Lynch - Guitar (#A1-B2)

Jimmy Tyrell - Fender Bass (#A1-B2)

Charles Green - Bass (#B3, B4)

Bruno Carr - Drums (#A1-B2)

Wilbert Hogan - Drums (#B3,B4)

Tracks:

A1. Double Cross {Hank Crawford} (3:18)

A2. Jimmy Mack {Eddie Holland, Lamont Dozier, Brian Holland} (2:36)

A3. Glue Fingers {Hank Crawford} (3:27)

A4. I Can't Stand It {Hank Crawford} (4:46)

B1. In The Heat Of The Night {Alan Bergman, Marilyn Bergman, Quincy Jones} (4:01)

B2. The Second Time Around {Jimmy van Heusen, Sammy Cahn} (3:52)

B3. Mud Island Blues {Hank Crawford} (5:59)

B4. Someday [You'll Want Me To Want You] {Jimmie Hodges} (3:52)

Credits:

Producer - Arif Mardin, Joel Dorn

Recording Engineer - Bruce Tergesen, Phil Iehle

Cover [Illustration & Design] - Stanislaw Zagorski

Liner Notes - Burt Burdeen, WSDM, Chicago