Shirley Scott - Great Scott! (1958) [vinyl>flac]

Scott's first album as a bandleader put her at the head of a trio, backed by the rhythm section of George Duvivier on bass and Arthur Edgehill on drums. While she'd already established herself as an organist of note in Eddie "Lockjaw" Davis' band, Great Scott! was her first out-front contribution to popularizing the organ in a jazz format that also drew on parts of blues and soul music. She displays admirable command of the instrument's swoops and funky glows here, mixing up hard-charging up-tempo numbers, ballads, Latin-influenced tunes ("Brazil" and "Nothing Ever Changes My Love for You"), and bluesy walking beats (as on her cover of Cole Porter's "All of You"). It's too bad that just one song is a Scott original, though, as that track, "The Scott," really bops along, with some of her most exuberant slides and forceful chording. ~ extract by Richie Unterberger, AMG.

Prestige Records, PRLP 7143, 1959

Recorded 23^rd May, 1958 at Van Gelder Studio, Hackensack, New Jersey

Musicians:

Shirley Scott - Organ [Hammond]

George Duvivier - Bass

Arthur Edgehill - Drums

Tracks:

A1. The Scott {Shirley Scott} (3:10)

A2. All Of You {Cole Porter} (3:23)

A3. Four {Miles Davis} (3:54)

A4. Goodbye {Gordon Jenkins} (5:01)

B1. Nothing Ever Changes My Love For You {Marvin Fisher, Jack Segal} (4:41)

B2. Trees {Joyce Kilmer, Oscar Rasbach} (7:01)

B3. Cherokee {Ray Noble} (5:24)

B4. Brazil {Ary Barroso} (2:28)

Credits:

Producer - Bob Weinstock

Recording Engineer - Rudy van Gelder

Liner Notes - Ira Gitler

Shirley Scott - Shirley's Sounds (1958,60) [re-rip]

There's a good reason why Scott's second album as a bandleader sounds very much like her first, Great Scott!, for both albums were cut at the same May 23, 1958, session. On Shirley's Sounds, Scott's again backed by the rhythm section of George Duvivier on bass (though George Tucker takes over the instrument for one number, "Bye Bye Blackbird") and Arthur Edgehill on drums. Like its predecessor, it's superior early organ jazz, full-sounding but streamlined owing to the trio format. Devoted entirely to outside compositions, the tracks capture both her virtuosic skill on the organ and her taste, squeezing the bluesiest inflections out of a standard like "Summertime." "(Back Home Again In) Indiana" is the cut that cooks the hardest, and blues colors are a big part of her interpretations of "Baby Won't You Please Come Home" and "I Can't See for Lookin'." ~ by Richie Unterberger, AMG.

Prestige Records, PRLP 7195, 1961
Recorded 23rd May (#A1-A3,B1-B3); 23rd October (#B4), 1958 and
8th April (#A4), 1960 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:
Shirley Scott - Organ [Electric]
George Duvivier - Bass
George Tucker - Bass (#A4)
Arthur Edgehill - Drums

Track Listing:
A1. It Could Happen To You {Johnny Burke, Jimmy Van Heusen} (4:34)
A2. Summertime {George Gershwin, Dubose Heyward} (3:59)
A3. There Will Never Be Another You {Mack Gordon, Harry Warren} (3:22)
A4. Bye Bye Blackbird {Mort Dixon, Ray Henderson} (6:39)
B1. S'Posin' {Andy Razaf, Paul Denniker} (4:18)
B2. Baby Won't You Please Come Home {Charles Warfield, Clarence Williams} (4:03)
B3. [Back Home Again In] Indiana {Ballard MacDonald, James F. Hanley} (3:24)
B4. I Can't See For Lookin' {Dave Bartholomew} (4:12)

Credits:
Producer - Bob Weinstock
Recording Engineer - Rudy van Gelder
Liner Notes - Joe Goldberg

Roy Hargrove - Approaching Standards (1994)

This compilation serves as a fine entrance point into Hargrove's work. The playing is measured and a fine representation of he the jazz played by the Young Lions of the early 90's. Hargrove would evolve and his sound would change. These 10 songs are the sound of promise, later albums would arguably deliver on that promise. This is a must have if you're interested in the early sound of Hargrove's ballads. ~ by Dave Rullo, AMG.

Here Is Beauty Pure And Simple

Every track is a delight, just put it on and let it go. It very beautifully showcases the trumpet as a jazz instrument and reaffirms Roy Hargrove as a main interpreter of the standards. This CD is a good introduction into jazz for anyone not yet acquainted. It is also one of my favorites to put on at night for go-to-sleep music. ~ Paul Phelps, Amazon.com

RCA/Novus Records, 01241 63178 2, 1994

Jazz Heritage, 513900W, 1995

Recorded December, 1989 to February, 1993
At BMG Studios & Clinton Recording, New York

Personnel:

Roy Hargrove - Trumpet, Flugelhorn

Frank Lacy - Trombone

Ran Blake - Soprano Saxophone, Tenor Saxophone

John Hicks - Piano

Stephen Scott - Piano

Christian McBride - Bass

Rodney Whitaker - Bass

Scott Colley - Bass

Al Foster - Drums

Billy Higgins - Drums

Gregory Hutchinson - Drums

Tracks:

01. Easy To Remember {Lorenz Hart, Richard Rodgers} (6:17)

02. Ruby My Dear {Thelonious Monk} (6:17)

03. Whisper Not {Benny Golson} (7:31)

04. What's New? {Johnny Burke, Bob Haggart} (5:10)

05. September In The Rain {Al Dubin, Harry Warren} (7:23)

06. You Don't Know What Love Is {Gene DePaul, Don Raye} (6:20)

07. End Of A Love Affair {Thelonious Monk} (8:05)

08. Things We Did Last Summer {Sammy Cahn, Jule Styne} (5:38)

09. Everything I Have Is Yours {Burton Lane, Harold Adamson}
/Dedicated To You {Sammy Cahn, Hy Zaret} (4:48)

10. My Shining Hour {Harold Arlen, Johnny Mercer} (6:09)

Credits:

Producer - Larry Clothier

Mastering - Jimmy Nichols At BMG Studios, NYC

Photography - Ruedi Hofmann

Art Direction - Jacqueline Murphy

Design - Amy Wenzler

Sonny Phillips - I Concentrate On You (1978) [re-rip]

This is the second LP by organist Sonny Phillips on Muse Records from 1977. Phillips is heard playing a range of keyboard instruments, predominately the organ but at times and in particular on the album's title track he lays down some masterful piano work. He is joined by quite a stellar array of players including Virgil Jones on trumpet, Eddie McFadden on guitar, Lawrence Killian on congas and percussion, Charlie Persip on drums, Mervin Bronson on bass and John Stubblefield on tenor saxophone. The tunes chosen for the album range from a number of jazz standards and some more contemporary compositions; included are two of Phillips' own compositions. Phillips although considered a junior amongst his fellow organists clearly displays his own manner and style of playing, which in many ways cannot be aligned to any major influence. His ability to write and play piano sets him outside the core of the modern jazz organists that maintained popularity throughout the 60's and 70's. Overall the music comes across as very melodic and all players harmonise and interact seamlessly. This is enhanced by Houston Person as producer and the resulting tracks are captured by the masterful skills of Rudy van Gelder as the engineer. Recommended.

Muse Records, MR 5157, 1978

Recorded 9^th November, 1977 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Sonny Phillips - Keyboards

Virgil Jones - Trumpet

John Stubblefield - Tenor Saxophone

Eddie McFadden - Guitar

Mervin Bronson - Bass

Charlie Persip - Drums

Lawrence Killian - Congas, Percussion

Tracks:

A1. Free Like The Wind {Sonny Phillips} (6:28)

A2. The Greatest Love Of All {Michael Masser, Linda Creed} (2:53)

A3. Falling In Love With Love {Lorenz Hart, Richard Rodgers} (7:28)

B1. Hard Times {Paul Mitchell, George V. Johnson, Jr.} (7:02)

B2. Day By Day {Axel Stordahl, Paul Weston, Sammy Cahn} (5:51)

B3. I Concentrate On You {Cole Porter} (5:06)

Credits:

Producer - Houston Person

Engineer - Rudy van Gelder

Cover Design & Photograph - Ron Warwell

Liner Notes - Tony Outhwaite

Sonny Phillips - Black On Black (1970) [re-rip]

Sonny Phillips' third and final album for Prestige, coming just over a year after his first, shows the soul-jazz organist moving in a somewhat funkier direction than his first two efforts. The roiling title track actually has an edge of menace to it, an idea his other albums never even entertained. Of the five tracks, the most surprisingly effective is the nine-minute take on Creedence Clearwater Revival's "Proud Mary"; even more so than Ike and Tina Turner, Phillips and band completely reshape the song, taking off the edge of distance from Creedence Clearwater Revival's original and the campy showbiz of the better-known cover in favor of a pure soul-jazz workout that's among the finest things Phillips ever did in his short recording career. The other highlight is "The Doll House," a showcase for Rusty Bryant's tenor sax with the album's most satisfying soloing. Sonny Phillips isn't highly rated by some soul-jazz historians, but his unique and characteristic light tone -- heavily influenced by his early teachers, Jodie Christian and Ahmad Jamal -- makes his albums far more interesting to listen to than the usual barrage of Jimmy McGriff lifts. ~ by Stewart Mason, AMG.

This 1970 album "Black On Black" is another fine soul-jazz recording. It features Phillips with tenor saxophonist Rusty Bryant, guitarist Melvin Sparks, electric bassist Jimmy Lewis and drummer Bernard Purdie. The music is blues-and groove-oriented. Bryant in particular showcases some fine solos, while Phillips' chugging organ is always appealing.

Prestige Records, PR 10007, 1970

Recorded 27^th July, 1970 At Van Gelder Studio, Englewood Cliffs, New Jersey

Tracks:

A1. Black On Black {Phillips, Bryant, Sparks, Lewis, Purdie} (5:34)

A2. Check It Out {Sonny Phillips} (6:20)

A3. Blues In Maude's Flat {Grant Green} (6:30)

B1. Proud Mary {John Fogerty} (8:01)

B2. The Doll House {Jimmy Lewis} (7:40)

Personnel:

Sonny Phillips - Organ

Rusty Bryant - Tenor Saxophone

Melvin Sparks - Guitar

Jimmy Lewis - Bass [Fender]

Bernard "Pretty" Purdie - Drums

Credits:

Producer [Supervision] - Bob Porter

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten
Liner Notes - Tom Curry (December 1970)

Ted Curson Quartet - Live At The Willow (1982)

The late great jazz trumpeter Ted Curson (3rd June, 1935 - 4th November, 2012) in a performance at 'The Willow Jazz Club' in 1982. He is joined by the amazing pianist Hugh Lawson, dynamic bassist John Lockwood and fabulous drummer Dave Calarco. The quartet perform six wonderful tunes and placed at the end is an interview with Ted giving an insight to his life and touring activities. Original tape acquired from trade, ripped to WAV, edited, trimmed, cleaned-up (A-) and transferred to FLAC. Concert play list created and interview kept separate, not to be missed by any Ted Curson fan!

Recorded 13^th November, 1982 Live At The Willow Jazz Club, Somerset, Massachusetts

WERS Radio Broadcast, Emerson College, Boston

Musicians:

Ted Curson - Trumpet

Hugh Lawson - Piano

John Lockwood - Bass

Dave Calarco - Drums

Tracks:

1. Ted Curson Introductions (0:28)

2. Confirmation {Charlie Parker} (10:46)

3. Quicksand {Ted Curson} (12:28)

4. Tears For Dolphy {Ted Curson} (9:27)

5. Cherokee {Ray Noble} (11:47)

6. Carrot Cake {Peter Bernstein} (11:39)

7. Summertime {Dubose Heyward, George Gershwin} (9:17)

8. Interview (7:35)

Ted Curson - Snake Johnson (1980) [vinyl]

a-01 Snake Johnson - 7:25 (Ted Curson)
a-02 Searching For The Blues - 5:33 (Ted Curson)
a-03 Blue Piccolo - 10:40 (Ted Curson)
b-01 Dwackdi Mum Fudalik - 7:01 (Ted Curson)
b-02 Marjo - 6:40 (Ted Curson)
b-03 LSD, Take A Holiday - 5:25 (Ted Curson)

Ted Curson (t, fh, pt), Nick Brignola (ss, bar), Charles I. Williams (as), Bill Barron (ts), Jim McNeely (p), David Friesen (b), Steve McCall (d), Lawrence Killian (per)
Probably NYC, Late 1980
Chiaroscuro LP 12": CR 2028

Stanley Turrentine - Nightwings (1977) [vinyl>flac]

Review by Dave Gelly, Jazz Journal, August 1978:
There are those who would be very sniffy and po-faced about this record, but I am not among them. It consists of Turrentine's tenor playing simple, but not puerile, melody over a highly orchestrated backing, with occasional choruses and half-choruses by the string section. It's a thing he has done many times before and always brings off to perfection.
To say that this is ideal music to play in the car or while doing the washing-up is by no means to condemn it. It is light music, certainly, but there is a crying need for good, workmanlike, elegant light music and Turrentine is a master of his craft. He never cheats, never goes in for cheap rhetoric or phoney dramatics, and the occasional phrase will catch your ear and charm you with its simplicity and Tightness.
Henry James put it as well as anyone, in his essay on the Wallace Collection. Speaking of Watteau he says: 'His clear good faith marks the distance, in art. between the light and the trivial; for the light is but a branch of the serious'. The remark applies exactly to Turrentine's work here. Faced with the usual late-night radio drivel, we can discern with depressing clarity the extent of that distance.

1. Papa T
2. If You Don't Believe
3. Joao
4. Birdland
5. There's Music In The Air
6. Nightwings
7. Don't Give Up On Us

Stanley Turrentine (ts) with orchestra arranged and conducted by Claus Ogerman.
New York City. June & July 1977
(Fantasy F-9534)

Ted Curson Quintet - Traveling On (1996) [re-rip]

Here we have another fine album by late Ted Curson. He assembles as per usual another great quintet. The majority of the tunes are his and he doesn’t waste any time showcasing his trumpet playing virtuosity through some brilliant solos. The pianist and flutist also show off their excellent versatility. In addition the listener gets to hear Ted vocalise on three numbers. Overall any fan will be pleased to scoop this one up just hear newer versions of Quicksand, Flatted Fifth, Tears For Dolphy and Song Of The Lonely. Enjoy!

Some people may never get past referring to Ted Curson as "the other soloist" in the great Charles Mingus bands with Eric Dolphy, but that hasn't deterred the trumpet player from pursuing his own, albeit less commercially and critically acclaimed, path. He just keeps Traveling On, the title of his twentieth album and his first release in seventeen years. Even though Curson is Traveling On, he looks back long enough to pay tribute to several of the magnificent musicians with whom he's been partnered in the past with "Tears for Dolphy," "Reava's Waltz (More Mingus)" and the set-ending "Song of the Lonely One (Ode to Booker Ervin)" (another Mingus-Curson connection). This set also includes well-executed covers of Herbie Hancock's venerated "Watermelon Man," the traditional "When the Saints Go Marching In" and "Flip Flop and Fly." Curson's playing is confident, taut and swinging throughout, and, on four of these nine selections, it benefits greatly from the addition of four percussionists to the traditional bass/drum/piano backing. Traveling On proves worth the seventeen-year wait. ~ by Chris Slawecki, AMG.

Evidence Records, ECD 22182, 1997

Recorded 23^rd June, 1996 at Sound On Sound, New York City

Personnel:

Ted Curson - Trumpet, Flugelhorn, Piccolo Trumpet, Vocals (#6-8)

Mark Gross - Flute, Soprano & Alto Saxophones

Misako Kano - Piano

Ray Drummond - Bass

Sylvia Cuenca - Drums

Everald Brown, Guilherme Franco, Ricky "Bongo" James, David Williams - Percussion (#1-3,6)

Tracks:

1. Lin's Garden {Ted Curson, Graham Collier} (7:51)

2. Quicksand {Ted Curson} (6:55)

3. Flatted Fifth {Ted Curson} (5:50)

4. Tears For Dolphy {Ted Curson} (9:17)

5. Reava's Waltz {Ted Curson} (6:03)

6. Watermelon Man [Lyrical Version] {Herbie Hancock, Jon Hendricks} (7:28)

7. When The Saints Go Marching In {Traditional} (2:42)

8. Flip Flop And Fly {Charles E. Calhoun, Lou Willie Turner} (2:08)

9. Song Of The Lonely One [aka Ode To Booker Ervin] {Ted Curson} (7:20)