Riccardo Fassi - Riccardo Fassi New York Quintet (1998)

This CD represents an emblematic example of the high level of Italian jazz, which has nothing to envy for quality projects of its exponents to what is practiced overseas. The esteem that Riccardo Fassi enjoys with American musicians is well known to fans of African American music, as evidenced by his past collaborations with Steve Lacy, Tim Berne, Oliver Lake, Gunter Schuller, and especially his beautiful record of 1993 New York Trio (also for the YVP) with Rufus Reid and Marvin Smith. An elegant and refined writing of mainstream derivation permeates the CD, in which the pianist has carved out the difficult and discrete role of the orchestra more than the soloist, leaving room for the delicious solos now responsorial now in unison by Gary Smulyan engaged in the baritone saxophone and of vibraphonist Bryan Carrott, whose great rhythmic verve recalls the best Bobby Hutcherson of the '60s. Already the first notes of the CD, suggest a perfect balance between the components of the quintet, which leads the musicians to interact as if they were in an orchestra, aiming for short and dense solos, without ambitions of hyper-virtuosity pleased in a continuous game of tension and distension. A soft and relaxed atmosphere, never however glossy or mushy, permeates the development of most of the pieces including "Just Love", "Alluminio" and "Lamu", from the suave melodic performance. Carrott's performance is enhanced by the record, to which the recording industry has not (incredibly) granted until today the opportunity to show off with engravings on its behalf. And this seems all the truer given that today the creation of CDs no longer denies anyone. The forty-three vibraphonist New Yorker, who had already contributed with Fassi to the success of the "Conduction 43" by Butch Morris during the course of Verona Jazz in 1994, gives his instrument greater harmonic freedom and timbre variety to the weaving of the songs, on which the relaxed and relaxed interplay of the quintet. The beauty of the themes - all fascinating and seductive as few - and the rapid melodic and rhythmic changes, finally avert the predictability that generally characterizes the mainstream production, rigid in the structuring of the solos and the monochordal path. 4 Stars, ~ by Maurizio Zerbo [Translation from Italian].

YVP Music, 3092 CD, 2001

Recorded 3^rd February, 1998 At Systems Two, Brooklyn, New York

Musicians:

Riccardo Fassi - Piano

Gary Smulyan - Baritone Saxophone

Bryan Carrott - Vibraphone

Dennis Irwin - Double Bass

Adam Nussbaum - Drums

Tracks:

1. Lamu (6:54)

2. Last Dance (6:08)

3. No Space For The Eggs (7:23)

4. Mars (7:08)

5. Miss B (3:59)

6. Market (7:58)

7. Just Love (7:36)

8. Prophet (7:49)

9. Alluminium (6:34)

All Compositions and Arrangements by Riccardo Fassi

Credits:

Producer - Riccardo Fassi, York v. Prittwitz

Recording Engineer - Michael Marciano, Joseph Marciano

Digital Mastering - Philipp Heck, Bauer Studios, Ludwigsburg

Cover Photo - Jorge Lardone

Photo - Riccardo Fassi

Cover Design - York v. Prittwitz

Liner Notes - Yvp Music Archive

Charles Earland - In The Pocket (1982) [re-rip]

The final in a long string of Muse albums stretching back to 1977, this is a fairly typical Charles Earland set. The organist, who is joined by tenorman Houston Person, guitarist Melvin Sparks and drummer Idris Muhammad, performs five group originals, and the music swings and grooves predictably but with spirit. ~ by Scott Yanow, AMG.

Kicks ass! Like all of Earland's albums for Muse, this one's a deceptively simple record that you might pass up because of the date and the cover – but it's a full-fire burner that shows Earland playing better organ than he did for any other label after leaving Prestige. The tracks are long, with a very spare stripped down feel that lets Charlie go to town on the Hammond – and with backing by Houston Person, Melvin Sparks, and Idris Muhammad, he's in very nice company. © Dusty Groove America, Inc.

Earland has a sizable stack of albums to his credit, and they're taken many shapes. In the early 70's one was titled "Leaving This Planet", and the subsequent "Odyssey" suggests some further voyaging. More recently, Earland has placed his music in a "Jam" for another label. But "In The Pocket" - like other Muse LPs such as "Mama Roots" (MR 5156) and "Pleasant Afternoon" (MR 5201) - is about first impressions, the stuff that brought Earland into music in the first place, the sort of unpretentious cookery he handles so splendidly, the heart of his music. Those first impressions are the ones that last. ~ Neil Tesser, Liner Notes.

Muse Records, MR 5240, 1982

Recorded at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ

Houston Person - Tenor Saxophone

Melvin Sparks - Guitar

Idris Muhammad - Drums

Tracks:

A1. Tackhead {Charles Earland} (9:46)

A2. In The Alley {Willis Jackson} (8:08)

B1. Grant's Groove {Melvin Sparks} (4:54)

B2. A Good Date {Charles Earland} (5:05)

B3. Ballad For Mom {Charles Earland} (6:52)

Credits:

Producer - Houston Person
Recording & Mastering Engineer - Rudy van Gelder
Cover Photo - Hugh Bell
Art Direction - W. Dale Cramer
Liner Notes - Neil Tesser

Charles Earland - Infant Eyes (1979) [re-rip]

Who says you can't go back and do traditional jazz in '79? For those who digressed from the 70's fused and funky side of jazz should heed to this release. And for all you jazz guitar purists should surely enjoy the first couple of tracks. Brilliant just brilliant manic guitar playing by Jimmy Ponder. I also really love the laid-back title track. The flute by Frank Wess makes it all worthwhile. ~ SomaWaxDollarBin

As of this writing, I've been straying away from the majority of classic/traditional jazz (but not all) and find my liking geared towards the 60's & 70's input, especially with jazz-funk, soul-jazz and jazz-fusion. However, there are some really good grooves (not funk) on this LP and it's just jazz, really good jazz and not jazz-funk, jazz-fusion, etc. Man, I just listened to the last track ("Is It Necessary") and love that drumming and Earland's Hammond. Do I recommend this album? Oh yeah, no doubts. ~ RateYourMusic.com

A solid set from some cats I would list as soft-spot personal favorites...Charlie Earland, Melvin Sparks and Jimmy Ponder trading tracks on guitar... The great Frank Wess and Mack Goldsbury on tenor saxes, Bill Hardman on trumpet, and Lawrence Killian on "percussion." Can't go wrong with some Charles Earland. ~ DestinationFunk

Muse Records, MR 5181, 1979

Recorded At Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Musicians:

Charles Earland - Hammond Organ

Bill Hardman - Trumpet

Frank Wess - Tenor Saxophone, Flute

Mack Goldsbury  - Tenor Saxophone (#A2)

Jimmy Ponder - Guitar (#A1,A2)

Melvin Sparks - Guitar (#B1-B3)

Grady Tate - Drums

Lawrence Killian - Percussion

Tracks:

A1. We Are Not Alone {Charles Earland} (5:04)

A2. Blues For Rudy {Charles Earland} (11:43)

B1. The Thang {Charles Earland} (7:11)

B2. Infant Eyes {Wayne Shorter} (6:17)

B3. Is It Necessary? {Charles Earland} (4:56)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Cover Design - Ron Warwell

Cover Photograph - Clarence Eastmond

Liner Notes - Michael Rozek

Charles Earland - Mama Roots (1978) [re-rip]

Amazing late 70s work from Charles Earland – quite different material than his contemporaneous sets for Mercury and Columbia, and much more the rootsy soul jazz he first cut at Prestige! The tracks are long, and filled with rhythms – that undeniable Earland groove, which is laid out here beautifully on the Hammond – in a real no-nonsense sort of style that holds up wonderfully over the years. Players are great throughout – and include Dave Schnitter and George Coleman on tenor, Jimmy Ponder on guitar, and Walter Perkins on drums. Titles include "Undecided", "The Dozens", "Mama Roots", "Red Green & Black Blues", "Old Folks", and "Bluesette". ~ Dusty Groove Inc.,

Organist Charles Earland recorded nine albums for the Muse label between 1977 and 1995. None stand out particularly, but each had its share of solid, organ-combo swing and programs of mostly blues and ballads. This music was all recorded between Earland's more commercial (and less memorable) outings on Mercury and Columbia and catch the organ grinder in a kind of Jimmy Smith bag (reinforced even more when paired with Wes-like guitarist Jimmy Ponder). While the funk and the fire in Earland's playing had been missing since at least his last Prestige record (1974), there's an insistently melodic and appealing groove throughout this set. Another advantage is that the majority of the tunes here are Earland originals: slow burners that really let the organist cook nicely on a low flame. There are several nice features for George Coleman on tenor sax. A surprisingly cohesive set with an enjoyable after-hours feel. ~ by Douglas Payne.

Muse Records, MR 5156, 1978

Recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ

Dave Schnitter - Tenor Saxophone (#A1)

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Walter Perkins - Drums (#A1,A2,B1,B2)

Bobby Durham - Drums (#A3,B3)

Tracks:

A1. Undecided {Charlie Shavers} (7:45)

A2. The Dozens {Charles Earland} (3:46)

A3. Red, Green & Black Blues {Charles Earland} (4:54)

B1. Mama Roots {Charles Earland} (6:34)

B2. Old Folks {Willard Robison} (5:27)

B3. Bluesette {Toots Thielemans, Norman Gimbel} (6:38)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Cover Design - Ron Warwell

Cover Photography - Clarence Eastmond

Liner Notes - Tony Outhwaite

Charles Earland - Pleasant Afternoon (1978) [re-rip]

With Houston Person on tenor sax, Bill Hardman on trumpet, and Melvin Sparks on guitar, not to overlook the master of the Hammond B3 himself, Charles Earland nothing can go wrong. All tunes, penned by Earland, are masterfully crafted into a wonderfully sonorous soul jazz excursion. Earland's Hammond licks add a dynamic unique to this genre, something that modern day players have not been able equal. The music is as vitalising as it was back in the late seventies.  Of course it goes without saying that all players set this album on fire.

Yes this is the one with the monster jazz dance banger "Murilley" on it-enough said!!! ~ Orgy In Rhythm

Thanks for another Mighty Burner album, his Muse sessions was a kind of "back to the roots" after all those Mercury disco/fusion oriented LPs. ~ Sergio

"Murilley" is great and fun, but I like the other tracks even more, especially "Organic Blues". The playing throughout this album is so raw and direct, not perfect, but soulful. ~ instagib

His sound & groove is so POWERFUL. ~ Pekis

Muse Records, MR 5201, 1981

Recorded 19th April, 1978 at Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ [Hammond B3], Vocals (#A1)

Houston Person - Tenor Saxophone

Bill Hardman - Trumpet

Melvin Sparks - Guitar

Grady Tate - Drums

Ralph Dorsey - Percussion, Conga

Tracks:

A1. Murilley {Charles Earland} (6:35)

A2. A Prayer {Charles Earland} (3:47)

A3. Organic Blues {Charles Earland} (7:25)

B1. Pleasant Afternoon {Charles Earland} (11:00)

B2. Three Blind Mice {Charles Earland} (6:16)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Liner Notes - Michael Rozek

Charlie Earland - Smokin' (1977) [re-rip]

Fine mid-'70s sextet set featuring Earland's customary soul-jazz, blues, and funk, with uptempo and ballad originals. Tenor saxophonists David Schnitter and George Coleman excel, as does guitarist Jimmy Ponder. ~ by Ron Wynn, AMG.

Killer work by Charles Earland – a back to basics set of grooving tunes that are cut in the best soul jazz mode of earlier years! Earland heads a great group that includes Jimmy Ponder on guitar, George Coleman on tenor, and Walter Perkins on drums – and the set swings high, wide, and mightily with that tight groove that Charles always has on these straight soul jazz sets. With a very hot version of "Milestones", plus "Penn Relays", "Soon It's Gonna Rain", and an excellent uptempo take on "Strangers In The Night". © Dusty Groove, Inc.

Muse Records, MR 5126, 1977

Recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey

Musicians:

Charles Earland - Organ [Hammond B-3]

Dave Schnitter - Tenor Saxophone

George Coleman - Tenor Saxophone

Jimmy Ponder - Guitar

Bobby Durham - Drums (#A1,A2), Keyboards (#A2)

Walter Perkins - Drums (#A3,B1,B2)

Herb Fisher - Percussion

Tracks:

A1. Penn Relays {Charles Earland} (5:48)

A2. Danny Boy's Blues {Dave Paul} (3:53)

A3. Milestones #2 {Miles Davis} (8:25)

B1. Soon It's Gonna Rain {Tom Jones, Harvey Schmidt} (9:38)

B2. Strangers In The Night {Bert Kaempfert} (4:58)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Design [Cover], Photography - Hal Wilson

Liner Notes - Frederick I Douglass

Niels-Henning Ørsted Pedersen Trio - Friends Forever (1995)

Niels Pedersen made many rewarding recordings over several decades as a sideman with the late pianist Kenny Drew, so his making of a CD in tribute to him shouldn't come as a surprise. Joined by pianist Renee Rosnes and drummer Jonas Johansen, Friends Forever: In Memory of Kenny Drew primarily include selections which Drew loved to play. The Danish folk lullaby "Hushaby" is a bit unusual, as it includes a drum solo, as well as Rosnes' dirge-like piano. Pedersen's pulsing bass helps to disguise the introduction to "Someday My Prince Will Come," a lovely waltz recorded by numerous jazz greats. A lively post-bop workout of "Lullaby of the Leaves" swings like mad; while an initially funky introduction to "The Shadow of Your Smile" quickly gives way to a more traditional samba treatment. Pedersen's originals also merit attention. The medley "Future Child-Friends Forever" begins with the leader's intricate pizzicato solo, then adds his partners for the second song, which spotlights Pedersen's flawless arco bass. His special tribute "Kenny" reflects Pedersen's sense of loss without getting overly maudlin. This brilliant date adds to the already considerable recorded accomplishments of Niels Pedersen. ~ by Ken Dryden, AMG.

Milestone Records, MCD 9269-2, 1997

Recorded 27th-28th August, 1995 At East Sound Recording Studio, Copenhagen, Denmark

Musicians:

Niels-Henning Ørsted Pedersen - Bass

Renee Rosnes - Piano

Jonas Johansen - Drums

Tracks:

1. Hushbaby {Traditional} (8:22)

2. Kenny {Niels-Henning Ørsted Pedersen} (6:26)

3. Someday My Prince Will Come {Frank Churchill, Larry Morey} (4:01)

4. Theme From Elvira Madigan {Wolfgang Amadeus Mozart} (3:59)

5. Lullaby Of The Leaves {Bernice Petkere, Joe Young} (4:15)

6. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (5:37)

7. Sometime Ago {Sergio Mihanovich} (5:20)

8. Days Of Wine And Roses {Henry Mancini, Johnny Mercer} (5:45)

9. Future Child -- Friends Forever {Niels-Henning Ørsted Pedersen} (9:20)

Credits:

Producer - Makoto Kimata

Recording & Mixing Engineer - Henrik Lund

Mastering - Phil De Lancie, 1997 (Fantasy Studios, Berkeley)

Design - Gilles Margerin

Art Direction - Jamie Putnam

Photography - Kirsten Malone

Liner Notes - Fred Bouchard

Naná Vasconcelos & The Bushdancers - Rain Dance (1989)

One hell of a Latin Jazz outing, skillfully constructed by the master himself Naná Vasconcelos who is joined by an equally impressive team of players and choral singers. Within minutes the listener is transported to new realm of joy and excitement. It’s not as serious as his other ECM sides; it is as the following reviewer puts it simply fun.

It's like being in the rain jungle with a bunch of good friends who don't speak English, or any language I know of, who just want to have a party. It's fun! The second track is the absolute best. I love it, I love it, I love it!!!!! I forget the name of it offhand but if you had a 30 second taste of it, you'd buy the CD no problem. ~ Raven, Amazon.com.

Antilles Records, ANCD 8741, 1989

Recorded and Mixed At Acme Recording Studios, Inc., October, 1988

Personnel:

Naná Vasconcelos - Percussion, Vocals

Teese Gohl - Keyboards

Sergio Brandao - Bass, Cavaquinho

Cyro Baptista - Percussion, Vocals

Trilok Gurtu - Percussion (#8)

Alana Fonseca, Aleida Vargas, Michelle Vargas, Vivian Seix - Vocals (#4)

Tracks:

1. Bird Boy {Don Cherry, Naná Vasconcelos} (4:31)

2. Anarrie {Ciro Baptista, Bushdancers}/Rain Dance {Peter Scherer, Naná Vasconcelos} (7:40)

3. Push Dance {Teese Gohl, Bushdancers} (3:28)

4. Eh! Bahia {Bushdancers} (5:17)

5. Cantei Oba {Erasto Vasconcelos, Bushdancers} (2:55)

6. Batida {Teese Gohl, Bushdancers} (4:14)

7. Olhos Azuis {Teese Gohl, Bushdancers} (4:23)

8. Pasha Love {Bushdancers} (7:25)

9. Bemtevi/Festa {Teese Gohl, Bushdancers} (7:07)

Credits:

Producer - Cragg Lunsford, The Bush Dancers

Executive Producers - Jean-Pierre Weiller-Letourneur

Recording & Mixing - Cragg Lunsford, Peter Denenberg

Cover Design & Illustration - Redi

Photography - Eleanora Alberto

Joey DeFrancesco - Joey DeFrancesco's Goodfellas (1999)

Joey DeFrancesco, Frank Vignola, Joe Ascione - three musicians who go together like spaghetti, garlic bread and Chianti. And when these Italian jazzers sit down to play together, under don DeFrancesco's leadership...hey fahgettaboutit! Featuring killer chops, humor, and creative, jazzed-up versions of "Italian standards", Joey DeFrancesco's Goofellas deliver a recording you can't refuse.

======================

Try to imagine the best Italian-American wedding you've ever been to - the people, the food, the style, the love - then set it to some great jazz music, Joey DeFrancesco's Goodfellas. Add this killer band to your next wedding party and be prepared to have the time of your life. Plain and simple, this album is 55 minutes of unabated fun. Joey DeFrancesco (Hammond B-3 organ), Frank Vignola (guitar), and Joe Ascione (drums), three outstanding musicians who grew up in typical Italian-American families, play some of the music on which they were raised. Highlights abound on this brilliant concept piece: the kicked-up, jazzy "Volare," the groovy, tasty "Fly Me to the Moon," the energetic, rollicking "Malafemmena," and the beautiful slow dance "Young at Heart." Even Monk's "Evidence," taken at a blistering pace, is right at home in this setting. The Goodfellas wrote a couple of tunes for the occasion as well, none better than the bluesy, gutbucket title track. This band has big-time chops, and this music swings like mad. ~ by Brian Bartolini, AMG.

Concord Jazz, CCD-4845-2, 1999

Recorded 17^th & 18^th March, 1998 At Fantasy Studios, Berkeley, California

Musicians:

Joey DeFrancesco - Organ [Hammond B-3]

Frank Vignola - Guitar

Joe Ascione - Drums

Tracks:

01. Speak Softly Love {Larry Kusik, Nino Rota} (5:31)

02. Volare {Francesco Migliacci, Domenico Modugno, Mitchell Parish} (4:16)

03. Fly Me To The Moon (Bart Howard} (5:15)

04. All The Way {Sammy Cahn, Jimmy Van Heusen} (5:12)

05. Whack 'Em {Joe Ascione} (4:15)

06. Malafemmena {Antonio De Curtis} (4:06)

07. Young At Heart {Carolyn Leigh} (3:51)

08. O Sole Mio {Giovanni Capurro, Eduardo Di Capua} (5:14)

09. Evidence {Thelonious Monk} (4:33)

10. Goodfellas {Joe Ascione, Joey DeFrancesco, Frank Vignola} (6:11)

11. Ya See What I'm Sayin' {Joe Ascione} (4:44)

12. Whack 'Em [Reprise], Tarentella {Joe Ascione} (1:52)

Credits:

Producer - John Burk

Executive Producer - Glen Barros

Recording Engineer - Phil Edwards

Assistant Engineer - Ben Conrad

Mixing Engineer - Phil Edwards at PER, Hayward, CA

Mastering Engineer - George Horn

Director of Product Development - Alexis Davis

Production Manager - David Miller

Art Direction & Design - Add to the noise

Photography - John Abbott

The Heath Brothers - Passing Thru (1978) [viny>flac 24/48]

Review by Scott Yanow, AMG:
The Heath Brothers' second recording and Columbia debut has an impressive amount of variety. The core group -- Jimmy Heath on tenor, soprano and flute, bassist Percy Heath, drummer Albert "Tootie" Heath and keyboardist Stanley Cowell -- is joined on some selections by their future guitarist Tony Purrone, percussionist Mtume (Jimmy's son), and a four-piece brass section. With Jimmy's arrangements for the fairly diverse but consistently straight-ahead set adding color, this LP, which mixes together bop standards with more recent originals, is well worth searching for.

A1. A New Blue (Jimmy Heath) 7:57
A2. Light Of Love (Albert Heath, Jimmy Heath) 4:52
A3. In New York (Percy Heath) 5:16
A4. Artherdoc Blues (Jimmy Heath, Percy Heath) 2:40
B1. Mellowdrama (Jimmy Heath) 4:03
B2. Yardbird Suite (Charlie Parker) 4:03
B3. Changes (Jimmy Heath) 8:23
B4. Prince Albert (Kenny Dorham) 4:02

Jimmy Heath - tenor sax, soprano sax, flute
Wayne Andre - trombone
James Buffington, Joseph DeAngelis - French horn
Howard Johnson - tuba
Tony Purrone - electric guitar
Stanley Cowell - keyboards, kalimba
Percy Heath - bass
Albert "Tootie" Heath - drums
Mtume - percussion

Columbia LP JC-35573, USA, May - June, 1978
Recorded at A&R Recording Studios, NYC.

Wallace Roney - No Job Too Big Or Small (1999)

32 Jazz/Savoy's No Job Too Big or Small contains 11 highlights (as chosen by producer Adam Dorn) from Wallace Roney's recordings for Muse in the late '80s and early '90s. Although these were made at the outset of his career, Roney was already at the top of his game, as evidenced by this highly enjoyable collection. While the original albums are certainly worth hearing themselves, this is an excellent introduction to the trumpeter's finest recordings. ~ by Stephen Thomas Erlewine, AMG.

Savoy Jazz, SVY 17274, 1999

Recorded 19^th February, 1987 - 6^th June, 1993

Musicians:

Wallace Roney - Trumpet

Kenny Garrett - Alto saxophone

Gary Thomas - Tenor Saxophone, Flute

Antoine Roney, Ravi Coltrane - Tenor saxophone

Jacky Terrasson, Donald Brown, Geri Allen, Mulgrew Miller - Piano

Peter Washington, Christian McBride, Charnett Moffatt - Bass

Eric Allen,Cindy Blackman,Kenny Washington,Tony Williams - Drums

Tracks:

01. Melchizedek {Antoine Roney} (7:33)

02. Alone Together {Howard Dietz, Arthur Schwartz} (8:53)

03. Daahoud {Clifford Brown} (6:08)

04. Obsession {Wallace Roney} (6:10)

05. Blue In Green {Bill Evans} (5:46)

06. Donna Lee {Charlie Parker} (4:22)

07. Solar {Miles Davis} (8:57)

08. Float {Cindy Blackman} (5:43)

09. Lost {Wayne Shorter} (6:10)

10. For Duke {Wallace Roney} (8:24)

11. Love For Sale {Cole Porter} (7:40)

Credits:

Producer - Don Sickler, Joe Fields, Tony Williams, Michael Cuscuna

Compilation Producer - Adam Dorn

Production Coordination - Becky Wisdom

Engineer - Rudy van Gelder

Mastering, Reissue Mastering - Gene Paul

Cover Photo, Photography - David Gahr

Graphic Design - Page Simon

Photography - Pamela Stanfield

Harold Land - A New Shade of Blue (1971) [vinyl]

A lost chapter in the legendary Harold Land/Bobby Hutcherson relationship – and a record that often gets overlooked. The set is a great moody mellow bit of jazz funk, recorded with Buster Williams on bass, Bill Henderson on electric piano, and Billy Hart on drums. Mtume sits in on congas, and the tracks have a very soulful groove that's different than the duo's work on Blue Note, but which also has the same sense of funkiness. Titles include "Mtume", "Ode To Angela", and "De-Liberation". © 1996-2012, Dusty Groove America, Inc.

Well not my idea of jazz-funk, this is straight ahead jazz and a logical development from the previous Blue Notes!

1 A New Shade Of Blue (Land)
2 Mtume (Hutcherson)
3 Ode To Angela (Land)
4 De-Liberation (Land)
5 Short Subject (Land)

Harold Land (ts); Bobby Hutcherson (vib); Buster Williams (b); Bill Henderson (p); Billy Hart (d); Mtume (per)

Recording date unknown (released 1971), New York, NY

Link accessible to browsers now in comments (I'm amazed that everybody isn't using Jdownloader2 to download!)

Christmas with Houston Person & Etta Jones (1997) [re-rip]

Tired of those bland Christmas jazz records that fail to capture the emotion and fervor of the season? Looking for an album that puts heart and soul into this momentous holiday? Then look no further than this album by Etta Jones and Houston Person (neither of whom are on all cuts) and other musicians who also not only want to play these songs for their holiday value, but for their musical value as well. With Jones' blues- and R&B-inflected vocal delivery, coupled with the sensuous and passionate sax of Person, this CD turns out to be one of the more attractive jazz Christmas albums extant. Instead of a sugar-coated version of the king of all Christmas pop tunes, "White Christmas," Jones and the trio of Horace Ott, Wilbur Bascomb, and Cecil Brooks III take this tune down a gently swinging lane. Peter Martin Weiss' bass and Stan Hope's piano are featured on "God Rest Ye Merry Gentlemen" and demonstrate that even a religious Christmas carol offers improvisational opportunities without detracting from the carol's solemn message. With Randy Johnson's rangy guitar kicking it off, Jones knocks the stuffings out of "Merry Christmas Baby" with her blues-soaked delivery, as the front line of Bill Easley and Johnny Coles make this a true jazz offering whose theme just happens to be a Yuletide one. But the album's pièce de résistance is Jones' rendition, complete with catch in the voice, of one of the saddest, most forlorn of all Christmas tunes, "I'll Be Home for Christmas" from World War II. This is one of those albums where it's best to listen with heavily spiked egg nog or another favorite alcoholic bracer. ~ Dave Nathan, AMG.

32 Jazz, 32034, 1997
Jazz Heritage, 515591L, 1999

Recorded June, 1990 - August, 1994 at Englewood Cliffs, NJ and New York, NY

Personnel:

Houston Person - Tenor Saxophone

Etta Jones - Vocals

Bill Easley - Flute, Tenor Saxophone

Johnny Coles - Flugelhorn

George Devens - Vibraphone

Horace Ott - Keyboards

Stan Hope - Piano

Benny Green - Piano

Mike Renzi - Piano

Randy Johnston - Guitar

Jay Leonhart - Bass

Cecil Brooks, III - Drums

Grady Tate - Drums

Chip White - Drums

Sammy Figueroa - Percussion

Della Griffin - Vocals

Tracks:

1. Medley: I'll Be Home For Christmas/You're All I Want for Christmas (2:42)

2. Blue Christmas (6:48)

3. I'll Be Home For Christmas (3:09)

4. Merry Christmas, Baby (9:15)

5. God Rest Ye Merry Gentlemen (4:23)

6. Merry Christmas, Baby (5:29)

7. What Are You Doing New Year's Eve? (8:06)

8. Christmas Song (5:14)

9. [I'm Dreaming Of A] White Christmas (3:36)

Credits:

Producer - Houston Person, Joel Dorn

Arranger - Houston Person

Engineer - Rudy van Gelder, Tony Viamontes

Assistant Engineer - Roger Scheepers

Mastering - Gene Paul

Art Direction - Nancy Dwyer, Page Simon

Liner Notes - Joel Dorn

Sonny Phillips - Sure 'Nuff (1969) [re-rip]

This LP was the first by organist Sonny Phillips on Prestige Records. Phillips is joined by Virgil Jones on trumpet, Houston Person on tenor sax, Joe "Boogaloo" Jones on guitar, Bob Bushnell on bass and Pretty Purdie on drums; quite a polished team. He presents four tunes of his own and the great Sonny Rollins number Oleo. It is a classic Soul Jazz album for its time. Production is by Bob Porter and recording by the masterful Rudy van Gelder.

The debut set as leader by organist Sonny Phillips is refreshingly free of the usual clichéd funky licks copped off Jimmy Smith and Brother Jack McDuff albums. Very early in his career, the Alabama-born, Chicago-based Phillips trained on piano under Ahmad Jamal, and Jamal's characteristic style remains imprinted on Phillips' loose, easy-flowing solos. (There's a little Ramsey Lewis in there as well, especially on the swinging soul-jazz title track.) This lighter touch and less blues-dependent style gives Sure 'Nuff an intriguing and unusual sound that keeps it from sounding like just another soul-jazz album. At times, Phillips sounds like he's been listening to jazz-rock pioneers like the Al Kooper-led Blood, Sweat & Tears or even the very early (pre-wimpy) Chicago, because tracks like "Be Yourself" and "The Other Blues" subtly integrate rock backbeats and rhythm guitar into jazz forms. Sure 'Nuff isn't an undiscovered masterpiece or anything, but it's considerably more interesting than the average soul-jazz album from the late '60s. ~ by Stewart Mason, AMG.

Prestige Records, PRST 7737, 1970

Recorded 20th October, 1969 At Van Gelder Studio, Englewood Cliffs, New Jersey

Track Listing:

A1. Sure 'Nuff, Sure 'Nuff {Sonny Phillips} (6:47)

A2. Be Yourself {Sonny Phillips} (4:32)

A3. Oleo {Sonny Rollins} (7:46)

B1. Mobile To Chicago {Sonny Phillips} (7:29)

B2. The Other Blues {Sonny Phillips} (9:35)

Personnel:

Sonny Phillips - Organ

Virgil Jones - Trumpet (#A1,A2,B1)

Houston Person - Tenor Saxophone

Joe "Boogaloo" Jones - Guitar

Bob Bushnell - Electric Bass

Bernard "Pretty" Purdie - Drums

Credits:

Supervisor - Bob Porter

Recording Engineer - Rudy van Gelder

Liner Notes - Bob Porter

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