Harold Ousley - The People's Groove (1977) [vinyl>flac]

Communication, a much-abused word in the world of music has special relevance in the case of saxophonist Harold Ousley. His basic goal is "to develop the ability to give people a complete musical experience that inspires, consoles and nourishes." In pursuit of that goal, Harold's activities have fanned out to include several separate yet interrelated directions. Harold's big vibrant sound and rhythmic finesse immediately evoke waves of tapping toes, popping fingers and undulating bodies. He makes everyone feel good. This album will help bring Harold Ousley's music to a wider audience. That is good because Ousley's musical humanism does indeed have the capacity to inspire console and heal. ~ Extract from Liner Notes by Chuck Berg (Downbeat).

Muse Records, MR 5107, 1977

Recorded Live and in Studio throughout 1972 approximate dates not listed.

Musicians:

Harold Ousley - Tenor Sax (#A1-B1,B3), Alto Sax (#B1,B2)

Gary Chandler - Trumpet (#A1)

Bobby Forrester - Organ (#A2,B2)

Neal Creque - Piano (#A3,B3)

Norman Simmons - Piano (#A4,B1)

Bob Rose - Guitar (#A3,B3)

Nate Stokes - Guitar (#A1-A2)

Ray McKinny - Bass (#A1)

Jay Leonhart - Bass (#A3,B3)

Victor Sproles - Bass (#A4,B1)

Al Dreares - Drums (#A1)

Steve Butler - Drums (#A2,A4,B1-B2)

Jim Young - Drums (#A3,B3)

Ralph Dorsey - Congas (#A2,A4,B1)

Danny Barrajanos - Percussion (#A3,B3)

Steve Kroon - Percussion (#A2,A4,B1)

Edna Holt - Vocals (#A2,A4,B1)

Holly Hamilton - Vocals (#A4,B1)

Tracks:

A1. The People's Groove {Harold Ousley} (3:19)

A2. Little Virgo {Harold Ousley} (6:40)

A3. Me & Bobby McGhee {Kris Kristofferson} (7:45)

A4. Positivity {Harold Ousley} (7:48)

B1. El Exi-Hente {Harold Ousley} (4:38)

B2. Why Did I Choose You? {Harold Ousley} (10:30)

B3. The Kid {Harold Ousley} (5:47)

Credits:

Producer - Fred Seibert, Harold Ousley

Photography [Cover], Album Design - Ron Warwell

Liner Notes - Chuck Berg (Downbeat)

In 1977, the Chicago-born saxophonist Harold Ousley put out the album "The People's Groove". In essence it is a Soul Jazz/Jazz Funk masterpiece. Some of tunes are taken from a live context and as a result are full of energy. With "Little Virgo" the listener is treated to a great piece of jazz funk. Another definite highlight is the Samba-Fused recording "El Exi-Hente" with its thrilling high-speed electric piano intertwined with nicely delivered scat vocals. The rest of the compositions are of equal merit, in fact there are no disappointments. Ousley as a producer has chosen some of the great jazz luminaries of the time together with an impressive rhythm section of players noted within the black music movement. Overall, the album is very entertaining whereby Ousley gets to showcase his skills on both tenor and alto.

Harold Ousley - The Kid! (1972) [vinyl>flac]

Harold Says "I try to play in a style that everyone can relate to. I view each tune as an individual thing, so I play in many different ways, trying to reach the individuality of the tune." When referring to this album Ousley states the "Songs fall in categories--rock, funky rock, funky jazz, ballads. I try to keep somewhat within the idiom, even in the solos. On this album we play straight jazz, a ballad, a thing out of the country field, an R&B tune, and some funky stuff. In each case we try to create the proper mood."

Beside the strong Ousley horn, the element that holds the music together is the cohesion among the sidemen. Neal Creque plays acoustic piano, electric piano and organ. Guitarist Rose who produced the album, is one of the most versatile musicians on the New York scene. Bassist Jay Leonhart, drummer Jim Young and percussionist Danny Barrajanos round out the rest of the rhythm section. ~ Excerpts taken from Liner Notes, by Don Lass.

Cobblestone Records, CST 9017, 1972

Recorded 28^th March, 1972

Musicians:

Harold Ousley - Tenor Saxophone

Neal Creque - Piano, Organ, Electric Piano

Bob Rose - Guitar

Jay Leonhart - Electric Bass

Jim Young - Drums

Danny Barrajanos - Percussion [Miscellaneous]

Tracks

A1. The Kid {Harold Ousley} (5:46)

A2. Forget It, I've Got It {Jimmy Miller, Gary Wright} (5:14)

A3. Me And Bobby McGee {Kris Kristofferson} (9:07)

B1. The Prodigal Son {Harold Ousley} (5:53)

B2. Come Sunday {Duke Ellington} (5:47)

B3. One For The Masses {Harold Ousley} (8:16)

Credits:

Producer – Bob Rose/Alstan Productions

Recording Engineer - George Kablin

A&R Coordinator - Joe Field

Design, Photo - Don Schlitten

Liner Notes - Don Lass

Johnny Griffin - You Leave Me Breathless (1967)

Griffin moved to Europe in the early 60s, eventually settling in France and enjoying a successful and contented (according to an interview) life there until his death in 2008. This album was one of three recorded by the UK Black Lion company over two nights at the Jazzhus in Copenhagen in 1967. These recordings are typical of Griffin: a mix of blistering high speed attack, inventive and always coherent and some beautiful ballad playing. Technically he had everything, he seemed to be incapable of playing badly and every recording he made is worth seeking out. This is from an Italian LP reissue but I imagine these tracks have found their way to CD somewhere!

01 - Rhythm-A-Ing
02 - Old Folks
03 - Wee
04 - You Leave Me Breathless
05 - Leave Me Alone Blues

Johnny Griffin (ts) Kenny Drew (p) Niels-Henning Orsted Pedersen (b) Albert Heath (d)
Copenhagen, Denmark, March 30 & 31, 1967

Chico Hamilton - Chic, Chic, Chico! (1965) {vinyl]

As far as I know unissued on CD, this vinyl rip is a gift from Risemer

Review by Scott Yanow:
For this interesting LP, drummer Chico Hamilton is mostly heard with an octet of Los Angeles musicians. The group, comprised of trumpet/trombone/tenor man Harold Land, French horn/flute (or piccolo) player and guitarist Gabor Szabo, bassist Albert Stinson, and the drummer/leader, performs originals by Hamilton and Szabo, plus "What's New." The concise performances (which are often tightly arranged) are full of subtleties and fine playing, particularly from the guitarist. The title cut was recorded two months later and is the last recording by Chico Hamilton with his star sideman Charles Lloyd, who is heard on flute. Not essential, but this album has its strong moments.


Side A:
1 Chic Chic Chico (Manny Albam) 2:47
2 Corrida De Toros (Gabor Szabo) 5:35
3 Tarantula (Gabor Szabo) 3:03
4 What's New? (Bob Haggart/Johnny Burke) 6:02

Side B:
1 St. Paddy's Day Parade (Chico Hamilton) 3:09
2 Carol's Walk (Chico Hamilton) 6:36
3 Swampy (Gabor Szabo) 2:45
4 Fire Works (Gabor Szabo) 5:52

Personnel for A1:
Charles Lloyd (fl) Jimmy Woods (ts) Gabor Szabo (g) Albert Stinson (b) Chico Hamilton (d) Willie Bobo (per)
NYC, March 15, 1965

On all other tracks:
John Anderson (tp) Lou Blackburn (tb) Henry Sigismonti (frh) Bill Green (fl, picc) Harold Land (ts) Gabor Szabo (g) Albert Stinson (b) Chico Hamilton (d)
Hollywood, CA, January 4, 1965

Medifire links still active!

Hank Crawford - South - Central (1993)

All of the songs on this set except for the closing "Holy Night" (which was left over from a 1990 session) are from 1992. Altoist Hank Crawford is heard at his best on the ballads where he really caresses the melodies, giving them a great deal of soul and heartfelt feeling. Joined by guitarist Melvin Sparks, pianist Stan Hope, bassist Peter Martin Weiss and drummer Grady Tate (with an occasional hint of strings), Crawford digs into such songs as "I Should Care," "I Want To Talk About You," and "Fool That I Am," finding time to swing "In A Mellotone" and "Splanky." His alto playing is at its most vocal throughout this passionate yet tasteful set, which will be easily enjoyed by his many fans. ~  by Scott Yanow, AMG.

Milestone Records, MCD-9201-2, 1993

Recorded 11^th & 27^th August, 1992 (#1-8) At Nola Sound Studios, NYC;

February, 1990 (#9) At Giant Studios, New York City;

8^th September, 1992 Synthesizers At Malcolm Addey's Studio, New York City

Musicians:

Hank Crawford - Alto Saxophone, String Arrangements (#1-9)

Stan Hope - Piano (#1-8)

Melvin Sparks - Guitar (#1-9)

Peter Martin Weiss - Bass (#1-8)

Grady Tate - Drums (#1-8)

George Caldwell - Strings (#1-8)

#9. O Holy Night

Hank Crawford - Arranger [Horns]

Lew Soloff - Trumpet

Alan Rubin - Horns

Lou Marini - Tenor Saxophone

Howard Johnson - Baritone Saxophone

Gloria Coleman - Organ

Doctor John - Piano

Wilbur Bascomb - Bass

Bernard "Pretty" Purdie

Tracks:

1. Falling In Love With Love {Lorenz Hart, Richard Rodgers} (4:43)

2. I Should Care {Sammy Cahn, Axel Stordahl, Paul Weston} (6:16)

3. South Central {Hank Crawford} (8:31)

4. I Want To Talk About You {Billy Eckstine} (5:20)

5. In A Mellow Tone {Duke Ellington, Milt Gabler} (5:26)

6. Conjunction Mars {Hank Crawford} (8:07)

7. Fool That I Am {Hank Crawford} (5:57)

8. Splanky {Neal Hefti} (4:24)

9. O Holy Night {Adolphe Adam, John Sullivan Dwight} (3:28)

Credits:

Producer - Bob Porter

Recording Engineer - Malcolm Addey

Mastering Engineer - George Horn (Fantasy Studios, Berkeley)

Artwork - Phil Carroll

Photography - Frank Lindner

Design - Jamie Putnam

Liner Notes - David Ritz

Harry Allen - Here's To Zoot (2001)

Impressive And Delightful

Here's another fine Harry Allen CD. There are some interesting surprises here. Harry plays the verse to "I Cover The Waterfront" slowly, and where you expect him to double the tempo, he doesn't, but keeps it slow. It makes for a different and pleasing approach. He does the same think on "Someone To Watch Over Me", though this one might be taken just a tad too slowly. "I Cried For You" is taken way up-tempo and features excellent brush work by Hanna. The most ambitious track is "I'll Take Romance", done in waltz time, medium-slow at first; then comes an unaccompanied piano solo by McKenna in 4/4, followed by Harry back in 3/4 time and with the tempo doubled. It's an impressive performance. "I Remember You" is played as a Bossa Nova, and "The Way You Look Tonight" has a crisp, jaunty flavor to it. This is a most attractive CD that will not fail to delight Harry Allen fans. ~ Bomojaz, Amazon.com.

Deserves To Be Heard.........

Harry Allen is in supurb form in this wonderful 1997 salute to his "hero", Zoot Sims. Fact is, Harry's tenor is sounding more and more like Stan Getz. The group is tight (McKenna, Moore and Hanna all played with Zoot Sims and they excel here), and the solos and interplay (and the recording quality) are excellent. Because it has only been issued in Japan, not too many people know about it and it is difficult to find. That's a shame, because it is a wonderful listen. Grab it if you get the chance. ~ Stephen W. Mckenna, Amazon.com.

BMG Records, BVCJ-648, 2001

Recorded 17^th & 18^th June, 1997 At Nola Studios, New York, NY

Personnel:

Harry Allen - Tenor Saxophone

Dave McKenna - Piano

Michael Moore - Bass

Jake Hanna - Drums

Tracks:

01. I Cover The Waterfront {Johnny Green, Edward Heyman} (5:07) 

02. Stars Fell On Alabama {Mitchell Parish, Frank Perkins} (4:27)

03. Spring Is Here {Lorenz Hart, Richard Rodgers} (4:48)

04. I Cried For You {Gus Arnheim, Arthur Freed, Abe Lyman} (4:21)

05. Grooveyard {Carl Perkins} (6:40)

06. I Remember You {Johnny Mercer, Victor Schertzinger} (6:05)

07. Someone To Watch Over Me {George Gershwin, Ira Gershwin} (5:28)

08. 9:20 Special {William Engvick, Earle Warren} (5:14)

09. The Way You Look Tonight {Dorothy Fields, Jerome Kern} (4:36)

10. All My Tomorrows {Sammy Cahn, James Van Heusen} (4:03)

11. I'll Take Romance {Oscar Hammerstein II, Ben Oakland} (5:41)

Credits:

Producer - Ikuyoshi Hirakawa

Engineer - Jim Czak

Assistant Engineer - Bill Moss

Mastering Engineer - Hiromichi Takiguchi

VA - Sax And The City - The Sensuous Sound Of The Saxophone (2008)

A splendid compilation of masterworks from some of the best saxophone players in the industry over the past decade or so, all released on the brilliant HighNote label. A skillfully selected range of tunes guaranteed to please the more discerning jazz lovers, but also a great way to introduce any newbie to the jazz world. Enjoy!

HighNote Records, HCD 6020, 2008

Tracks:

01. David "Fathead" Newman - It Had To Be You (5:32)

02. Houston Person - All Soul (4:26)

03. Jim Snidero - Lover Man Oh Where Can You Be? (5:26)

04. Charles Earland, Najee - If Only For One Night (6:51)

05. Frank Morgan - I'll Be Around (4:49)

06. Vincent Herring - Sophisticated Lady (5:35)

07. Lucky Thompson - We'll Be Together Again (4:45)

08. Teddy Edwards - Candy (4:19)

09. David "Fathead" Newman - Autumn In New York (6:29)

10. Houston Person - Blue Velvet (6:33)

Credits:

Producer - David Fabilli

Mastering, Authoring - Allan Tucker

Design - Brad Wrolstad

Click on image for details

Stan Killian - UNIFIED (2011)

Stan Killian makes an impressive debut as a leader with Unified, featuring the tenor saxophonist with pianist Benito Gonzalez, a rotating cast of bassists (Corcoran Holt or Bryan Copeland), and drummers (Darrell Green or McClenty Hunter), along with a few guests (trumpeters Roy Hargrove and Jeremy Pelt plus alto saxophonist David Binney). The leader, a big-toned player with a versatile sound, wrote six of the CD's seven songs, all of which stand up to repeated hearings. "Twin Dark Mirrors" throws a bit of a curve, with Killian's Coltrane-like sax and Hargrove's soft-spoken trumpet trading licks over Gonzalez's glistening piano in the introduction, then the piece shifts into an upbeat, strolling post-bop mood; it's not surprising to learn that it is Killian's salute to Miles Davis' recordings with Coltrane, Charlie Parker, and Wayne Shorter. Pelt joins Killian for a lively workout in "Center," which is built upon a solid, catchy rhythm. Binney is added for Gonzalez's spry "Elvin's Sight," a boisterous, midtempo cooker with an infectious Latin undercurrent. Both saxophonists shine with their contrasting solos, with Killian being more reserved than the adventurous Binney, while the composer's turn in the spotlight is solid hard bop. The blend of the two saxophonists creates a lush mood in Killian's quiet ballad "Unified." The various combinations of bassists and drummers provide a solid foundation for the soloists throughout the sessions. Recommended. ~ Ken Dryden, AMG.

Sunnyside Records, SSC 1282, 2011

Recorded 8^th April, 2010 At Peter Karl Studios, Brooklyn, New York

Musicians:

Stan Killian - Tenor Saxophone

Roy Hargrove - Trumpet (#1,5)

Jeremy Pelt - Trumpet (#4,7)

David Binney - Alto Saxophone (#2,3,6)

Benito Gonzalez - Piano

Corcoran Holt - Bass (#1,4,5,7)

Bryan Copeland - Bass (#2,3,6)

Darrell Green - Drums (#1-3,5,6)

McClenty Hunter - Drums (#4,7)

Tracks:

1. Twin Dark Mirror {Stan Killian} (7:29)

2. Elvin'S Sight {Benito Gonzalez} (8:14)

3. Unified {Stan Killian} (6:30)

4. Center {Stan Killian} (9:28)

5. Isosceles {Stan Killian} (6:42)

6. Window Of Time {Stan Killian} (7:52)

7. Eternal Return {Stan Killian} (7:00)

Credits:

Producer - Stan Killian

Engineer, Mixing & Mastering - Michael Perez-Cisneros

Assistant - Paul Occhialini

Graphic Design - Christopher Drukker

Photography - Kat Kojic, Wayne Tucker

David Murray Quartet - Black & Black (1992)

In general, tenor saxophonist David Murray's Red Baron recordings are not on the same level of his Black Saints albums; the settings tended to be more conservative and the material not as strong. This outing with pianist Kirk Lightsey, bassist Santi Debriano, drummer Roy Haynes and trumpeter Marcus Belgrave is better than most of his Red Baron releases. The material is fairly basic (including "Duke's Place" and the two-note "C Jam Blues" theme, which is listed as being composed by four people), Murray tends to play fairly freely despite the boppish rhythm section, and the closing "Head Out" (the longest of the five lengthy jams) has plenty of fiery intensity. Not essential but worth picking up by David Murray fans. ~ by Scott Yanow, AMG.

Red Baron/Sony Music, AK 48852, 1992

Recorded 7^th October, 1991

Musicians:

David Murray - Tenor Saxophone

Marcus Belgrave - Trumpet

Kirk Lightsey - Piano

Santi Debriano - Bass

Roy Haynes - Drums

Tracks:

1. Anti-Calypso {Roland Prince} (10:12)

2. Duke's Place {Duke Ellington, Bob Thiele, Ruth Roberts, Bill Katz} (11:16)

3. Cool {Glenn Osser, Bob Thiele} (11:13)

4. Black And Black {Glenn Osser, Bob Thiele} (10:47)

5. Head Out {David Murray} (12:45)

Credits:

Producer - Bob Thiele

Recording & Mixing - Harvey Goldberg

Assistant Engineer - Susie Fink

Digital Mastering - Chris Herles (Sony Studios, New York)

Musical Coordinator - Gary Pacheo

Photography - Michael Hashimoto

Art Direction & Design - Sid Maurer (MPI Graphics, New york)

Liner Notes - Nat Hentoff

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) [vinyl]

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

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