Houston Person - Underground Soul! (1966) [re-rip]

In 1966, Houston Person recorded his first album as a leader Underground Soul! This launched a fruitful affiliation with Prestige Records that produced eleven albums over six years. During his tenure with Prestige, Person experimented with different formats; for this recording he teamed up with Mark Levine on trombone, Charles Boston on organ and Frank Jones on drums. In some regards these relative unknowns would soon be replaced by more familiar combos with increasing expertise and a real passion for Soul Jazz. This group nevertheless still sets a standard for Person’s bold and luxuriant tenor sound that continues to this day. Highlights include Underground Soul, Tears, Ballin' and If You Could See Me Now.

‘The jazz underground has methods of communication which challenge the speed of light for effectiveness. When a new player comes on the scene and has something to play the word spreads around town and across the continents as quickly as a transatlantic cable. Jazz has been an underground music for most of its existence, and, ironically, being American it has never entered into the mainstream of American life. This is music for those who have a taste for good jazz; it comes from the soul and it grows on you from the underground up.' ~ Excerpts from Liner Notes by Christopher Peters.

Prestige Records, PRST 7491, 1966

Recorded 16th June, 1966 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Mark Levine - Trombone

Charles Boston - Organ

Frank Jones - Drums

Track Listing:

A1. What The World Needs Now Is Love {Burt Bacharach, Hal David} (3:50)

A2. Underground Soul {Houston Person} (5:48)

A3. The Pimp {Houston Person} (3:43)

A4. Tears {Mark Levine} (3:44)

B1. Aleilula {Edu Lobo, Roy Guerra} (4:09)

B2. Ballin' {Danny Wright} (6:13)

B3. If You Could See Me Now {Tadd Dameron, Carl Sigman-Robbins} (4:26)

B4. Strike Up The Band {George Gershwin, Ira Gershwin} (2:51)

Credits:

Producer - Cal Lampley (August, 1966)

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten
Liner Notes - Christopher Peters

Wynton Marsalis - The Magic Hour (2004)

The Magic Hour is Marsalis' first jazz ensemble studio recording since 1999's Marciac Suite. His last album was All Rise, an extended composition for big band, gospel choir and symphony orchestra. "All Rise was such a huge piece involving over two hundred people. I wanted to produce my next recording with a smaller group," says the trumpeter, who settled into Right Track Studios in New York for two days last June to record the new album. "I wanted to restate my basic love of jazz music in a quartet format," says Marsalis.

For his debut on this label, Wynton Marsalis gets back to basics with a small combo. Taking a break from his large-ensemble works like Blood on the Fields and All Rise, the trumpeter leads a quartet consisting of bassist Carlos Henriquez, pianist Eric Lewis, and drummer Ali Jackson. Labelmates Bobby McFerrin (who recorded with the trumpeter on the early '80s LP, The Young Lions) and Dianne Reeves join Marsalis on "Baby, I Love You" and "Feeling of Jazz." "Big Fat Hen" is peppered by a New Orleans-meets-Brazil second-line samba, while "Skippin'" is a Monkish riff tune with stop time. The title track, dedicated to the time when kids go to sleep, includes a melodic nod to "The Flight of the Bumblebee," a mid-tempo groove, a ballad and the Cuban clave. With the sterling production by younger brother Delfeayo, Wynton Marsalis starts off on a good foot. ~ Eugene Holley, Jr., Amazon.com.

Blue Note, 7243 5 91717 2 2, 2004

Recorded and Mixed 6^th & 7^th June, 2003 At Right Track Studios, New York City

Musicians:

Wynton Marsalis - Trumpet

Eric Lewis - Piano

Carlos Henriquez - Bass

Ali Muhammed Jackson - Drums

Dianne Reeves - Vocals (#1)

Bobby McFerrin - Vocals (#4)

Tracks

1. Feeling Of Jazz {Wynton Marsalis} (7:03)

2. You And Me {Wynton Marsalis} (4:50)

3. Free To Be {Wynton Marsalis} (8:40)

4. Baby, I Love You {Wynton Marsalis, Bobby McFerrin} (5:20)

5. Big Fat Hen {Wynton Marsalis} (7:31)

6. Skipping {Wynton Marsalis} (8:01)

7. Sophie Rose-Rosalee {Wynton Marsalis} (6:47)

8. The Magic Hour {Wynton Marsalis} (13:14)

Credits:

Producer - Delfeayo Marsalis

Recording - Patrick Smith (Right Track Studios, NYC)

Mixing - Daniel Kresco (Glenwood Studios, Burbank, CA)

Mastering - Daryl Dickerson (Artistic Studios, New Orleans, LA)

Art Direction, Package Design - Burton Yount

Art Direction, Illustrations - Rachel Salomon

Danny Gatton, Joey DeFrancesco - Relentless (1994)

This was a logical matchup. Danny Gatton was a high-powered and very versatile guitarist who could play virtually any modern style. His tonal distortions and use of feedback were impressive but he could also swing as hard as anyone around. The same could be said of organist Joey DeFrancesco and, together with bassist John Previti and drummer Timm Biery, the lead voices romp on a variety of fairly basic material with lots of blues and a few standards. Although no new revelations are offered, the joyful chance-taking of Danny Gatton kept the music from ever becoming predictable or too relaxed; he certainly challenges DeFrancesco throughout this set. ~ by Scott Yanow, AMG.

Big Mo Records, BIGMO 20232, 1994

Recorded 22^nd - 25^th February, 1994 At Big Mo Recording Studios, Kensington, Maryland

Musicians:

Danny Gatton - Guitar

Joey DeFrancesco - Keyboards, Organ [B-3]

John Previti - String Bass (#2,3,8,9)

Timm Biery - Drums

Tracks:

1. Fine {Danny Gatton} (4:22)

2. Broadway {Billy Bird, Henri Woode, Teddy McRae} (6:13)

3. Kindred Spirits {Danny Gatton} (7:50)

4. The Chess Players {Wayne Shorter} (9:49)

5. Gearheads {Joey DeFrancesco, Danny Gatton} (4:48)

6. Blues On The Half Shell {Chris Battistone, Danny Gatton} (6:56)

7. The Pits {Danny Gatton} (11:52)

8. Big Mo {Danny Gatton} (4:43)

9. Well You Needn't {Thelonious Monk} (6:34)

Credits:

Producer, Mixing - Danny Gatton

Producer, Mixing, Engineer - Ed Eastridge

Engineer - Greg Hartman, Ron Freeland

Mastering - John Brittain

Design - Dixie Eastridge

Photography - John Sprung, Hugh Talman

Amazing How Well They Complement Each Other

Monster players, both Danny and Joey. I'm not sure how this collaboration came about, but there are some magical moments in this recording....amazing how well they complement each other. Gatton is a Brad Paisley on jazz steroids. If you haven't heard of him before this album, you won't be disappointed. DeFrancesco is the consummate B-3 monster and has been for years now. Give it a listen. Five stars for sure. ~ bluguitarman, Amazon.com.

Dave Liebman Group - Songs For My Daughter (1994)

"...That the music is not all sweetness and light is indicative of unconditional love's travails.... SONGS FOR MY DAUGHTER is as varied and moving a recital as this virtuoso reedman has ever recorded." ~ Cam Jazz.

Essentially, an overlooked album from his vast discography, this album released on the Italian label soul note is a foray into a more the acoustical and programmatic collective. This endeavour is enhanced by the addition of two great players pianist Phil Markowitz and guitarist Vic Juris, not to disparage the rest of his well-versed and stalwart group.

Soul Note, 121 295-2, 1995

Recorded May, 1994 At Red Rock, Saylorsburg, Pennsylvania, USA

Musicians:

Dave Liebman - Soprano Saxophone, Wooden Flute

Phil Markowitz - Acoustic Piano

Vic Juris - Acoustic Guitar, Electric Guitar

Tony Marino - Bass, Electric Bass

Jamey Haddad - Drums, Percussion

Scott Cutshall - Percussion (#7)

Lydia Liebman - Vocals (#9)

Tracks:

1. Little Peanut {Dave Liebman} (7:25)

2. Arrival {Dave Liebman} (6:20)

3. For Lydia {Caris Visentin} (6:30)

4. Innocence {Dave Liebman} (8:43)

5. Tomato Face {Dave Liebman} (5:06)

6. Papoose {Dave Liebman} (8:04)

7. Sins Of The Fathers {Dave Liebman} (8:56)

8. Mommie's Eyes {Dave Liebman} (6:01)

9. You Are My Sunshine {Traditional} (1:17)

Credits:

Producer - David Liebman

Executive Producer - Flavio Bonandrini

Engineer - Kent Heckman

Mastering Engineer - Gennaro Carone at Phonocomp, Tribiano, Milano

Photography - Caris Visentin Liebman

Art Cover - Maria Bonandrini

Liner Notes - Dave Liebman, Bethann Hatfield

Dave says he doesn't welcome new musicians in the tribe until they have been at it for about 10 years. Talent is not all that counts in this genre, although it's paramount. You have to make it work financially, and get used to traveling for 20 hours to experience two on stage. The audiences are not as large as with other styles and the money doesn't always match the level of sacrifice and expertise required. But if you can withstand the pressure you earn your ranks among fellow musicians, Dave explains. This doesn't mean that he is not paying attention to new talent. He acknowledges that the best indications of someone's personality is often found in their early records. ~ Milton D. Carrero, The Morning Call.

Al Haig - Solitaire [24/48 vinyl rip]

When a near mint copy of this LP was presented to me for ripping by my friend Cliff, I knew that I already had a rip of the cd version called 'Piano Interpretations' (it has the sides reversed), but I couldn't resist seeing if I could do better than the CD. Umm...yeah, quite a bit better actually. My rip of the CD version did not pass AudioChecker and of course this one passes with flying colors. I don't have a Dynamic Range measuring program, but I'd bet money it is far superior there as well. deGallo reports that Dynamic Range came in at a mind blowing 13!

For those who don't already know this album, well... as solo piano records go, this one is 5 star all the way.

Danny Gatton - New York Stories (1992)

Danny Gatton (4^th Sept., 1945 - 4^th Oct., 1994) was an American guitarist who fused rockabilly, jazz, and country to create his own distinctive style. When Rolling Stone magazine selected the 100 Greatest Guitarists of all Time in 2003, senior editor David Fricke ranked Gatton 63rd on his ballot. On May 26, 2010, Gibson.com ranked Gatton as the 27th best guitarist of all time

This interesting outing by an all-star group (guitarist Danny Gatton, altoist Bobby Watson, trumpeter Roy Hargrove, Joshua Redman on tenor, pianist Franck Amsallem, bassist Charles Fambrough and drummer Yuron Israel) is most notable for featuring the brilliant Gatton in a jazz setting. Together the septet, performs nine originals by group members and Gatton and Watson emerge as the main solo stars. Despite its somewhat generic name, this advanced hard bop date is quite memorable. ~ by Scott Yanow, AMG.

Blue Note, CDP 7 98959 2, 1992

Recorded 16^th & 17^th February, 1992 At Unique Recording, New York City

Musicians:

Danny Gatton - Guitar

Roy Hargrove - Trumpet

Bobby Watson - Alto Saxophone

Joshua Redman - Tenor Saxophone

Franck Amsallem - Piano

Charles Fambrough - Bass

Yuron Israel - Drums

Tracks:

1. Dolly's Ditty {Danny Gatton} (3:51)

2. Wheel Within A Wheel {Bobby Watson} (7:01)

3. Ice Maidens {Charles Fambrough} (3:29)

4. Out A Day {Franck Amsallem} (6:32)

5. Mike The Cat {Danny Gatton} (5:34)

6. The Move {Yuron Israel} (8:26)

7. A Clear Thought {Roy Hargrove} (5:11)

8. 5/4 {Bobby Watson} (5:30)

9. One For Lenny {Danny Gatton} (7:36)

Credits:

Producer - Dan Doyle

Chief Engineer - Michael Finlayson

Assistant Engineer - Tim Leitner

Photography - Jeffrey Scales

Design - Patrick Roques

Art Direction - Cynthia Cochrane

Liner Notes - John Swenson (Rolling Stone Jazz Guide)

Musically And Sonically Wonderful

I agree with most of the reviewers that this is one of the finest recordings of any kind of music that I've heard. The interplay between the musicians, in a jam session no less, is astounding, and it represents Danny Gatton in his most supportive, understated, yet leading role I've also yet heard. It is also a wonderful recording, one that I use constantly to evaluate audio equipment with enjoyable music rather than a sonic spectacular. ~ Jamie Allan, Amazon.com.

Sam Jones - Something New/Something In Common (1979/77) [vinyl>flac]

Something New

Sam Jones recorded profically as a sideman but rarely as a leader. Three albums for Riverside in the early 60s then a further seven in the 1970s. This was to be his final leader recording. As far as I can tell, never issued on CD.

Review by Scott Yanow:
The short-lived Sam Jones big band made its only recording for Interplay, which was reissued in 1980 on a Sea Breeze LP. The hard-swinging group is heard performing Jones' "Unit Seven" (the bassist was always an underrated composer), "Stella By Starlight" and originals by Pete Yellin, Bob Mintzer and Ernie Wilkins. Many all-stars were in the band, and among those featured are up-and-coming pianist Fred Hersch, trumpeters Richard Williams and John Eckert, Mintzer on tenor, altoist Yellin, trombonist Sam Burtis, and the tenor of Harold Vick (who is showcased on Wilkins' "Tender Touch"). An excellent jazz orchestra that has been long forgotten since Sam Jones' death in 1981.

Unit seven
Stella by starlight
Tropical delight
Antigua
Tender touch

Spanky Davis, John Eckert, Richard Williams (tp) Sam Burtis, Dick Griffin (tb) Pete Yellin (as) Bob Mintzer (fl,ts) Harold Vick (ts) Ronnie Cuber (bar) Fred Hersch (p) Sam Jones (b) Mickey Roker (d)
New York, June 4, 1979

Something In Common

Review from allaboutjazz.com:
Something In Common reunites Jones with his long-time friends Cedar Walton and Billy Higgins. In addition Slide Hampton, Blue Mitchell and a young Bob Berg join in, elevating each other’s compositions through effective arrangements and penetrating solos.
Jones’ only original tune, “Seven Minds,” opens the album with one of his ominous solos, backed by Higgins’ cymbaled shimmering and Walton’s upper-register ornamentation, before Jones leads into an enthralling, charging modal romp that challenges all of the players. Cedar Walton’s “Bolivia” features Jones’ most famous bass lines when he was a member of Walton’s Eastern Rebellion. Walton’s “Something In Common,” rooted with Jones’ walking approach, reveals Walton’s understated taste, not only in composition, but also in arranging, which continues to this day. Slide Hampton’s contribution, “Every Man Is A King,” generously allows for Jones once again to lead off a tune with a dramatic and unhurried bass solo before the group comes in for a call-and-response theme. Blue Mitchell’s tribute to Horace Silver, “Blue Silver,” is surprising as it reveals after six tracks that, in spite of the theoretical basis for the tune, the voicing of the arrangements remains the same. Plus, each tune allows for individual expansion of the theme as the musicians, obviously enjoying the session, stretch out for spirited improvisation.
The forceful restraint of the sextet on those six tracks, with its close voicing, anticipation of the beat and memorable solos, makes the album one worth reinvestigating.

01 - Every Man Is A King
02 - For All We Know
03 - Blue Silver
04 - Something In Common
05 - Bolivia
06 - Seven Minds

Sam Jones (bass) Blue Mitchell (trumpet) Bob Berg (saxophone) Slide Hampton (trombone) Cedar Walton (keyboard) Billy Higgins (drums)
NYC, September 13, 1977

Ahmed Abdul-Malik - East Meets West (1959)

The late Ahmed Abdul-Malik was best known to jazz listeners as a bassist with Thelonious Monk, Randy Weston, Coleman Hawkins, and many others. He made a few records as a leader, with this one being his most exotic and also the hardest to find. The Brooklyn native was of Sudanese descent; in addition to playing bass on this interesting blend of Middle Eastern instruments with those from the world of jazz, he also plays oud, the forerunner to the lute. The musicians on Malik's eight originals vary from track to track. On the mournful "La Ibky (Don't Cry)," Malik's oud shares the spotlight with a tenor sax (either Benny Golson or Johnny Griffin) plus trumpeter Lee Morgan. "Rooh (The Soul)" features the 72-string kanoon (which is sort of a brittle sounding and much smaller harp) played by Ahmed Yetman, along with Malik's arco bass and the droning violin of Naim Karacand. The Middle Eastern instruments are absent during "Searchin'," which is sort of a hard bop vehicle featuring trombonist Curtis Fuller and Jerome Richardson on flute, along with the tenor sax. "Takseem (Solo)" omits the jazz instruments; the slowness of the variations of the music and rather piercing vocal make it harder for Western ears to comprehend. Not a release of interest to everyone but, for the most part, this fusion of vastly different styles of music is quite enjoyable; it's obvious from the start that the musicians were enjoying themselves as it was recorded. This long out print LP will be difficult to locate. ~ AMG review by Ken Dryden.

I obtained a sealed copy of the LP.

01 - El-Lail (The Night)
02 - La Ikby (Don't Cry)
03 - Takseem (Solo)
04 - Searchin'
05 - Isma'a (Listen)
06 - Rooh (The Soul)
07 - Mahawara (The Fugue)
08 - El Ghada (The Jungle)

Lee Morgan* (t) Curtis Fuller (tb) Jerome Richardson (fl) Benny Golson, Johnny Griffin (ts) Naim Karacand (vln) Ahmed Abdul-Malik (b, oud) Al Harewood (d) Bilal Abdurrahman, Mike Hamway (darabeka) Ahmed Yetman (kannon)
*NYC, March 16, 1959; NYC, March 31, 1959

Lee Konitz - Stereokonitz (1968) [re-rip]

Lee Konitz has had many opportunities to record with European artists over the decades, but this session is a bit unusual, in that all the compositions are by bassist Giovanni Tommaso; and Konitz doesn't stick strictly to alto saxophone. Joining them are pianist Franco D'Andrea, trumpeter Enrico Rava and drummer Gegé Munari. Tommaso's charts delve into bop and cool, with Konitz primarily playing the varitone, though he does play some alto sax and also makes a rare appearance on flute (doubling on it in "Take Seven"). While the music from this 1968 session is enjoyable, even though the sound quality of the varitone pales when compared to a regular saxophone, this remains one of Lee Konitz's more obscure recordings from the '60s. ~ Extracts taken from review by Ken Dryden, AMG.

This LP is one of my favourite Lee Konitz albums. It’s a truly distinctive session revealing a brilliant class of sound! For this album Konitz tries out a varitone sax, as well as playing flute and alto. This session is a rather different undertaking in that Lee comes together with an elite grouping of some of Europe’s top musicians, at this time 1968, playing some very contemporary tunes that are partly modal and in a soul jazz style. This uniqueness being mainly due to the absorbing compositions penned by the bassist Giovanni Tommaso. The group includes other Italian stars Enrico Rava on trumpet and Franco d'Andrea on piano. This assemblage of great artists allows Konitz to in reality to stretch out more so, especially noticeable when soloing. All tracks showcase the musical talents of all the players. It is wonderful to hear matching of both Rava and d’Andrea throughout this fine LP. Highlights include “Five, Four And Three”, “Komonia”, “Midnight Mood”, “Terre Lontane” and “Tune Down”. However in essence the whole LP is fantastic, Enjoy!

Recorded in October, 1968 in Rome, Italy

DejaVù Records, DJV 20000 42, 2008

Personnel:

Lee Konitz - Alto Sax (#A3,B1), Flute (#B2), Varitone (#A1,A2,A4,B2-B4)

Enrico Rava - Trumpet
Franco d'Andrea - Piano

Giovanni Tommaso - Bass

Gegé Munari - Drums

Tracks:

A1. A Minor Blues (4:37)

A2. Five, Four And Three (3:32)

A3. Komonia (4:43)

A4. Midnight Mood (3:50)

B1. Terre Lontane (5:25)

B2. Take Seven (3:11)

B3. Giovanni D'Oggi (4:20)

B4. Tune Down (4:51)

Credits:

All Compositions by Giovanni Tommaso

Arranger - Thomas Giovannio
Sound Engineer - Guilio Spelta

Assistant Music - Guido Cenciarelli

Photos and Design - ZOOM

Other releases include:

RCA Italiana [Original Cast]; Catalog#: OLS 2; 1969

RCA Records [Jazz Masters - France]; PL 31257; 1969

Johnny Hodges & Earl Hines - Swing's Our Thing [1967] (vinyl>flac)

Re-upped from the old Crypt and as far as I know still no CD reissue.

Review by Sinclair Traill, Jazz Journal, March, 1969:

“Another fine album in the Hodges-Hines series, even if it is in some ways a trifle more uneven than the previous two. It is mostly imbued with a great sense of purpose, but there are places where the inspiration flags a little. The questionable Moose doesn't amount to much and although Buster Cooper's approach to Over The Rainbow is distinctly original, it doesn't quite catch on somehow. Buster sounds much better on Bustin' a virile vehicle for his ejaculatory trombone written by Jimmy Hamilton, and plays a noteworthy augmentative chorus behind Hodges on Doll Valley. This 32 bar original by Tom Whaley has some fine tenor from Hamilton and an easy going turn from Hines. Two good themes by Cat, who has the knack of writing catchy tunes, are Night Train (a slow blues) and Do It Yourself. Both tracks swing mightily and Hines shows of his amazing interdigitory skill on the latter. He plays great clusters of notes, but nothing impedes the drive and tremendous power of his playing. Pity this great track is so short. The interpretation of Mean To Me is novel and quite original, particularly from Hodges. Cat, who eschews his 'screamers' throughout the whole album, plays a thoughtful, muted solo and Hines again shows his extraordinary powers of invention.
The lively Cannery Walk and the melodious Trinidad were both penned by Hines, the former in honour of 'The Cannery' the new San Francisco showplace where Earl will work for five months a year on a lifetime contract. Open Ears (by Hodges) is another blues with solos all round. Cat struts his stuff with easy relaxation and Hines is again all over the keyboard in an astounding display of piano playing.
A most professional album by a set of the world's best jazz masters.”
Sinclair Traill, Jazz Journal, March, 1969

Although the review mentions three Hines-Hodges collaborations, I’m only aware of two, at least for Verve – this and ‘Stride Right’. The latter is available on CD.

Thanks to chu - the third album is 'Once Upon A Time' recorded for Impulse.

01 - Open Ears
02 - Mean To Me
03 - Doll Valley
04 - Can A Moose Crochet
05 - One Night In Trinidad
06 - Night Train To Memphis
07 - Bustin' With Buster
08 - Over The Rainbow
09 - Do It Yourself
10 - The Cannery Walk

Cat Anderson (tp) Buster Cooper (tb) Jimmy Hamilton (cl, ts) Johnny Hodges (as) Earl Hines (p) Jeff Castleman (b) Sam Woodyard (d)).
San Francisco, November 13 & 14, 1967.

Lou Donaldson - Back Street

OKAY, ONE LAST TIME!
I re-ripped this a couple weeks ago!

A special share from our Brazilian buddy Alvinho who actually bought the LP and had it shipped to me! This album is a wonderful surprise. All Killer!

Back Street catches Lou Donaldson live in Paris with his playing partner of 30+ years, Herman Foster and their regular working band of the time. Sweet Lou is burning it up, leaving no doubt he still has plenty in the tank. The real stars of this set, however, are the excellent and imaginative rhythm section. Herman Foster is some marvelous blend of Monk and Jamal and himself that makes for some very exciting, percussive solos!

A lovely late career surprise from Sweet Poppa Lou!

Lou Donaldson - Back Street
Muse 5292, 1982
All compositions by Lou Donaldson except as indicated

01 "Be My Love"
02 "Cheer Cheer"
03 "Now's the Time"
04 "Exactly Like You" (Dorothy Fields, Jimmy McHugh)
05 "Back Street"
06 "Confirmation" (Charlie Parker)

Recorded in Paris, France in 1982.

Lou Donaldson - alto saxophone, vocals
Herman Foster - piano
Geoff Fuller - bass
Victor Jones - drums

Harold Ousley - Sweet Double Hipness (1980) [vinyl>flac]

Released in 1980, Sweet Double Hipness is a compilation of two of Ousley’s previous recordings from the early 1970s. The music is as good as the cover beginning with the bass get down on Uncle Funky. Come Get It, I Got It is just as funky with its drum heavy intro and organ playing. It’s a definite head nodder. Also, worth a listen is the title track with its female vocals singing the harmony to Ousley’s sax line mixed with some traditional Bop interludes, and some background percussion. Prodigal Son isn’t a bad Soul-Jazz piece either.”  ~ Soul Strut.

Muse Records, MR 5141, 1980

Recorded 28^th March, 1972 At Sound Ideas, New York City

Musicians:

Harold Ousley - Tenor Saxophone

Norman Simmons - Piano (#A1,B1,B3)

Neal Creque - Piano (#A2,A3,B2)

Bob Rose Guitar (#A2,A3,B2)

Victor Sproles - Bass (#A1,B1,B3)

Jay Leonhart - Bass (#A2,A3,B2)

Steve Butler - Drums (#A1,B1,B3)

Jim Young - Drums (#A2,A3,B2)

Ralph Dorsey - Congas (#A1,B1,B3)

Steve Kroon - Percussion (#A1,B1,B3)

Danny Barrajanos - Percussion (#A2,A3,B2)

Holly Hamilton, Edna Holt - Vocals (#A1,B1,B3)

Tracks:

A1. Uncle Funky {Harold Ousley} (7:08)

A2. The Prodical Son {Harold Ousley} (5:51)

A3. One For The Masses {Harold Ousley} (8:16)

B1. Sweet Double Hipness {Harold Ousley} (5:38)

B2. Come Get It, I Got It {Harold Ousley} (5:12)

B3. Feel Like Makin' Love {Gene McDaniels} (7:20)

Credits:

Producer - Harold Ousley, Frederick Seibert, Bob Rose

Engineer - George Klabin

Cover Photo - Hugh Bell

Cover Design - Ron Warwell

Liner Notes - Arnold Jay Smith

This is a compilation of his albums as a leader: bubbly, energetic and romantic, with a pleasant mixture of funk, soul, blues and bop.

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