Mike DiRubbo - Threshold (2014)

Mike DiRubbo's eight disc as a leader, Threshold finds the ever-inventive alto saxophonist in a solidly hard bop environment that is reminiscent of Blue Note records of the 1950s but has a clear modern edge. In addition to leading a superb and sympathetic quintet, DiRubbo penned eight of the nine tracks on this riveting record with a momentum that never slacks from the first note to the last.

DiRubbo's acerbic, passionate tone marks his tight and intelligent improvisations that seamlessly arise from the intricate and memorable heads of each composition. His embellishments of the melody on the dynamic title piece are simultaneously raw and elegant while his haunting spontaneous lines on the contemplative "Salter Of The Earth" burn with intense poetry. His stimulating ad-lib flourishes add a cinematic mystique to the vivid "1970" while trumpeter Josh Evans' mellow, burnished horn takes an expansive and charismatic solo.

The modal and riveting "Sun Steps" opens with the unaccompanied clarion call of the frontline. As the music evolves DiRubbo and Evans weave elegiac motifs around the core theme. Bassist Ugonna Okegwo's inspired and lyrical string work makes for a satisfying conclusion.

Elsewhere Evans blows a Levantine influenced extemporization on the dark and dramatic "Pace," perhaps the most innovative tune of the album. Pianist Brian Charette's crisp overlapping sonic clusters with the right amount of angular dissonance put a deliciously shadowy spin on the fairy tale ambience.

Drummer Rudy Royston provides both rhythmic support and propels the bands' ensemble play and spirited exchanges. He versatility ranges from the subtle sophisticated brushwork on the undulating "Faith" to the complex and fiery beats on the Latin-esque "Curvas Perigosas." Together with Okegwo he creates taut but still swinging backdrops against which the others' free flowing phrases echo as, for instance, on the simmering and soulful "Where There's A Willis There's A Way."

Threshold is a tad more traditional than DiRubbo's previous releases, especially ones from the preceding five years. It is his and his sidemen's unparalleled musicianship and captivating creativity that makes this, nevertheless, a provocative and enjoyable work. ~ by Hrayr Attarian, AAJ.

Ksanti Records, KSR002, 2014

Recorded 12^th December, 2013 At Whitewater Productions, Brooklyn, New York

Musicians:

Mike DiRubbo - Alto Saxophone

Josh Evans - Trumpet

Brian Charette - Piano

Ugonna Okegwo - Bass

Rudy Royston - Drums

Tracks:

1. Threshold {Mike DiRubbo} (7:54)

2. Where There's A Willis There's A Way {Mike DiRubbo} (5:12)

3. Sun Steps {Mike DiRubbo} (6:37)

4. Pace {Mike DiRubbo} (6:20)

5. Faith {Mike DiRubbo} (5:44)

6. Curvas Perigosas {Mike DiRubbo} (6:30)

7. 1970 {Mike DiRubbo} (6:32)

8. Salter Of The Earth {Mike DiRubbo} (6:27)

9. Bloomdido {Charlie Parker} (5:32)

Credits:

Producer - Mike DiRubbo

Recording Engineer - John White

Mixing, Mastering Engineer - Ian Hendrickson-Smith

Design - Todd Cruikshank

Total Time: 56:48

Michael Cochrane Trio - Song Of Change (1993)

An excellent straight-ahead hard bop pianist, Michael Cochrane performs four of his originals and six standards, including swinging versions of "On Green Dolphin Street," "The Surrey With The Fringe On Top," and "Autumn Leaves" on this trio set. Assisted by bassist Marcus McLaurine and drummer Alan Nelson, Cochrane adds his own musical personality to the hard bop tradition, creating music that should please straight-ahead jazz fans. ~ by Scott Yanow, AMG.

Down Beat (12/93, p.41) - 3 Stars - Good - "...Solid...cheery uptempo takes on standards..."

JazzTimes (4/95, pp.87-88) - "...SONG OF CHANGE offers music executed with unselfconscious assurance guaranteeing fondly repeated listening..."

Soul Note, 121251-2, 1993

Recorded 23^rd-24^th November, 1992 At Garden Productions, New York

Musicians:

Michael Cochrane - Piano

Marcus McLaurine - Bass

Alan Nelson - Drums

Tracks:

01. S.C.C. {Michael Cochrane} (5:57)

02. Once I Loved {Ray Gilbert, Antônio Carlos Jobim, Vinícius de Moraes} (6:48)

03. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (6:45)

04. On Green Dolphin Street {Bronislaw Kaper, Ned Washington} (6:46)

05. No Pain, No Gain {Michael Cochrane} (5:07)

06. The Surrey With The Fringe On Top {Oscar Hammerstein II, Richard Rodgers} (8:00)

07. Cloud 9 {Michael Cochrane} (6:08)

08. Autumn Leaves {Joseph Kosma, Johnny Mercer, Jacques Prévert} (7:08)

09. Song Of Change {Michael Cochrane} (6:57)

10. Bemsha Swing {Denzil Best, Thelonious Monk} (5:16)

Credits:

Producer - Michael Cochrane

Executive Producer - Giovanni Bonandrini

Engineer, Mixing - Jimmy Madison

Mastering - Gennaro Carone

Liner Notes - Bill Shoemaker

Total Time: 64:52

Ahmad Jamal - Tranquility

I have to admit, I'm not a fan of jazz interpretations of shmaltzy pop tunes.  In fact, I can't stand it.  So when I looked at the tracklist of this album, I was initially repulsed.  But it's Ahmad Jamal!!  I haven't heard a bad Jamal album, and that gave me yet another reason to be apprehensive about this one.  I know that logic seems backwards, but I couldn't bare the fact that he may have a complete dud in his discography.  Ignorance is bliss right?  Ultimately the deal breaker was the fact that it was only priced at $1, in a dingy thrift shop.  At that price it's a no brainer really.

So, "Say A Little Prayer" doesn't exactly start off with a whole lot of promise.  The band begin by stating the theme, and I am left thinking "Oh God it is gonna suck"... but wait...

...hold on...

...oh, ok... I see what he's doing here.  Wow!!  Nice!!  Brilliant!!

This is after all Ahmad Jamal, ye with little faith.  Side one is essentially a rush of quick pop tunes, but they are given the classic Jamal Trio treatment.  That inimitable style is stamped all over these otherwise predictable tunes.  Frankly its quite refreshing, and the group even manage to have you forget the source material.  Ahmad Jamal is undoubtedly a master, and it's through an album like this that we see why.  When side one was over, I was left recalling several different moments and basically needed to play it again.  Not the outcome I would have predicted, not by a long shot.

Side two plays like a more typical Jamal Trio joint.  Three tunes over twenty minutes, with lots of extended solos and interplay.  Overall, I found this to be an excellent album.  Fun & refreshing, but with some serious moments as well, the trio deliver on all expectations.  This stereo LP was in rough shape but cleaned up surprisingly well.  It was ripped at 24/48wav and transferred to FLAC in 24/48 for your convenience... enjoy!!!

ABC Records ABCS-660
1968

Bass – Jamil Sulieman
Drums – Frank Gant
Piano – Ahmad Jamal

Elton Dean, Joe Gallivan, Kenny Wheeler - The Cheque Is In The Mail (1977) [vinyl]

This album is ten Conversations among ourselves. There are no solos with accompaniment, just three people playing together somewhat in the tradition of older style jazz musicians - but with a contemporary language. It is the blending of electronic and acoustical sounds, contemporary and jazz-rooted improvisation, the sounds of metal and reeds (the horns), membranephones (animal skin drum heads), percussion and the pure ways of the moog synthesizer. There is no overdubbing, when you hear synthesizer and percussion, they are played together in order to capture the most important element of this album - the human element. ~ Joe Gallivan.

Ogun Records, OG 610, 1977

Recorded February, 1977 in London, England

Musicians:

Elton Dean - Alto Saxophone, Saxello

Kenny Wheeler - Trumpet, Flugelhorn

Joe Gallivan - Synthesizer, Drums, Percussion

Tracks:

A1. In Spite Of It {Dean, Wheeler, Gallivan} (2:31)

A2. Steps {Dean, Wheeler, Gallivan} (3:48)

A3. First Team {Dean, Wheeler, Gallivan} (3:38)

A4. Ragadagger {Dean, Wheeler, Gallivan} (4:06)

A5. To The Sun {Dean, Wheeler, Gallivan} (8:20)

B1. Off Your Beaver {Dean, Wheeler, Gallivan} (3:22)

B2. Appropo {Dean, Wheeler, Gallivan} (6:59)

B3. Fragment Of Memory {Dean, Wheeler, Gallivan} (2:18)

B4. No Bounds {Dean, Wheeler, Gallivan} (4:21)

B5. Time Test {Dean, Wheeler, Gallivan} (3:14)

Credits:

Producer - Joe Gallivan in Co-operation with Elton Dean

Mixing - Ron Eve (February, 1977, London)

Mastering - Brian C. East

Total Time: 42:37

Marion Brown - Geechee Recollections (1973)

Geechee Recollections was the first in a trilogy of recordings by saxophonist Marion Brown that both honored the work of poet Jean Toomer and revisited his upbringing in Georgia. Together, they form arguably the most beautiful and satisfying output of Brown's lengthy career. The music, while remaining experimental, is grounded in Southern folk themes and blues, epitomized on tracks like the funky "Buttermilk Bottom" here. A Toomer poem, Karintha is given a striking reading by Bill Hasson and, throughout the recording, Brown receives excellent support by a strong ensemble including trumpeter Leo Smith and the great drummer Steve McCall. Brown, with his marvelously limpid tone on alto, is a joy to hear and seems more at home and relaxed here than on some of his more strident early records. Recommended. ~ Brian Olewnick, AMG.

Impulse! Records, AS-9252, 1973

ABC/Impulse! Records, MVCZ-120, 1997

Recorded 4^th & 5^th June, 1973 At Intermedia Sound, Boston, Massachusetts

Musicians:

Marion Brown - Alto & Soprano Saxophones, Clarinet, Percussion

Leo Smith - Brasses, Strings, Percussion

Bill Hassan - Narration (#2), Percussion

James Jefferson - Bass, Cello (#2), Percussion

Steve McCall - Drums, Miscellaneous Percussion

A. Kobena Adzenyah - Drums [Southeastern Ghana]: Soge, Kidi, Kaganu, Axatse,

Gankogui, Toke; Drums [Akan people, Ghana]: Apentemba,

Apenten, Dawure, Nnawunta, Donne, Gyilla, Balaphone [Lobi people, Northern Ghana]

William Malone - Thumb Piano, Autoharp, Axatse

Jumma Santos - Conga Drums, Miscellaneous Instruments

Tracks:

1. Once Upon A Time {Marion Brown} (6:27)

2. Karintha {Marion Brown, Jean Toomer} (9:25)

3. Buttermilk Bottom {Marion Brown} (6:42)

4. Introduction {Marion Brown} (1:18)

5. Tokalokaloka, Part One {Marion Brown} (6:59)

6. Tokalokaloka, Part Two {Marion Brown} (8:39)

7. Tokalokaloka, Part Three {Marion Brown} (1:45)

8. Ending {Leo Smith} (1:20)

Credits:

Producer - Ed Michel

Recording Engineer - Berred Ouelette

Assistant Engineer - Dominic Lumetta, Gilmar Fortis, Kathryn King, Nat Seligman

Mixing Engineer - Rick Heenan (The Village Recorder)

Photography - Donald M. Shaw

Liner Notes - J.B. Figi

Liner Notes [Poem] - Eric D. Jackson

Total Time: 40:35

Marion Brown - Sweet Earth Flying (1974)

The second installment of his "Georgia" trilogy, Sweet Earth Flying is arguably Marion Brown's finest work and certainly one of the underappreciated treasures of '70s jazz. Again, the words and ideas of poet Jean Toomer underlie Brown's conception (hence the album's title), though this time (unlike the appearance of Karintha on Geechee Recollections) none of Toomer's actually poetry is utilized. Instead, he calls into service the remarkable keyboard paring of Muhal Richard Abrams and Paul Bley, an inspiration that pays off in spades. The two pianists alternate acoustic and electric keyboards, bringing a slight tinge of the propulsiveness of Miles Davis' late-'60s bands, but with a grace, soul, and sense of freedom rarely achieved by Corea and Jarrett. In fact, Abrams' feature on Part Five of the title suite is one of the single most beautiful and cogent statements he ever created. Brown's sound on both soprano and alto has a unique quality; he tends to sound tentative and innocently hesitant when first entering, only to gather strength as he goes, reaching utter conviction along the way. Special mention must be made of vocalist Bill Hasson. He's featured on only one piece, but his deep-voiced recitation in a language of his own construction (drawing from West Africa, Brazil, the Caribbean, and North American down-home English) is a very special treat indeed. Very highly recommended to open-eared jazz fans of all tastes. ~ Brian Olewnick, AMG.

Impulse! Records, AS-9275, 1974

Recorded 6th & 7th May, 1974 At Intermedia Recording, Boston, Massachusetts

Personnel:

Side One:

Marion Brown - Alto Saxophone

Paul Bley - Fender Rhodes (#1,2)

Muhal Richard Abrams - Fender Rhodes (#3), Piano (#4), Organ (#2)

James Jefferson - Bass, Electric Bass [Fender]

Steve McCall - Drums, Percussion

Bill Hasson - Percussion, Narration

Recorded 7th May, 1974 At Intermedia Recording, Boston, Massachusetts

1. Sweet Earth Flying, Pt. 1 (3:40)

2. Sweet Earth Flying, Pt. 3 (5:58)

3. Sweet Earth Flying, Pt. 4: Prince Willie (5:57)

4. Sweet Earth Flying, Pt. 5 (4:58)

Note:

Sweet Earth Flying, Part 2 - Unissued

Side Two:

Marion Brown - Soprano Saxophone

Paul Bley - Piano (#5,7,8), Fender Rhodes (#6,7), Organ (#5)

Muhal Richard Abrahms - Fender Rhodes (#5,8), Organ (#6,7)

James Jefferson - Bass, Electric Bass

Steve McCall - Drums

Bill Hasson - Percussion

Recorded 6th May, 1974 At Intermedia Recording, Boston, Massachusetts

5. Eleven Light City, Pt. 1 (7:17)

6. Eleven Light City, Pt. 2 (2:10)

7. Eleven Light City, Pt. 3 (5:52)

8. Eleven Light City, Pt. 4 (3:02)

Credits:

Producer - Ed Michel

Recording Engineer - Beered Ouellette

Mixing Engineer - Baker Bigsby, Gil Fortis (The Village Recorder)

Album Design - Tim Bryant

Photography [Cover] - Michael W. Anderson

Photography [Liner] - Gail Brown

Liner Notes - Acklyn R. Lynch

Total Time: 38:58

Marion Brown - Three For Shepp (1966)

An unbelievable recording! As Archie Shepp made his first album for Impulse a tribute to Coltrane, Marion Brown made his a tribute to Shepp - a wonderful lineage of avant talent in the 60s, stated boldly here, given Brown's amazing talent on the record! The album's filled with hard, soulful playing that goes out, but never too far - like Shepp in his best sixties moments - and Brown's working with a great lineup of players that includes Grachan Moncur on trombone, Beaver Harris on drums, and Stanley Cowell on piano! The tunes include three Marion Brown originals on side one, plus three tracks by Shepp on side two. "Spooks" alone will leave you loving this album for years to come – and other tracks include "West India", "Delicado", "New Blue", and "Fortunato". A brilliant blend of 60s "new thing" playing and 70s underground jazz!  © Dusty Groove, Inc.

Impulse! Records, AS-9139, 1967

Universal Music, IMPD-269, 1998

Recorded 1^st December, 1966 At Van Gelder Studio, Englewood Cliffs, NJ

Musicians:

Marion Brown - Alto Saxophone

Grachan Moncur III - Trombone

Dave Burrell - Piano (#1-3)

Stanley Cowell - Piano (#4-6)

Sirone - Bass

Beaver Harris - Drums (#1-3)

Bobby Capp - Drums (#4-6)

Tracks:

1. New Blue {Marion Brown} (5:12)

2. Fortunato {Marion Brown} (8:55)

3. The Shadow Knows {Marion Brown} (3:05)

4. Spooks {Archie Shepp} (4:33)

5. West India {Archie Shepp} (6:25)

6. Delicado {Archie Shepp} (6:39)

Credits:

Producer [Original] - Bob Thiele

Reissue Producer - Michael Cuscuna

Engineer - Rudy van Gelder

Remastering - Erick Labson (MCA Studios)

Photography - Chuck Stewart

Art Direction - Hollis A. King

Graphic Design - Isabelle Wong

Liner Notes - Frank Kofsky

Total Time: 34:49

Don Byas - Midnight At Minton's (1941)

Tenor saxophone legend Don Byas is heard with great clarity on this, a relative jam session, as is vocalist Helen Humes (the first two cuts) and ostensible leader/trumpeter Joe Guy, whose high energy solos are very good in spots. Less audible in the mix are pianist Thelonious Monk and drummer Kenny Clarke, working in this band while bebop was fermenting. These two would lead the bop charge later in the '40s at Minton's Playhouse, the bebop concubine/jazz club in N.Y.C. The music is pretty much swing material, with Humes tossing in a ballad ("Stardust") and a bluesy number ("Exactly Like You") while the instrumental "Indiana" is all fired up, and they typically chill down "Body & Soul." Present on the dates is an unidentified tenor saxophonist and trumpeter tossing in his/her less than two-cents worth solos. Even annotator Dan Morgenstern, with his detailed and informative liner notes, can't ID the pair. The star is clearly Byas. His well-rounded tenor inflections and characteristic quarter-to-eight note slurve is on throughout the performance. He can be at once warm, witty, smooth, precise, and consistently wonderful. He's one of the first original jazz voices on his horn and emphatic to boot on these tunes. These are true club date "field recordings," from the then Columbia University student Jerry Newman's portable unit, replete with crowd noise in the background (one can hear Humes rebuffing a heckler/admirer) annoying kicking of the stage area, and a brief drop out or distortion. Total time is barely 39 minutes. But the overall sound quality is quite acceptable, at most times remarkable. The music itself is priceless, the document of a transitional period from swing to bop, and some of the people that made it happen, especially the underappreciated genius Byas. ~ by Michael G. Nastos, AMG.

HighNote Records, HCD 7044, 1999

Recorded March, 1941 At Minton's, New York

Musicians:

Don Byas - Tenor Saxophone

Helen Humes - Vocals (#1,2)

Joe Guy - Trumpet

Thelonious Monk - Piano (#1,2)

Kenny Clarke - Drums (#5,6)

On other selections unknown Bass and Drums

Tracks:

1. Stardust {Hoagy Carmichael, Mitchell Parish} (9:09)

2. Exactly Like You {Dorothy Fields, Jimmy McHugh} (9:06)

3. Uptown {Don Byas} (2:48)

4. Body And Soul {Edward Heyman, Robert Sour, Frank Eyton, Johnny Green} (7:34)

5. I Can't Give You Anything But Love {Dorothy Fields, Jimmy McHugh} (4:11)

6. [Back Home Again In] Indiana {James F. Hanley, Ballard MacDonald} (6:31)

Credits:

Producer - Jerry Newman, Don Schlitten

Reissue Producer - Joe Fields

Recordings [Original] - Jerry Newman

Remastering [CD] - Malcolm Addey

Repackaging, Design & Digital Imaging - Hal Wilson

Cover Photo - Frank Driggs Collection

Photos [Inside & Tray] - Bob Parent

Note:

Originally released on Onyx Records (1973)

Total Time: 39:19

Sam Newsome - The Tender Side Of Sammy Straighthorn (2000)

Picking up the soprano saxophone these days as your sole instrument can be a dangerous proposition. For one thing, the straight clarinet-like horn is notorious for going out of tune if your embouchure is not up to par. Secondly, a whole generation of Kenny G clones has left some fans thinking that the instrument is only capable of insipid and saccharine results. Venerable enough to make the soprano the focus of an entire album, Sam Newsome's The Tender Side of Sammy Straighthorn is only the second album to appear under the saxophonist's name since the start of his New York tenure in 1988. With a fondness for the soprano stylings of both Wayne Shorter and Steve Lacy, Newsome's influences can be detected in 'Victoria's Secret,' which features the saxophonist's hard biting attack in a manner that recalls Shorter's '80s work on such albums as Atlantis. Not a one-trick pony however, Newsome's fluid approach to '12 Bars From Hell' (done with just bass and drums) clearly points to Lacy.

The addition of Elisabeth Kontomanou on several cuts provides further variety, her wordless vocals acting like another solo horn. The melancholy feeling to much of the writing that features Kontomanou hints at the influence of Kenny Wheeler, who often utilizes the voice of Norma Winstone in a similar manner. Pianist Bruce Barth is also a valuable member of the crew, his complex and soulful improvisations almost stealing the show at times.

As a vehicle for allowing the soprano to restore its rightful place among the rest of the saxophone family, Newsome should be congratulated on his efforts. Furthermore, his attempt to extend the hard bop tradition beyond the established boundaries has resulted an intriguing album that will reward those looking for something just a bit left of center. ~ by C Andrew Hovan, AAJ.

SteepleChase Records, SCCD 31452, 2000

Recorded April, 1998

Musicians:

Sam Newsome - Soprano Saxophone

Bruce Barth - Piano

Ugonna Okegwo - Bass

Matt Wilson - Drums

Elisabeth Kontomanou - Vocals

Tracks:

1. Victoria's Secret {Sam Newsome} (7:46)

2. The Tender Side Of Sammy Straighthorn {Sam Newsome} (7:37)

3. Autumn Leaves {Joseph Kosma, Jacques Prévert, Johnny Mercer} (6:46)

4. 12 Bars From Hell {Sam Newsome} (6:46)

5. Lullaby Of Takeda {Traditional} (9:34)

6. The Dumpess Of Nyack {Sam Newsome} (8:10)

7. All The Things You Are {Jerome Kern} (15:45)

Credits:

Producer - Nils Winther

Engineer - Devin Emke

Photography - Fernando Natalichi

Liner Notes - Mark Gardner

Total Time: 62:24

Alex Sipiagin - Images (1998)

This CD finds Alex Sipiagin in his first recorded role as leader. He is in great company with many other fine musicians that include Chris Potter, David Binney, Adam Rogers and Jeff Hirshfield to name a few of the outstanding crew on this TCB release. Essentially, he has come a long way since this earlier date clearly shown by his now broadening and extensive discography. It is an interesting collection of tunes which include two of his own and one from his Russian origins. The album starts off with a tried and test piece by Milton Nascimento followed by one penned by David Binney and wraps up with a contemporary composition by Pat Metheny. Overall his tone is sweet and clearly showcases his ability to handle a broad range of styles. Of course, he would go on to express further virtuosity across his 10 Criss Cross Jazz albums. Personally, for me this album rates well against his latter day works. Enjoy!

TCB Records, 98602, 1998

Recorded & Mixed in May, 1996 At Interlude Studio, New York

Musicians:

Alex Sipiagin - Trumpet, Flute

Joshua Roseman - Trombone

David Binney - Alto Saxophone

Chris Potter - Tenor Saxophone

Gil Goldstein - Piano, Accordion

Adam Rogers - Guitar

Scott Colley - Bass

Jeff Hirshfield - Drums

Kenny Wollesen - Percussion

Tracks:

1. Tarde {Milton Nascimento} (8:04)

2. Freaker {David Binney} (7:44)

3. Little Dancer {Alex Sipiagin} (11:58)

4. Song - 1 {Alex Sipiagin} (3:26)

5. Novgorod Bells {Russian Folksong, Arr. Alex Sipiagin} (12:34)

6. Midwestern Night Dream {Pat Metheny} (7:16)

Credits:

Producer, Arranger - Alex Sipiagin

Executive-Producer - Peter Schmidlin

Recording & Mixing Engineer - Keith Senior

Mastering Engineer - Antoine Ogay, Grens (Premastering)

Graphic Artwork - Gigi Schmid-Huetiger

Photography [Cover] - Valeria Iozas

Photography [Inside] - Anatoly Artomonov

Liner Notes - Mike Zwerin

Total Time: 51:02

Eddie Higgins Trio - Soulero (1965)

Pianist Eddie Higgins' third album as a leader (following an obscurity for Replica and a Vee Jay LP) features his regular Chicago-based trio of the era, a group with bassist Richard Evans and drummer Marshall Thompson. A mainstream pianist with an open ear toward more modern harmonies, Higgins explores such numbers as his "Tango Africaine," "Django," "Beautiful Dreamer," and "Makin' Whoopee" with equal sensitivity and plenty of swing. This worthy LP, unfortunately, will be difficult to find. ~ Scott Yanow, All Music Guide.

Atlantic Records, SD 1446, 1965, US

Atlantic Records, WPCR-27032, 2012, Japan

Recorded 25^th August, 1965 At Universal Recording Corp., Chicago, Illinois

Musicians:

Eddie Higgins - Piano

Richard Evans - Double Bass

Marshall Thompson - Drums

Tracks:

1. Tango Africaine {Eddie Higgins} (4:58)

2. Love Letters {Victor Young} (4:46)

3. Shelley's World {Bill Traut} (3:55)

4. Soulero {Richard Evans} (5:13)

5. Mr. Evans {Richard Evans} (3:18)

6. Django {John Lewis} (5:34)

7. Beautiful Dreamer {Traditional, Arr. Eddie Higgins} (4:41)

8. Makin' Whoopee {Walter Donaldson, Gus Kahn} (7:11)

Credits:

Supervisor - Bill Traut, George Bodansky

Arranger - Richard Evans

Recording Engineer - Murray R. Allen

Mastering Engineer - Jerry DeClercq

Cover Photo - Don Bronstein

Cover Design - Haig Adishian

Liner Notes - Sid McCoy

Total Time: 39:36

Jacky Terrasson - Reach (1995)

The talented young pianist Jacky Terrasson and his trio (with bassist Ugonna Okegwo and drummer Leon Parker) find something new to say on a few standards (including a rare up-tempo version of "For Sentimental Reasons") and introduce five of Terrasson's originals. Although he has does not have an original style yet, Terrasson displays a great deal of potential for the future. Highlights include "I Should Care," "Just One of Those Things," and a medley of his "Reach" with "Smoke Gets in Your Eyes." ~ by Scott Yanow, AMG.

Blue Note, CDP 7243 8 35739 2 9, 1996

Musicians:

Jacky Terrasson - Piano

Ugonna Okegwo - Bass

Leon Parker - Drums

Tracks:

1. I Should Care {Sammy Cahn, Axel Stordahl, Paul Weston} (5:37)

2. The Rat Race {Jacky Terrasson} (3:25)

3. Baby Plum Jacky Terrasson} (5:25)

4. [I Love You] For Sentimental Reasons {William Best, Deek Watson} (6:00)

5. Reach {Jacky Terrasson} / Smoke Gets In Your Eyes {Jerome Kern} (9:05)

6. Happy Man {Jacky Terrasson} (8:51)

7. First Affair {Jacky Terrasson} (6:14)

8. Just One Of Those Things {Cole Porter} (4:25)

Credits:

Producer, Liner Notes - Jacky Terrasson

Executive Producer - Steven Schenfeld

Engineer, Mastering, Liner Notes - Mark Levinson

Photography - Jimmy Katz (Giant Steps)

Design - Patrick Roques

Art Direction - Darcy Cloutier-Fernald

Total Time: 51:02

Mal Waldron - Jazz A Confronto (1972) [vinyl>flac]

The way Waldron chose for his music is that of simplicity and economy. His compositions are made up of very few phrases, single elements he composes, overlaps and slips one over the other, ruling this intricate game of iterations and transformations with geometrical rationality, which you can most easily perceive in the piano playing behaviour of his left hand.

Tew Nune and Breakin’ Through are for me two good examples of a performing style which is so influenced by musical thought, and they can easily be compared to musicians such as Bud Powell, or even remind you of Ravel, Terry Riley, Steve Reich. But if Waldron shares with them the importance he gives to planning, his way of breaking chords into melody is very peculiar, and so is the structure of his short phrases, which contain quantitatively homomorphic, but still homologous elements. Excerpts taken from the Liner Notes by Giampiero Cane.

HORO Records, HLL 101-19, 1975

Recorded 1^st April, 1972 At "Titania Studios" in Rome, Italy

Mal Waldron - Piano [Solo]

Tracks:

A1. Tew Nune {Mal Waldron} (4:31)

A2. Picchy's Waltz {Mal Waldron} (7:19)

A3. Breakin' Through {Mal Waldron} (6:45)

B1. Canto Ritrovato {Giorgo Gaslini} (5:20)

B2. Lullaby {Mal Waldron} (4:10)

B3. Appia Antica {Mal Waldron} (9:11)

Credits:

Producer - Aldo Sinesio

Assistant Producer - Robert Gambuti

Engineer - Massimo di Cicco

Cover Design - Piero Gratton

Photograph - Pepito Pignatelli

Liner Notes - Giampiero Cane

Translation - Cristina Piancastelli

Nat Adderley - Calling Out Loud (1969) [re-rip]

A pretty great little album from Nat - recorded with arrangements by Bill Fischer, who gives the record a tightly compressed big band sound that's perfect for Nat's sharp funky horn! The album's not exactly "funk", but there's plenty of it in the mix - as lead horn grooves around nicely, while Joe Zawinul plays electric piano, and Leo Morris (aka Idris Muhammad) plays drums. Titles include "Biafra", "Haifa", "St M", "Grey Moss", and "Calling Out Loud". © Dusty Groove, Inc.

For this album Adderley composes the majority of the tunes and sets about laying down some impeccably beautiful solos on his chosen instrument the cornet. In addition, he surrounds himself with some of the usual session men of the time such as Ron Carter, Leo Morris, Joe Zawinul, Jerome Richardson and Hubert Laws. The interplay of the Idris & Ron and Nat & Joe pairings takes this album to some special places as it hits some real highs, with Nat's cornet leading the way. Zawinul sets up some nice solos on both Biafra and the following tune Haifa. Carter gets into stride with a loud bass line in parts of Grey Moss. The highlight is the swinging Soul-Jazz of Comin' Out The Shadows with some good soloing. The title track is a touch slower but showcases Zawinul’s biting tones on his electric piano. Of merit are the compositions written and arranged by Bill Fischer; St. M, Nobody Knows and shared with Nat Calling Out Loud. Nat’s playing on Nobody Knows is just perfect. Of equal value are Joe Zawinul’s two tunes; Grey Moss & Ivan's Holiday.

The real issue in preparing this rip is that it is assembled as a suite with a series of transitional mini-movements joining the tunes together. With my first post I carefully spliced the two sides into individual tracks that I believe worked. However, when revisiting this gem I decided to leave well alone and upload just as Side A and Side B, Enjoy!

A&M/CTI Records (Japan), C25Y3819, 1986

Recorded 19th, 21st November & 4th December, 1968

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Nat Adderley - Cornet

Joe Zawinul - Electric Piano

Hubert Laws - Flute, Piccolo Flute

Jerome Richardson - Saxophone

Seldon Powell - Saxophone

George Marge - Clarinet, English Horn, Saxophone (#A1)

Paul Ingraham - French Horn

Donald MacCourt - Bassoon

Romeo Penque - Bass Clarinet

Danny Bank - Saxophone (#A1)

Jerry Dodgion - Saxophone (#A1)

Richard Henderson - Saxophone (#A1)

Ron Carter - Bass

Leo Morris - Drums

Tracklist:

Side A: [18:46]

1. Biafra {Nat Adderley} (6:34)

2. Haifa {Nat Adderley} (4:59)

3. St. M {W. S. Fischer} (3:54)

4. Grey Moss {Joe Zawinul} (3:27)

Side B: [17:32]

1. Nobody Knows {W. S. Fischer} (6:11)

2. Comin' Out The Shadows {Nat Adderley} (4:58)

3. Ivan's Holiday {Joe Zawinul} (3:11)

4. Calling Out Loud {Nat Adderley, W. S. Fischer} (3:17)

Credits:

Producer - Creed Taylor

Engineer - Rudy van Gelder

Arranger & Conductor - Bill Fischer

Cover Photo - Pete Turner

Cover Design - Sam Antupit

Note:

Original rip is still active, check link in comments.

Ricky Ford - American-African Blues (1991)

Ricky Ford means business on this pulsating album, originally released in 1991, his first passionate, bursting solo draws its inspirational roots all the way from Hawkins to Coltrane via Al Sears and Roland Kirk. On this and the other six Ford originals in this set, Ricky organized the tune structures to allow for the insertion of free improvised passages for himself and the other players. Throughout the date Ricky's fellow musicians - Jaki Byard (piano), Milt Hinton (bass), Ben Riley (drums) - are able to indulge in classic interplay, to be free yet to function as a whole. ~ wowhd.co.uk.

Always enjoyed Ricky Ford. Stumbled on this live album of his on Spotify. Great rhythm section really pushes Ricky along. He played music that may have been more in vogue in the '50s and '60s, but he played it well. Good example of a live "late hard bop" tenor quartet recording. ~ Tom Spitzer, AMG.

Candid Records, CCD79528, 1993

Recorded 16^th September, 1991 Live At Birdland, New York City

Musicians:

Ricky Ford - Tenor Saxophone

Jaki Byard - Piano

Milt Hinton - Bass

Ben Riley - Drums

Tracks:

1. American-African Blue [1st Version] (10:47)

2. Environ (7:06)

3. Of (8:23)

4. Complex Harmony (6:48)

5. Descent (8:41)

6. Mostly Arco (5:52)

7. Encore (8:46)

8. American-African Blues [2nd Version] (7:10)

All Compositions by Ricky Ford

Credits:

Producer - Mark Morganelli

Executive Producer - Alan Bates

Engineer - Malcolm Addey

Editing - Bob Auger

Design - Malcolm Walker

Photography - Jimmy Katz

Liner Notes - Ricky Ford, Gerry Attrick

Jimmy Ponder - What's New (2005)

Guitarist Jimmy Ponder's trio date is very much in the style of the classic mid- to late-'60s soul-jazz sessions. His double-time version of "God Bless the Child" is a bit reminiscent of Richard "Groove" Holmes' hit version of "Misty," and the other standards are all interpreted with swing and soul. Ponder has an appealing sound that blends in well with organist Gene Ludwig and drummer Cecil Brooks III and results in accessible ensembles. Although few surprises occur, none are really needed, for this style of music always pleases organ fans and lovers of swinging soul-jazz. ~ by Scott Yanow, AMG.

HighNote Records, HCD 7100, 2005

Recorded 5^th August, 2002 At Anything Audio Multimedia, Pittsburgh, Pennsylvania

Musicians:

Jimmy Ponder - Guitar

Gene Ludwig - Organ

Cecil Brooks III - Drums

Tracks:

1. TNT {AC/DC} (4:39)

2. Polka Dots And Moonbeams {Jimmy Van Heusen, Johnny Burke} (7:17)

3. God Bless The Child {Billie Holiday, Arthur Herzog, Jr.} (7:57)

4. Besamé Mucho {Consuelo Velázquez} (7:15)

5. Please Give Me Someone To Love {Percy Mayfield} (7:38)

6. What's New {Bob Haggart, Johnny Burke} (9:28)

7. That's All {Alan Brandt, Bob Haymes} (9:21)

Credits:

Producer - Cecil Brooks III

Executive Producer - Joe Fields

Engineer - Dino DiStefano

Photography, Design - Keiji Obata, Littlefield & Co.

Portrait - Kaufmanns Studio

Liner Notes - Larry Hollis

Michael Cochrane Quintet - Elements (1986) [vinyl]

Michael Cochrane (born September 4, 1948 in Peekskill, New York) is an American jazz pianist. This album is Cochrane's first of two recorded as a leader, and released on the Italian Soul Note label in 1986; the follow-up being "Song Of Change" in 1993. Essentially in recent years Cochrane has recorded extensively for SteepleChase Records and needs no introduction as a preeminent pianist. As a sideman, he has recorded with Marvin Peterson, Oliver Lake, Sonny Fortune and Jack Walrath. On this LP he is joined by trumpeter Tom Harrell, saxophonist and flautist Bob Malach, bassist Dennis Irwin and drummer James Madison. All tunes are penned by Michael and showcase a broad range of styles ranging from bop, hard bop through to post-bop. The group as a whole show great prowess and there are many opportunities for individual players to display their talents. The tracks are dotted with a number of brilliant solos. Inherently Cochrane is the anchor and clearly drives the group in manner that truly expresses his skills as a composer. A truly entertaining LP from start to finish, something that most listeners would wish never to end. Even though, it was released briefly on CD in 1993 the music has been ripped from the original vinyl resulting in a DR of 16. Artwork has been amassed from both releases, especially the liner notes from CD for clarity, enjoy!

Soul Note, SN 1151, 1986

Recorded 23^rd & 24^th September, 1985 At Titanic Sound Studios, New York

Musicians:

Michael Cochrane - Piano

Tom Harrell - Trumpet, Flugelhorn

Bob Malach - Tenor Saxophone, Flute

Dennis Irwin - Bass

James Madison - Drums

Tracks:

A1. Reunion {Michael Cochrane} (6:05)

A2. Tone Row Piece No. 2 {Michael Cochrane} (7:15)

A3. Bossa For Quintet {Michael Cochrane} (7:24)

B1. Elements {Michael Cochrane} (6:58)

B2. Song From Within {Michael Cochrane} (7:02)

B3. Proof Of The Pudding {Michael Cochrane} (2:57)

B4. Waltz No. 1 {Michael Cochrane} (6:29)

Credits:

Producer - Giovanni Bonandrini

Recording Engineer - Guillermo Mager

Mastering Engineer - Gennaro Carone (PhonoComp, Milano)

Design [Cover] - Michael Cochrane

Photography - Gene Bagnato

Liner Notes - Art Lange

This album is dedicated to the loving memory of my late mother, Mrs. Mildred Cochrane 1920-1986

Emily Remler - East To Wes (1988)

The late guitarist's last CD to be released before her premature death is her finest effort. Emily Remler's fluid technique brightens such seldom-heard numbers as Clifford Brown's "Daahoud" and her simplified arrangement of Claude Thornhill's lovely "Snowfall," as well as more relaxed tunes like "Sweet Georgia Fame." The polished rhythm section includes the masterful pianist Hank Jones, bassist Buster Williams, and drummer Marvin "Smitty" Smith. Highly recommended. ~  by Ken Dryden, AMG.

Concord Jazz, CCD-4356, 1990

Recorded May, 1988 At Penny Lane Studios, New York City

Musicians:

Emily Remler - Guitar

Hank Jones - Piano

Buster Williams - Bass

Marvin "Smithy" Smith - Drums

Tracks:

1. Daahoud {Clifford Brown} (5:20)

2. Snowfall {Claude Thornhill} (6:39)

3. Hot House {Tadd Dameron} (5:45)

4. Sweet Georgie Fame {Blossom Dearie, Sandra Harris} (5:38)

5. Ballad For A Music Box {Emily Remler} (7:25)

6. Blues For Herb {Emily Remler} (6:26)

7. Softly As In A Morning Sunrise {Oscar Hammerstein II, Sigmund Romberg} (8:14)

8. East To Wes {Emily Remler} (6:13)

Credits:

Producer - Carl E. Jefferson

Recording Engineer - Ed Trabanco

Remixing Engineer - Phil Edwards

Mastering Engineer - George Horn

Art Direction - Kent Judkins

Photography - Hershy Worch

Liner Notes - Nat Hentoff

Emily Remler - Catwalk (1985)

Guitarist Emily Remler's fourth and Concord recording makes one regret even more her premature death at age 32. While her earlier dates were very much in the bop mainstream, this one (in a quartet with trumpeter John D'Earth, bassist Eddie Gomez and drummer Bob Moses) finds her looking ahead and partly finding her own voice on her seven diverse originals. Although she never became an innovator, Remler certainly had a lot to offer the jazz world and this fairly adventurous effort was one of the finest recordings of her short career. ~ by Scott Yanow, AMG.

Concord Jazz, CCD-4265, 1985

Recorded August, 1984 At Coast Recorders, San Francisco, California

Musicians:

Emily Remler - Guitar

John D'Earth - Trumpet

Eddie Gomez - Bass

Bob Moses - Percussion

Tracks:

1. Mocha Spice {Emily Remler} (4:30)

2. Catwalk {Emily Remler} (7:24)

3. Gwendolyn {Emily Remler} (4:40)

4. Antonio {Emily Remler} (4:29)

5. Pedals {Emily Remler} (6:58)

6. Five Years {Emily Remler} (5:53)

7. Mozambique {Emily Remler} (7:45)

Credits:

Producer - Carl E. Jefferson

Recording & Remixing Engineer - Phil Edwards

Mastering Engineer - George Horn

Photography - Veryl Oakland

Art Direction - Tom Burgess

Liner Notes - Nat Hentoff

Emily Remler - Why, oh why did the good Lord take this wonderfully talented young lady from us at such a young age. She was only 32 when she died. Remler didn't get to make many recordings in her all too brief life and this is one of her finest. John D'Earth's trumpet perfectly complements Remler's full bodied guitar sound and the rhythm section of Eddie Gomez and overlooked Bob Moses keep things moving along quite nicely. Well, if some of what I've read is true, I hardly think it was the good Lord who was sticking that needle in her arm. Although not credited as the cause of her death surely it didn't help. Remler had herself one hell of a heroin addiction and that drug usage was the direct cause of the heart attack that took her life. So, I guess the Good Lord didn't have much to do with it other than not answering her prayers. ~ Stereophile.com.