Red Holloway - The Burner (1963)

This is first of four albums that Red Holloway recorded for Prestige during 1963-65. On this LP Holloway is heard in fine form as a powerful bluesy tenor sax soloist. He is notably joined by trumpeters Paul Serrano & Hobart Dotson, guitarist Eric Gale, hammond organist John Patton, bassist Leonard Gaskin and drummer Herbie Lovelle. The majority of the tunes are written by Holloway with exception of "Crib Theme" and "Moonlight In Vermont". The compositions are played in a very compelling mode of soul-jazz verging on bop with some exceptional solos by many of these gifted players. As his first on Prestige this in many ways is his best and not to be missed.

Prestige Records, PRST 7299, 1963

Recorded 27^th August (#B3) and 10^th October (#A1-B2), 1963 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

#A1-B2

Red Holloway - Tenor Saxophone

Paul Serrano - Trumpet

John Patton - Organ

Eric Gale - Guitar

Leonard Gaskin - Bass

Herbie Lovelle - Drums

#B3 Only

Red Holloway - Tenor Saxophone

Hobart Dotson - Trumpet

George Butchka [aka John Patton] - Organ

Bobby Durham - Guitar

Thomas Palmer - Bass

Charles Lindsey - Drums

Track Listing:

A1. Monkey Sho Can Talk {Red Holloway} (3:37)

A2. Brethren {Red Holloway} (5:06)

A3. Crib Theme {Ozzie Cadena} (10:12)

B1. The Burner {Red Holloway} (10:36)

B2. Miss Judie Mae {Red Holloway} (3:13)

B3. Moonlight In Vermont {John Blackburn, Karl Suessdorf} (6:00)

Credits:

Supervision - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Francis Squibb (Nov. 1963)

Gene Ammons - Bad! Bossa Nova (1962) [re-rip]

Bad! Bossa Nova is right – as Gene Ammons really hits a great groove here – one that's not exactly bossa, but which has lots of Latin and tropical touches! The session makes great use of 2 guitars at the same time – using that of Kenny Burrell for soulful rhythm, but also adding in Bucky Pizzarelli for some nice acoustic embellishments – in a mode that's similar to the soul jazz-com-bossa style used on records like Ike Quebec's Soul Samba or Charlie Rouse's Bossa Nova Bacchanal. The overall rhythms are a bit more complicated, and a bit more soul jazz based than those sets – with Hank Jones on piano, Oliver Jackson on percussion, and Al Hayes adding in some sweet extra bongo! Titles include the classic "Ca'Purange" – plus "Anna", "Yellow Bird", "Cae Cae", and "Moito Mato Grosso".  © Dusty Groove, Inc.

Prestige Records, PR 7257, 1962

Recorded 9^th September, 1962 At Van Gelder Studio, Englewood Cliffs, NJ

Musicians:

Gene Ammons - Tenor Saxophone

Hank Jones - Piano

Kenny Burrell - Rhythm Guitar

Bucky Pizzarelli - Spanish Guitar

Norman Edge - Bass

Oliver Jackson - Drums

Al Hayes - Bongos

Tracks:

A1. Pagan Love Song {Nacio Herb Brown, Arthur Freed} (4:46)

A2. Ca'purange [Jungle Soul] {Mussapere} (9:34)

A3. Anna {Roman Vatro, Francesco Giordano, William Engvick} (3:20)

B1. Caé Caé {Roberto Martins, Pedro Berrios, John Latouche} (3:46)

B2. Moito Mato Grosso {Gene Ammons} (7:44)

B3. Yellow Bird {Alan Bergman, Michael Keith, Norman Luboff} (5:07)

Credits:

Producer - Ozzie Cadena

Recording & Mastering Engineer - Rudy van Gelder

Cover Design - Don Schlitten

This was Ammons' final recording before "being made an example of" and getting a lengthy jail sentence for possession of heroin; his next record would be cut over seven years later. The music is surprisingly upbeat, with Ammons joined by two guitars (Bucky Pizzarelli and Kenny Burrell), a fine rhythm section (pianist Hank Jones, bassist Norman Edge, and drummer Oliver Jackson), and the bongos of Al Hayes for a set of Latin-flavored jazz that was masquerading as bossa nova. ~ by Scott Yanow, AMG.

Brother Jack McDuff - Screamin' (1962)

Great 'Duff quartet session circa '62 is anything but laid back. Opens with a great hot blowing session type blues in which the Captain launches out some of the slickest and most funky lines you'll ever hear on a B-3, backed by his trademark heavy swinging Basie'istic Basslines. - - Throughout the tune I'm impressed by the "coherence" and linearity of his lines... sharp as a knife, even as those slick changes blow by. Kenny Burrell is nice 'n bluesy... then Leo Wright, fresh from The Dizzy Gillespie Quintet comes at ya blowing with a virtuosic Charlie Parker bebopistic calibre you don't necessarily associate with the Blue Note sound of that era. Actually, it takes a while to get used. Next comes Soulful Drums, a laid-back Night Train-istic blues which gives Dukes and opportunity to show off and heat things up, followed by a sharp pianistic Shirley Scottish "take me down yonder, and bartender poor me another one while I go slow dance with my lady" type blues. Screamin’, the title track is hard to describe... a gospely up tempo Caribbean boogaloo "It’s Alright" type thing with some excellent work by Joe Dukes. After that, it’s time for a change of pace as Dukes gets out the brushes, Burrell strums light fully, and McDuff "Squabbles" A.K.A. the ol' time Leslie on fast 800008888 sound of Errol and Jimmy Smith... Duff is tasty and soulful on this one, and hits some nice changes. - - and the final cut of the night is One O'Clock Jump, a fine 12 bar blues wrap up to a great screamin' session by the late Brother Jack's true idol, the original Captain... or should I say "Count", Mr. Basie himself. I love Brother Jack's comping and immaculate bass lines behind Kenny Burrell's slick soloing... and again, the Bird-istic Leo Wright has a purrrrrty good time on this one too featuring a really cute vamp section that really conjures up the Count! Overall, this is a great, bluesy heavy swinging toe tapping McDuff session well worth digging. By the time the CD is over, you'll think it went all too quick! ~ Eddie Landsberg, Amazon.com.

Prestige Records, PR 7259, 1963

OJC Records, OJCCD-875-2, 1996

Recorded 23^rd October, 1962 at Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Jack McDuff - Organ [Hammond B-3]

Leo Wright - Alto Saxophone

Kenny Burrell - Guitar

Joe Dukes - Drums

Tracks:

A1. He's A Real Gone Guy {Nellie Lutcher} (6:05)

A2. Soulful Drums {Jack McDuff, Joe Dukes} (4:16)

A3. After Hours {Avery Parrish} (4:31)

B1. Screamin´ {Jack McDuff} (7:24)

B2. I Cover The Waterfront {Edward Heyman, Johnny Green} (3:14)

B3. One O'Clock Jump {Count Basie} (5:48)

Total Time: 31:18

Credits:

Producer, Liner Notes - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Remastering - Joe Tarantino, 1996 (Fantasy Studios, Berkeley)

Design, Photo - Don Schlitten

Willis Jackson Quintet - Please Mr. Jackson (1959) [re-rip]

Willis "Gator" Jackson originally made a strong impression as a honking R&B player, first with the Cootie Williams Orchestra, then with his own popular bands. In 1959, starting with this Prestige set, Jackson made his mark on soul-jazz. Teamed with the up-and-coming organist Jack McDuff, guitarist Bill Jennings, bassist Tommy Potter and drummer Alvin Johnson, Gator is heard modifying his style a little (gone are most of the screams) in favor of swinging. He performs four group originals, "Come Back to Sorrento," and "Memories of You" with soulful feeling. ~ by Scott Yanow, AMG.

Prestige Records, PR 7162, 1959

Prestige/OJC Records, OJC-321, 1988

Recorded 25th May, 1959 at Van Gelder Studio in Hackensack, New Jersey

Personnel:

Willis "Gator" Jackson - Tenor Saxophone

Brother Jack McDuff - Organ

"Wild" Bill Jennings - Guitar

Tommy Potter - Bass

Alvin Johnson - Drums

Tracks:

A1. Cool Grits {Bill Jennings, Jack McDuff, Willis Jackson} (8:33)

A2. Come Back To Sorrento {Ernesto De Curtis} (4:30)

A3. Dinky's Mood {Jack McDuff, Willis Jackson} (3:57)

B1. Please Mr. Jackson {Bill Jennings, Jack McDuff, Willis Jackson} (5:45)

B2. 633 Knocks {Bill Doggett, Bill Jennings} (5:20)

B3. Memories Of You {Andy Razaf, Eubie Blake} (6:06)

Total Time: 35:11

Credits:
Supervisor, Cover Photo - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Jack Walker

With a deliberate note of the coolest of funk, MR. WILLIS JACKSON seems determined at the outset of this album to dispense with the gyrating, honking, disrobing, screaming caricature of an earlier - far less mature - Willis. It is, to be sure, an understandable caricature, for Willis Jackson in the past, has been one of the gyratingest, honkingest, screamingest, disrobingest of saxophonists. Indeed, Willis Jackson came along in an era when you had to "cut" Illinois Jacquet to "make it" and Willis Jackson was a determined young man.

The MR. JACKSON here in this album "PLEASE ...” is a far more mature musician and he's out to prove it. The theatrics of his youth - a perhaps necessary window - dressing for his then budding talent - are gone ... The honking and screaming - exciting to a generation gone - have given way to solid sounds. And Willis Jackson, the "Gator" of yesterday emerges as a worthy musician in this era of modern sounds. ~ excerpts by Jack Walker.

Gene Ammons - Boss Tenor (1960)

This relaxed, swinging quintet session from 1960 isn't the landmark that many of the other releases in this series are. But it is among the finest, most rewarding music tenor great Gene Ammons (1925-74) ever made. Boss Tenor - easily confused with Boss Tenors, the 1961 Verve record Ammons cut with Sonny Stitt - is probably included here due to Ammons's enduring and unprecedented affiliation with Prestige. Ammons recorded over 50 albums for the label from 1950, around the time of the label's inception, until Ammons's death in 1974 (interrupted only by seven years in jail between 1962 and 1969). A warm, burnished, consistently recognizable tone always blew through Ammons's horn and the assured, identifiable manner he could scale ballads, blues, bop and r&b was always reliable and appealing. Here, though, he is ideally teamed with the gracefully elegant and innately soulful pianist Tommy Flanagan, Prestige house bassist, Doug Watkins, and house drummer, Art Taylor, and with just the right amount of Latin spice, Ray Barretto's congas. The feel, less loose than many of the 1950s jam sessions that Ammons participated in, seems unusually well considered and as rehearsed as any Blue Note date. Ammons chooses well here too, glossing musically over Bird's "Confirmation," Bill Doggett's "Savoy" and easing lovingly through Rodgers and Hart's "My Romance" (ranking right up there with Ben Webster's classic interpretations). Two "hits" actually emerged from this record, making it one well worth acquiring: Ammon's soulful blues, "Hittin' The Jug," and a swinging rendition of the otherwise corny pop hit "Canadian Sunset." A winner all the way around, and one of the definitive additions to Ammons's huge discography. ~ Douglas Payne, AllAboutJazz.com.

Prestige Records, PRLP 7180, 1960

Concord Music Group, 00025218810227, 2006

Recorded 16^th June, 1960 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Gene Ammons - Tenor Saxophone

Tommy Flanagan - Piano

Doug Watkins - Bass

Art Taylor - Drums

Ray Barretto - Congas

Tracks:

1. Hittin' The Jug {Gene Ammons} (8:28)

2. Close Your Eyes {Bernice Pelkere} (3:44)

3. My Romance {Richard Rodgers, Lorenz Hart} (4:13)

4. Canadian Sunset {Eddie Heywood, Norman Gimbel} (5:25)

5. Blue Ammons {Gene Ammons} (4:58)

6. Confirmation {Charlie Parker} (5:25)

7. Stompin' At The Savoy {Benny Goodman, Chick Webb, Edgar Sampson} (3:32)

Total Time: 35:35

Credits:

Supervision - Esmond Edwards

Reissue Producer - Nick Phillips, Bob Porter

Recording Engineer - Rudy van Gelder

Remastering - Rudy van Gelder, 2005

Reissue Production Assistant - Stuart Kremsky

Cover Photo - Esmond Edwards

Original Liner Notes - Leroi Jones

Reissue Liner Notes - Bob Porter, 2005

Gene Ammons - "JUG" (1961) [re-rip]

Tenor saxophonist Gene Ammons recorded many albums during 1961-1962, a busy period that was brought to an abrupt halt by his arrest for narcotics abuse. Jug finds the great tenor in excellent form, interpreting six standards and two of his originals with the assistance of pianist Richard Wyands, bassist Doug Watkins, drummer J.C. Heard, and the congas of Ray Barretto; Sleepy Anderson replaces Wyands on two songs, one of which he takes on organ. Few surprises occur, but fans will not be disappointed by his soulful and lyrical playing. ~ Scott Yanow, AMG.

JUG was Gene Ammons' nickname. This 1961 session finds tenor saxophonist Ammons doing what he does best-ballads and easy grooves. The lazy pace of the opening "Ol' Man River" belies a subtly propulsive momentum. Conga-drum player Ray Barretto augments the backing trio of piano, bass, and drums. Ammons frequently bolstered his rhythm sections thusly, this wise approach adding a range of embellishing counter-rhythms to the open feel of the music. Ammons wrote two blues for this set, "Seed Shack" and "Miss Lucy." The saxophonist recorded so much music, it's easy to lose sight of the fact that he never faltered in the studio. JUG is an exceptional example of Ammons' early '60s output. ~ Excerpts from CD.Universe.com

Prestige Records, PRLP 7192, 1961

Prestige Records, PR 7192, 1972

Recorded 27^th January, 1961 Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Gene Ammons - Tenor Saxophone

Richard Wyands - Piano (#A1-A3,B1,B2,B4)

Clarence "Sleepy" Anderson - Piano (#A4), Organ (#B3)

Doug Watkins - Bass

J.C. Heard - Drums

Ray Barretto - Conga Drum

Tracks:

A1. Ol' Man River {Oscar Hammerstein II, Jerome Kern} (5:11)

A2. Easy To Love {Cole Porter} 4:16)

A3. Seed Shack {Gene Ammons} (5:40)

A4. Let It Be You {Clarence "Sleepy" Anderson} (3:50)

B1. Exactly Like You {Dorothy Fields, Jimmy McHugh} (6:00)

B2. Miss Lucy {Paul Weston} (3:42)

B3. Namely You {Gene DePaul, Johnny Mercer} (4:47)

B4. Tangerine {Johnny Mercer, Victor Schertzinger} (3:37)

Credits:

Producer, Cover Photo - Esmond Edwards

Recording Engineer - Rudy van Gelder
Design - Don Schlitten

Liner Notes - Joe Goldberg

Note:

J.C. Heard not listed on album cover.

This rip from Re-Issue Stereo LP released in 1972.

Ray Bryant - MCMLXX (1970)

 Despite some commercial tendencies, this 1970 LP (not yet reissued on CD) is better than it looks. Pianist Ray Bryant uplifts such pop material as "Let It Be," "Bridge Over Troubled Waters," "Hey Jude," and "Spinning Wheel." Four selections find Bryant's trio (with electric bassist Chuck Rainey and drummer Jimmy Johnson) augmented by either horns (on "Let It Be") or by strings effectively arranged by Eumir Deodata. The colorful results are not essential but are less dated than one might think. ~ by Scott Yanow, AMG.

Timeless

=======

Long overdue, this is the album that propelled Ray Bryant onto the jazz radio charts for weeks (if not months) in 1971, by virtue of the remarkable interpretation of "Unchained Melody". Considering the popularity of the album, and the airplay, it is puzzling that this album has not been reissued before now (as the album title suggests, original -- and only previous -- release was 1970). Recommended to Ray Bryant fans and to piano jazz lovers equally. ~ Geezosaur, Amazon.com.

Atlantic Records, SD 1564, 1970

Rhino Records, WPCR-27092, 2012

Recorded At Atlantic Recording Studios, New York, NY

Musicians:

Ray Bryant - Piano

Joe Newman - Trumpet (#2)

Garnett Brown - Trombone (#2)

George Dorsey - Alto Saxophone (#2)

Joe Gentle - Tenor Saxophone (#1,3,4)

King Curtis - Tenor Saxophone (#2)

Pepper Adams - Baritone Saxophone (#2)

Leon Cohen - Bass Clarinet (#1,3,4)

Ron Carter - Acoustic Bass (#1,3,4)

Chuck Rainey - Electric Bass

Charles McCracken - Cello (#1,3,4)

Jimmy Johnson - Drums

Emanuel Green, Gene Orloff, Joseph Malignaggi, Julien Barber, Matthew Raimondi,

Noel Dacosta, Paul Gershman, Selwart Clarke, Winston Collymore - Violin (#1,3,4)

Arranger - Arif Mardin (#A2), Eumir Deodato (#1,3,4)

Tracks:

1. Stick With It {Ray Bryant} (5:54)

2. Let It Be {John Lennon, Paul McCartney} (4:02)

3. Bridge Over Troubled Water {Paul Simon, Art Garfunkel} (3:18)

4. Hey Jude {John Lennon, Paul McCartney} (4:53)

5. Shake-A-Lady {Ray Bryant} (2:40)

6. Unchained Melody {Alex North, Hy Zaret} (4:48)

7. My Cherie Amour {Henry Cosby, Sylvia Moy, Stevie Wonder} (4:59)

8. Spinning Wheel {David Clayton-Thomas} (3:39)

Credits:

Producer - Joel Dorn

Recording Engineer - Gene Paul

Recording & Re-Mix Engineer - Lewis Hahn

Photography - Joel Brodsky

Cover, Design - Haig Adishian

Total Time: 34:13

Lee Konitz & Mario Rusca - Where's The Blues? (1997)

Here we have another fine example of Mario Rusca and his trio in action. This time having Lee Konitz at the helm is truly inspirational for both maestros. Lee plays alto throughout except on three tunes; two involve just the Mario Rusca Trio and another a piece for solo piano. The trio consists of a different bassist Lucio Terzano but the same drummer Tony Arco as heard on “Tony Scott with Mario Rusca Trio - The Old Lion Roars” the previous year. Lee’s tone matches perfectly the scintillating chords of Mario’s piano musings. Both artists are clearly in control and virtuosos in their own right. The majority of the selection are jazz standards with Mario contributing two and lee one of his own. Overall, there are no dull spots within this session, if anything this album will continue to entertain jazz lovers for many years to come, enjoy!

Giants Of Jazz, CD 53303, 1997

Recorded 3^rd March, 1997 At Mondial Sound, Milano, Italy

Musicians:

Lee Konitz - Alto Saxophone (#1-3,5-7,10)

Mario Rusca - Piano, Solo (#9)

Lucio Terzano - Bass (#1-8,10)

Tony Arco - Drums (#1-8,10)

Tracks:

01. Where's The Blues? {Mario Rusca} (5:30)

02. Beautiful Love {Haven Gillespie, Victor Young} (5:35)

03. Thingin' {Lee Konitz} (7:39)

04. Summertime {George Gershwin} (4:46)

05. To Lee Or Not To Lee {Mario Rusca} (10:27)

06. On Green Dolphin Street {Bronislaw Kaper, Ned Washington} (6:37)

07. Autumn Leaves {Jacques Prévert, Joseph Kosma} (7:33)

08. Anthropology {Charlie Parker, Dizzy Gillespie} (4:39)

09. Have You Met Miss Jones? {Richard Rodgers, Lorenz Hart} (5:35)

10. I Should Care {Axel Stordahl, Paul Weston, Sammy Cahn} (6:06)

Credits:

Engineer - Walter Biondi

Photography - Boris Vom Scheidt, Luca A. D'Agostino, Renato Renzini

Photography, Graphics - Marco Cambieri

Total Time: 64:27

Tony Scott with Mario Rusca Trio - The Old Lion Roars (1996)

Tony Scott on his 75^th birthday joins up with the Mario Rusca Trio and sets about re-interpreting a number of very familiar jazz standards as well as a couple of his own tunes; one on which he scats. His expertise on the clarinet is phenomenal and as the album titles suggests 'The Old Lion Roars'. There is no denying that having Mario Rusca on piano does not bolster Tony's virtuosity. Of course, all this wouldn't be achievable if it wasn't due the merits of Rosario Bonaccorso on bass and the brilliant driving force of Tony Arco on drums. Included in the selection are two tunes penned by Mario and played with such finesse, Enjoy!

Giants Of Jazz, CD 53301, 1996

Recorded 24^th, 25^th, 26^th June, 1996 At Mondial Sound, Milan, Italy

Musicians:

Tony Scott - Clarinet, Vocals

Mario Rusca - Piano

Rosario Bonaccorso - Bass

Tony Arco - Drums

Tracks:

01. Blues For Bird {Tony Scott} (5:34)

02. We'll Be Together Again {Carl T. Fischer, Frankie Laine} (7:56)

03. Scott Scat {Tony Scott} (5:57)

04. Smoke Gets In Your Eyes {Jerome Kern, Otto Harbach} (6:13)

05. 'Round Midnight {Thelonious Monk} (8:25)

06. Mood Indigo {Duke Ellington, Barney Bigard, Irving Mills} (5:33)

07. Take Five And More {Mario Rusca} (4:31)

08. Solitude {Duke Ellington, Eddie De Lang, Irving Mills} (6:02)

09. Feel {Mario Rusca} (5:29)

10. Bye Bye Blackbird {Ray Henderson, Mort Dixon} (6:32)

Credits:

Recording Engineer - Walter Biondi

Photo - Orange (TR)

Cover Art - Cinzia Scott

Total Time: 62:12

Mario Rusca Quintet - Recreations In Jazz (1976)

A great un-earthed session never previously released by the great Italian pianist Mario Rusca. He is joined by the impressive saxophonist Larry Nocella and a very dynamic Italian rhythm section and percussionist. All tunes are penned and arranged by Mari Rusca and even though the pieces are quite short by today’s standards, they still give the group enough room to develop some very creative and entertaining jazz, enjoy!

Easy Tempo, ET 937 CD, 2001

Recorded in 1976 At Barigozzi Studio, Milano, Italy

Musicians:

Mario Rusca - Piano, Fender Piano

Larry Nocella - Soprano & Tenor Saxophones

Paolo Tomelleri - Fender Bass

Paolo Pelegatti - Drums

Mauricio Chappetta - Percussion

Tracks:

01. Smiling Harry (5:27)

02. Recreations (2:24)

03. Dynamic (2:21)

04. Black Safari (2:41)

05. Free Impulse (2:44)

06. First Intuition (1:35)

07. Joyette (3:15)

08. Astral Bird (2:54)

09. Intimate Waltz (2:51)

10. Bizarre (2:45)

11. High Street (2:28)

12. Well Balanced Jump (2:29)

All Compositions & Arrangements by Mario Rusca

Total Time: 35:54

Gene Harris - Astral Signal (1974)

A well sought out jazz-funk title from blue note. Although most of this album is Gene on his piano, this album brings out Gene's talent with the ARP and Minimoog Synthesizers. One listen to his cover of sly stone's "Don't Call Me Nigger, Whitey" and you'll become a definite believer! Boy, does this cut blaze a trail of hard driving synth funk! The MiniMoog bass line is all over this one, as Gene fills the top off with some squealy ARP Odyssey/Pro soloist overlays. A killer funk ride classic. Then there's "Losalamitoslatinfunklovesong", a buttery smooth, slow grinding funk love jam that will get your juices flowing on the dance floor! The Moog bass kicks up and down, and side to side, while the high synth notes make love to the listeners ear. Great synth playing all around from gene and good background vocals from the session players, too. Also check out the eerie, spacey prelude at the start of the album, it's a sonic statement! ~ fonkay, RYM.

Blue Note, BN-LA313-G, 1974

Blue Note/EMI, TOCJ-50511, 2012

Recorded 13^th August, 1974 At The Village Recorder, Los Angeles, California

Personnel:

Gene Harris - Keyboards, Vocals (#B2), Arranger (#7)

Keg Johnson - Trombone, Background Vocals

George Bohanon - Trombone

Oscar Brashear - Trumpet

Sidney Muldrow - French Horn

Ernie Watts - Reeds

Jerry Peters - Keyboards, Background Vocals

John Rowin - Guitar

David T. Walker - Guitar

Chuck Rainey - Electric Bass

Harvey Mason - Drums, Arranger (#11)

Jim Shifflett - Unknown Instrument

Vocalists:

Annesther

Julia (Tillman) Waters

Luther Waters

Lynn Mack

Maxine (Johnson) Waters

Oren Waters

Trisha Chamberlain

Tracks:

01. Prelude {Gene Harris} (1:41)

02. Summer [The First Time] {Bobby Goldsboro} (3:21)

03. Rebato Summer {Jerry Peters} (0:35)

04. I Remember Summer {Jerry Peters} (2:03)

05. Don't Call Me Nigger, Whitey {Sylvester Stewart} (3:44)

06. Losalamitoslatinfunklovesong {Jerry Peters} (3:10)

07. My Roots {Arr. Gene Harris, J.K. Abernathy} (4:20)

08. Green River {John Fogerty} (3:05)

09. Beginnings {Robert Lamm} (5:54)

10. Feeling You, Feeling Me Too! {Alex Brown, Monk Higgins} (1:59)

11. Higga-Boom {Arr. Harvey Mason, Jerry Peters, Harvey Mason} (6:00)

12. Love Talkin' {Jerry Peters} (4:49)

Credits:

Producer, Recording, Mixing, Mastering Engineer - Jim Shifflett

Producer - Jerry Peters, Keg Johnson

Executive-Producer - George Butler

Recording Engineer - Gilmar Fortis

Mastering Engineer - Bill Lazerus

Production Assistance - Harvey Mason, John Rowin, Charlotte Politte

Art Direction, Cover Illustration - Bob Cato

Photography - Kenny Dorr

This album is a magical balance between psychedelic laid back california inspired acid jazz sounds scapes and the greasy soul of a mid-century (last century) juke joint. A pastiche of professional music with heart and creativity. No other album on blue note or by Harris sounds like this. A fine artistic statement by Harris who seemed to be at his peak in the mid-70s. ~ freqazoidiac, RYM.

Total Time: 40:41

Kevin Hays Trio - North (2016)

The New Day Trio is Kevin Hays on acoustic piano, Rob Jost on bass and Greg Joseph on drums. North is their follow-up to last year’s New Day, but Hays lays off the vocals this time around and keeps guest artists at bay. It’s thus the first purely instrumental expression of this still-new lineup, and the project on which they find their footing.

Hays has been making records using various configurations for over two decades, but the trio format works especially well for him. He displays an intrepid spirit and a strong sense of harmonic and rhythmic initiative that is sometimes dulled when he brings others into the mix. Here, on a 10-track set-seven originals and three covers-he sticks to the basics, intent on avoiding repetition of mood, even if that means drastic juxtapositions. An opening take of Bird’s “Scrapple From the Apple” is attacked from a place where velocity and ferocity rule; “Elegia,” which follows, is tamer but no less edgy. Track three, “Violetta,” is sprightly yet august, while “Schumann’s Chamisso” draws on Hays’ love for the classics. There are times when one might question whether the same three musicians could have cut all of these tunes-which they did in a single day, incidentally-were it not for the telepathic rapport they so obviously share.

The album’s title is Hays’ nod of respect both to Harlem (which is, after all, in northern Manhattan) and his prior residence in upstate New York. It starts off feeling like the latter, serene and open; then an undercurrent of groove arrives that suggests the former. That Hays, Jost and Joseph instinctually understand the correlations and how to get from one to the other so seamlessly is why their union is such a welcome one. ~ By Jeff Tamarkin, JazzTimes.

Sunnyside Communications, SSC 1464, 2016

Recorded 29^th January, 2016 At Acoustic Recording, Brooklyn, New York

Musicians:

Kevin Hays - Piano

Rob Jost - Bass, Ukulele

Greg Joseph - Drums

Tracks:

01. Scrapple From The Apple {Charlie Parker} (3:56)

02. Elegia {Kevin Hays} (7:49)

03. Violetta {Kevin Hays} (6:50)

04. Schumann's Chamisso {Kevin Hays} (7:32)

05. Sweet Caroline {Kevin Hays} (5:47)

06. Where Did You Sleep {Leadbelly} (6:24)

07. All Things Are {Kevin Hays} (5:38)

08. North {Kevin Hays} (5:50)

09. I'll Remember April {Don Raye, Gene De Paul} (7:46)

10. Morning {Kevin Hays} (4:44)

Credits:

Producer, Photography - Kevin Hays

Engineer - Michael Brorby

Mixing, Mastering - Katsuhiho Naito

Graphic Design - Christopher Drukker

Total Time: 62:16

Michel Petrucciani - Promenade With Duke (1993)

In an interview, Michel Petrucciani said "...my biggest inspiration is Duke Ellington, because in my very early age he gave [me] the inspiration to play the piano." For Promenade with Duke Petrucciani not only honors music Ellington composed, but music with which he was associated. There are some Billy Strayhorn pieces and other songs where Ellington's compositional contributions are arguably marginal. That the album offers an adventure in harmony is predicted by the first cut, "Caravan." Stretching over seven minutes in length, it explores, in-depth, virtually every nuance of this 1936 hit which Ellington wrote with trombonist Juan Tizol. Bold approaches to harmonies notwithstanding, Petrucciani does not desert his basic let-it-all-hang-out romanticism which he celebrates on "Lush Life." He emphasizes feelings of sentimentality in his rendition of "In a Sentimental Mood." His interpretation is brooding and introspective, but every now and then some bright chords hold out the hope that the somber climate may be passing. Petrucciani is a master at clarifying the mood he is trying to create with his piano. Not all the music on the album is familiar Ellington, as shown in the presence of two rarely performed pieces, "Hidden Joy" and "One Night in the Hotel." It is on the well-known "Take the 'A' Train," however, that Petrucciani expresses best the joy he experiences with Ellington's music and the influence it has had on him. His is a rousing, twisting rendition of the Duke's signature tune. Promenade with Duke is one of the more innovative and stimulating sets of solo piano performances of Ellington's music on disc. ~ by Dave Nathan, AMG.

Blue Note, CDP 0777 7 80590 28, 1993

Recorded at Power Station, New York

Michel Petrucciani - Piano [Steinway]

Tracks:

1. Caravan {Duke Ellington, Irving Mills, Juan Tizol} (7:51)

2. Lush Life {Billy Strayhorn} (3:48)

3. Take The "A" Train {Billy Strayhorn} (3:01)

4. African Flower {Duke Ellington} (4:40)

5. In A Sentimental Mood {Duke Ellington, Irving Mills, Manny Kurtz} (6:01)

6. Hidden Joy {Michel Petrucciani} (8:03)

7. One Night In The Hotel {Michel Petrucciani} (5:39)

8. Satin Doll {Billy Strayhorn, Duke Ellington, Johnny Mercer} (7:11)

9. C-Jam Blues {Duke Ellington} (1:52)

Credits:

Producer - Gilles Avinzac

Producer, Mixing - Michel Petrucciani

Executive Producer - Eric Kressmann

Sound & Mixing Engineer - Roger Roche

Assistant Sound Engineer - Chris Albert

Mastering Engineer - Jose Rodriguez [Sterling Sound, NYC]

Art Direction - Cynthia Cochrane, Felix Cromey

Design - Patrick Roques

Total Time: 48:06

Must Have CD for Any Jazz Piano Enthusiast

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I am a jazz pianist myself and think that this is some of the most superb piano playing I have ever heard. It is highly recommended - showing incredible imagination, musical sophistication, technique and most importantly beautiful emotion. A must have addition to any collection. ~ Edward N. Page, Amazon.com.

Rodney Whitaker - Winter Moon (2002)

Winter Moon (Sirocco), bassist Rodney Whitaker's fifth album as a leader, focuses on his current quartet, eschewing guest artists and highlighting either his compositions or those from his band: pianist Eric Reed, saxophonist Ron Blake and drummer Carl Allen. It is an excellently engineered, well-played date, bolstered by three fine lengthy pieces (and several shorter ones that are no less intriguing). Heading the list is "Fall," a tune taken at such a slow tempo it could be a lament except for Blake’s boisterous, bawdy solo, which transforms it into an enticing exercise. Whitaker's walking bass and Allen's carefully paced drumming are balanced by Reed's precise piano solo. The number charms, beckons and delights before reaching a fitting conclusion. The same is true for "Coming Ship," which includes another strong solo from Blake and wonderful accompaniment by Whitaker and Allen.

Reed can be dashing or sedate, play soulful blues or a surging bop line, but he's at his best on such numbers as "Spring Birth," "Winter Moon" and "John Lewis," a great testament to a venerable jazz figure. His composition "Beauty and the Beast" wraps the album with a joyful, exuberant number that also features a bright, decisive solo from Blake and more outstanding assistance from Whitaker and Allen. Winter Moon is one of the better mainstream albums that's come my way in a while. ~ Ron Wynn, JazzTimes, 1^st January, 2005.

Sirocco Jazz Ltd., SJL 1026, 2004

Recorded September, 2002 At Systems Two Recording Studios, Brooklyn, New York

Musicians:

Rodney Whitaker - Acoustic Bass

Ron Blake - Tenor Saxophone, Soprano Saxophone

Eric Reed - Piano

Carl Allen - Drums

Tracks:

1. For Garrison {Rodney Whitaker} (3:55)

2. Fall {Rodney Whitaker} (8:22)

3. Sacrifice {Carl Allen} (6:01)

4. Coming Ship {Rodney Whitaker} (8:22)

5. Spring Birth {Rodney Whitaker} (4:22)

6. Avocado {Ron Blake} (6:46)

7. John Lewis {Rodney Whitaker} (8:42)

8. Winter Moon {Rodney Whitaker} (7:09)

9. Beauty And The Beast {Eric Reed} (6:13)

Credits:

Producer - Rodney Whitaker

Executive Producer, Producer - John Priestley

Engineer, Mastering - Michael Marciano

Total Time: 59:52

George Colligan's Mad Science - Realization (2005)

George Colligan seems to have all the ingredients for a funky good time on his Mad Science trio’s new disc Realization: his trusty Hammond B3 organ, augmented by various synths and samples; guitarist Tom Guarna and drummer Rodney Holmes, both veterans of combining funk and jazz; nine Colligan originals written for the trio; and a band name that indicates that he’s up to something wacky. The problem lies in those nine originals-most of them don’t have melodies memorable enough to make a listener want to follow them as they are transformed through the standard head-solos-head format.

The title “Human Need” overstates the case for a wanly wistful theme, “Snidely Whiplash” begins with a promising snarl but spools on too long in a way no Dudley Do-Right cartoon ever would and the predictable lurches of “Reminder” make its melody more nagging than evocative. Mad Science fares better the funkier it gets, with the sticky groove of “Goblet of Rock” providing some traction and the headlong rush of “Oblivion” making its melodic material work by not paying much attention to it. ~ Andrew Lindemann Malone, JazzTimes.

Sirocco Jazz Ltd., SJL 1030, 2005

Recorded September, 2004 At Astoria Soundworks, New York, NY

Musicians:

George Colligan - Electric Organ [Hammond B-3], Synthesizer

Tom Guarna - Guitar

Rodney Holmes - Drums

Tracks:

01. Grounded {George Colligan} (6:36)

02. Snidely Whiplash {George Colligan} (6:36)

03. Realization {George Colligan} (5:47)

04. Oblivion {George Colligan} (5:39)

05. Blue Box {Tom Guarna} (0:48)

06. Human Need {George Colligan} (7:07)

07. Utopian Struggle {George Colligan} (7:09)

08. Muse {George Colligan} (2:13)

09. Reminder {George Colligan} (4:51)

10. Goblet Of Rock {George Colligan} (7:11)

11. Stockholm Street Breakdown {Rodney Holmes} (1:51)

Credits:

Producer - George Colligan

Assistant Producer - Tom Guarna, Rodney Holmes

Executive Producer - John Priestley

Recording Engineer - Tim Moes

Mixing & Mastering Engineer - Kamilo Kratc

Studio Supervisor - Sal Amato

Photography [Band] - Jerry Ciotola

Cover Artwork [Grey Fox] - Liza Phoenix

Total Time: 55:48