Don Patterson, Sonny Stitt, Billy James - The Boss Men (1965) [re-rip]

Fruitful partnerships in jazz are one the principal ways both the music and the musicians stay creatively vital. Having a close colleague to riff off of and goad on keeps even an art form based on improvisation from going stale. Stitt and Patterson shared just such a relationship. The saxophonist and the organist teamed up on over a dozen dates together in the late 60s, frequently with drummer James in tow. This Prestige LP "The Boss Men" is ostensibly helmed by Patterson. Blues-based originals and a handful of standards round out the crop of tunes and the trio wastes no time in harvesting them. One of the immediately audible aspects of this errant trio is their reverence for space and thematic flexibility. While several of the tunes traffic in rapid tempos nothing ever seems rushed. Stitt’s a venerated veteran and he knows it, taking the changes with a diplomatic amiability that proves a model of self-assurance and pacing. His alto positively sings in points and it’s a true joy to hear him blowing so effusively in such economical setting. Whether soloing or filling in the chordal cracks around his partners’ Patterson is similarly confident. His glimmering lines sport a slippery weightlessness at odds with the stereotypical heavy-handed, lead-footed organists of the era. James is at times a basher, striking his skins with a strident urgency, as on But more often he slides easily into an accompanist’s role sculpting syncopated grooves and soothing brush patterns with equal alacrity. Excerpts by Derek Taylor, AAJ.

Prestige Records, PRST 7466, 1966

Recorded 28^th December, 1965 At Van Gelder Studio, Englewood Cliffs, New Jersey

Tracks:

A1. Diane {Erno Rapee, Lew Pollack} (5:48)

A2. Someday My Prince Will Come {Frank Churchill, Larry Morey} (8:21)

A3. Easy To Love {Cole Porter} (5:43)

B1. What's New? {Bob Haggart, Johnny Burke} (5:34)

B2. Big C's Rock {Don Patterson} (3:12)

B3. They Say That Falling In Love Is Beautiful {Irving Berlin} (7:52)

Personnel:

Don Patterson - Organ

Sonny Stitt - Alto Saxophone

Billy James - Drums

Credits:

Producer - Cal Lampley

Engineer - Rudy van Gelder
Design - Don Schlitten

Liner Notes - Ahmad Basheer, June 1966

Eric Kloss - Introducing Eric Kloss (1965) [re-rip]

Eric Kloss' great first jazz outing, recorded back when he was a teenage virtuoso attending the Western Pennsylvania School for Blind Children. Recorded with Don Patterson's trio, with Pat Martino on guitar, and very (and surprisingly) groovy all the way through. The tracks are mostly standards, but Kloss plays with a lot of imagination and fire, and really wails along with Patterson's organ. © Dusty Groove, Inc.

And what an introduction. The 16-year-old Eric Kloss joins forces with organist Don Patterson in what is a top-flight date for both of them. Patterson always had premier players with him who were attuned to his unique blend of hard-bopping soul jazz. In his debut recording, Kloss is equal to any of them. Regular Patterson collaborators -- guitarist Pat Martino and drummer Billy James -- are also on board. Martino is superb in his rhythm and solo work, his extraordinary technique and natural way with the blues always a sure bet on a Don Patterson date. Similarly, James' progressive style and command of the blues are key to this group's sound. The titular star sticks to his tenor, except for a modern, swinging treatment of "Embraceable You," where he switches to alto. Kloss favors the higher end of the tenor's register, plays with little or no vibrato, and makes little use of the tenor's trademark honks and barks. Although he is not unorthodox in his approach, Kloss, while still a teenager, does not sound overtly like anyone else, except, perhaps, for an inevitable John Coltrane influence. For this session, the program comprises standards, originals, and blues, including a version of Miles Davis's "All Blues," which gets a slightly more low-down treatment than usual, without sacrificing the tune's innate sophistication and cool. Kloss went on to record many fine sessions in the ensuing years, including dates with members of the rhythm section on Miles Davis' Bitches Brew, but since the early '80s, he has been absent from the jazz scene. When he arrived with this introduction, though, Kloss combined with the others in this quartet to produce a hard bop, organ jazz session that stands with the best. ~ by Jim Todd.

Prestige Records, PR 7442, 1965

Recorded 1^st September, 1965 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Eric Kloss - Alto & Tenor Saxophones

Don Patterson - Organ

Pat Martino - Guitar

Billy James - Drums

Tracks:

A1. Close Your Eyes {Bernice Petkere} (6:51)

A2. Old Folks {Dedette Lee Hill, Willard Robison} (5:47)

A3. 'S 'Bout Time {Don Patterson} (8:09)

B1. That's The Way It Is {Jimmy Giuffre, Eric Kloss} (5:29)

B2. All Blues {Miles Davis} (5:42)

B3. Embraceable You {George Gershwin, Ira Gershwin} (4:31)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten
Liner Notes - Jack Yard (Nov. 1965)

Joe Dukes with The Jack McDuff Quartet - The Soulful Drums Of Joe Dukes (1964)

Brother Jack McDuff Puts His Drummer in Front

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

For a while now I have been tracking down anything, I can find featuring the (Brother) Jack McDuff Quartet. For a period in the late 50's and early 60's it seems they were in great demand to back a string of major players from Gene Ammons and Sonny Stitt to Rahsaan Roland Kirk among others. Although the personnel changed, the classic lineup was McDuff (O.B-3), Red Holloway (ts), George Benson (g) and Joe Dukes drums. In the course of this run, McDuff also did sessions featuring his own regulars and this album is one; George Benson - New Boss Guitar another. Dukes drumming on this outing can only be described as extraordinary and he holds down the center of attention throughout with his bandmates giving him plenty of tasteful room to shine. If you're a jazz fan who likes something rare and a little out of the ordinary, you'll want this in your collection. ~ M. Anders, Amazon.com.

Prestige Records, PRST 7324, 1964

Recorded 14^th May, 1964 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Joe Dukes - Drums

Brother Jack McDuff - Organ [Hammond B-3]

Red Holloway - Tenor Saxophone

George Benson - Guitar

Tracks:

A1. Soulful Drums {Joe Dukes, Jack McDuff} (6:02)

A2. Two Bass Hit {Dizzy Gillespie, John Lewis} (7:10)

A3. Greasy Drums {Joe Dukes, Jack McDuff} (4:20)

B1. Moohah The D.J. {Joe Dukes, Jack McDuff} (7:25)

B2. Moanin' Bench {Joe Dukes, Jack McDuff} (3:00)

B3. My Three Sons {Joe Dukes, Jack McDuff} (5:37)

Total Time: 35:00

Credits:

Producer - Lew Futterman

Engineer - Rudy van Gelder

Design, Photography - Don Schlitten

Liner Notes - Robert Levin

Gene Ammons - Sock! (1954,55,62) [re-rip]

Sock! is an album by Gene Ammons compiling sessions recorded between 1954 and 1962 and released on Prestige in 1965.

A striking title - and a strong set of grooves, even if the tracks were pulled from a variety of different sessions, and not recorded as a unified album. Jug plays tenor on all cuts - working in formats that range from a Mal Waldron led trio to larger honking groups with horn players like Henderson Chambers, Cecil Payne, Nate Woodward, and Gene Easton. Tracks are short, and most are pretty rocking - with titles that include "Blue Coolade", "Short Stop", "Scam", "Sock", "What I Say", and "Rock Roll". © Dusty Groove, Inc.

Prestige Records, PR 7400, 1965

Recorded 26^th November, 1954 (B1-B4); 4^th November, 1955 (#B5,B6);

Recorded 13^th April, 1962 (#A4) & 5^th September, 1962 (#A1-A3)

At Van Gelder Studio, Hackensack, New Jersey

Personnel:

Gene Ammons - Tenor Saxophone

Nate Woodward - Trumpet (#B1-B6)

Henderson Chambers - Trombone (#B1-B4)

Edwin Moore - Trombone (#B5-B6)

Gene Easton - Baritone Saxophone (#B1-B4)

Cecil Payne - Baritone Saxophone (#B5-B6)

Mal Waldron - Piano (#A1-A3)

Patti Bown - Piano (#A4)

John Houston - Piano (#B1-B4)

Lawrence Wheatley - Piano (#B5-B6)

Wendell Marshall - Bass (#A1-A3)

George Duvivier - Bass (#A4)

Ben Steuberville - Bass (#B1-B4)

Ernie Shepherd - Bass (#B5-B6)

Ed Thigpen - Drums (#A1-A3)

Walter Perkins - Drums (#A4)

George Brown - Drums (#B1-B6)

Tracks:

A1. Blue Coolade {Mal Waldron} (4:11)

A2. Short Stop {Mal Waldron} (3:33)

A3. They Say You're Laughing At Me {Jerry Livingston} (3:58)

A4. Scam {Gene Ammons} (5:27)

B1. Sock! {Gene Ammons} (2:47)

B2. What I Say {Ray Charles} (2:38)

B3. Count Your Blessings {Richard Morgan} (4:25)

B4. Cara Mia {Lee Lange, Tulio Trapani} (3:08)

B5. Blues For Turfers {Gene Ammons} (4:03)

B6. Rock Roll {Chico O'Farrill} (2:58)

Total Time: 37:09

Credits:

Supervision - Esmond Edwards [Side A] - Bob Weinstock [Side B]

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Liner Notes - Jack McKinney (July, 1965)

John Coltrane - Black Pearls (1958)

As is often the case with an artist as prolific as John Coltrane, not every release can be considered as essential. Black Pearls seems a bit ambiguous when placed in a more historical context. It was only three days later that Coltrane participated not as a leader, but rather a member, of the Miles Davis Sextet that recorded "Stella By Starlight" and "On Green Dolphin Street." There is an obvious disparity between these three mostly improvised and lengthy jams and the Davis session. This is in no way to insinuate that Coltrane's performance is anything less than par. Black Pearls indeed captures Coltrane at the height of perfecting the intense volley that would garner the name "sheets of sound." Featuring Donald Byrd (trumpet) and the Red Garland Trio - Garland (piano), Paul Chambers (bass), and Art Taylor (drums) - this is the same quintet that had mightily contributed to Lush Life and The Believers, as well as The Last Trane. This session would be their last together. The title track is a mid-tempo bop number that quite frankly fails to make a great melodic impact. It's not until Coltrane's indomitable solo that a direction is found and, for a short while, remains focused. Once the reins are passed to Byrd, Garland, Chambers, and to a lesser extent Taylor, the song meanders through some fairly vapid changes. Fortunately, the soloing from Byrd is more direct and is able to build and support Coltrane's equally impressive display. The difference is immeasurable as no holds are barred from Garland or Taylor - who is arguably at his prime. All told, this performance is well worth the price of admission. At 18-plus minutes, "Sweet Sapphire Blues" (penned by Prestige Records owner Robert Weinstock) is the longest track on Black Pearls. It is in essence a 12-bar blues jam. Coltrane's double- and triple-time solo is primal within this setting. The overemphatic backbeat allows for more group interaction, yielding a full and well-rounded union among the musicians that was sadly absent from the opening track. ~ by Lindsay Planer, AMG.

Prestige Records, PR 7316, 1964

JVC Records, JVCXR-0017-2, 1989

Recorded 23^rd May, 1958 in Hackensack, New Jersey

Musicians:

John Coltrane - Tenor Saxophone

Donald Byrd - Trumpet

Red Garland - Piano

Paul Chambers - Bass

Arthur Taylor - Drums

Tracks:

1. Black Pearls {Unknown} (13:14)

2. Lover Come Back To Me {Sigmund Romberg, Oscar Hammerstein II} (7:28)

3. Sweet Sapphire Blues {Robert Weinstock} (18:14)

Total Time: 38:57

Credits:

Supervision - Bob Weinstock

Recording Engineer - Rudy van Gelder

Remastering - Phil De Lancie, 1989 (Fantasy Studios, Berkeley)

Design - Don Schlitten

Photo - Joe Alper

Gene Ammons - Velvet Soul (1960,61,62)

Classic mellow Jug - from a time when Prestige discovered that Gene Ammons would sell equally well to the mellow jazz crowd as to the jukebox jumpers. Most of the cuts feature Gene with a deep soulful tone that could qualify as "velvet",  but which still has enough of a rough edge to remain soulful. One track is played by a larger group, and the rest are with small combos that either feature organ or piano. Tracks include "Salome's Tune", "Velvet Soul", "Stranger In Town", and "Light N Up". © 1996-2013, Dusty Groove, Inc.

No Matter in what context we hear Gene Ammons, his characteristic directness and passion can easily be heard. As this set closes we can feel Ammons' concern with all that he plays and the passion with which he invests his music. Ammons has had his outing and he has, once again proven himself worthy of our attention. ~ Extracts from Liner Notes by Michael Gold (Feb. 1964).

Prestige Records, PRST 7320, 1964

Recorded 17^th June, 1960 (#A1,A2); 13^th June, 1961 (#B2);

& 5^th September, 1962 (#A3,B1,B3)

At Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:
Gene Ammons - Tenor Saxophone
Frank Wess - Tenor Saxophone (#A1,A2)

Hobart Dotson, Clark Terry - Trumpet (#B2)

Oliver Nelson - Alto Saxophone (#B2)

George Barrow, Red Holloway - Tenor Saxophone (#B2)

Bob Ashton - Baritone Saxophone (#B2)

Richard Wyands - Piano (#B2)

Johnny "Hammond" Smith - Organ (#A1,A2)

Mal Waldron - Piano (#A3,B1,B3)

Doug Watkins - Bass (#A1,A2)

Wendell Marshall - Bass (#A3-B3)

Arthur Taylor - Drums (#A1,A2)

Ed Thigpen - Drums (#A3,B1,B3)

Bill English - Drums (#B2)

Tracks:

A1. Velvet Soul {Johnny "Hammond" Smith} (8:54)

A2. In Sid's Thing {Gene Ammons} (5:26)

A3. Salome's Tune {Mal Waldron} (4:13)

B1. Light'n Up {Mal Waldron} (3:59)

B2. The Song Is You {Jerome Kern, Oscar Hammerstein II} (9:41)

B3. A Stranger In Town {Mel Tormé} (5:58)

Credits:

Supervision - Esmond Edwards

Recording Engineer - Rudy van Gelder

Photography - Gai Terrell

Liner Notes - Michael Gold (Feb. 1964)

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