Richard "Groove" Holmes - The Groover! (1968) [re-rip]

Holmes acquits himself well, if with few surprises, on this trio session with Billy Jackson on drums and either George Freeman or Earl Maddox on guitar. The organist shows his hundred-miles-per-hour capabilities on the frantic opener "Speak Low," but hits a more sensitive groove for "Blue Moon," and gets close to an R&B mood on the longest cut, the eight-minute "The Walrus." ~ by Richie Unterberger, AMG.

A nice one from the days when Groove was playing with guitarist George Freeman! The core of the tracks on here feature a trio of Holmes, Freeman, and drummer Billy Jackson – and the trio knows how to cook nice and nicely, especially on the original cut "The Walrus", a groovy number written by Freeman, with his usual off-kilter approach. Other cuts include "My Scenery", "Blue Moon", and "I'll Remember April". Nice cover, too – with Freeman looking really spaced out! © Dusty Groove, Inc.

Prestige Records, PRST 7570, 1968

Recorded 14^th February, 1968 At Van Gelder Studio, Englewood Cliffs, NJ

Personnel:

Richard "Groove" Holmes - Organ

George Freeman - Guitar (#A1-B1)

Earl Maddox - Guitar (#B2-B3)

Billy Jackson - Drums

Tracks:

A1. Speak Low {Ogden Nash, Kurt Weill} (7:03)

A2. My Scenery {George Freeman} (4:09)

A3. Walrus {George Freeman} (8:25)

B1. Blue Moon {Lorenz Hart, Richard Rodgers} (5:04)

B2. I'll Remember April {Gene DePaul, Patricia Johnston, Don Raye} (6:20)

B3. Just Friends {John Klenner, Sam M. Lewis} (5:37)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder
Design - Don Schlitten
Art - Irving Riggs
Photo - Jerry Field
Notes - Ralph Berton (April 1968)

Willis Jackson - Soul Grabber (1967) [vinyl>flac]

One of our favorite albums ever by Willis Jackson - and in fact one of our favorite soul jazz sides of the 60s! There's a mad groove here that's quite different than any of Jackson's earlier work - freer, looser, and more experimental - handled with a sound that's almost fuller in the arrangements, but which also gives the soloists more room to groove around. Willis himself plays the amazing ‘Gator’ horn on "Alfie" - a long funny-looking variation on the tenor, and a horn that has an almost George Braith or Roland Kirk-like sound. The rest of the group features some great guitar by Wally Richardson and smoking organ by Carl Wilson - plus electric bass at the bottom from Bob Bushnell, a key component to the harder-hitting quality of the grooves. The set features a fantastic version of Baden Powell's "Song of Ossanha", plus great covers of "Sunny", "Girl Talk", and "Ode to Billy Joe" - and the tracks "Soul Grabber", "Alfie", "I Dig Rock & Roll Music", and "Rhode Island Red". © Dusty Groove America, Inc.

Prestige Records, PRST 7551, 1968

Recorded 20^th October, 1967 (#A1,A4,B4,B5) in New York City;

25^th October, 1967 (#A2,A3,A5-B3) at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis “Gator” Jackson - Tenor Sax, Gator Horn (#B3)

Wilbur “Dud” Bascomb - Trumpet

Sammy Lowe - Trumpet

Heywood Henry - Baritone Saxophone (#A1,A4,B4,B5)

Carl Wilson - Organ

Lloyd Davis - Guitar

Wally Richardson - Guitar

Bob Bushnell - Electric Bass

Lawrence Wrice - Drums

Tracks:

A1. The Song Of Ossanha {Baden Powell, Vinícius de Moraes} (2:39)

A2. Sunny {Bobby Hebb} (6:35)

A3. Girl Talk {Neal Hefti, Bobby Troup} (5:26)

A4. Ode To Billie Joe {Bobbie Gentry} (2:55)

A5. Sometimes I'm Happy {Vincent Youmans, Irving Caesar, Clifford Grey} (5:13)

B1. Soul Grabber {Willis "Gator" Jackson} (1:58)

B2. Rhode Island Red {Willis "Gator" Jackson} (3:33)

B3. Alfie {Hal David, Burt Bacharach} (8:22)

B4. I Dig Rock & Roll Music {Noel Paul Stookey, James Mason, Dave Dixon} (2:49)

B5. These Blues Are Made For Walking {Willis "Gator" Jackson} (5:49)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design, Liner Photo - Don Schlitten

Art - Irving Riggs

Liner Notes - Chris Albertson (Feb. 1968)

Note: “The Song Of Ossanha” also listed as “The Song Of Ossahna”

Johnny “Hammond” Smith - Nasty! (1968) [vinyl]

On “Nasty”, Smith presents a quartet comprising of the mighty Houston Person on tenor, a young John Abercrombie on guitar and Grady Tate on drums. With six tunes in all the musicians have plenty of room to showcase their versatility and stretch out with some fine soloing. It’s very much a typical late 60’s soul jazz groove with many popular covers from that era. Nonetheless, it’s delivered with solid precision; the only complaint being’ it’s a bit on the short side, but avoids the excesses that many soul jazz artists started to indulge in. Some of the highlights include the title cut, a funk blues take on “Unchained Melody” and Smith’s slow burning groove on “Song For My Father”, Enjoy!

Prestige Records, PRST 7588, 1968

Recorded 18^th June, 1968 At Town Sound Studios, New York City

Musicians:

Johnny "Hammond" Smith - Organ

Houston Person - Tenor Saxophone

John Abercrombie - Guitar

Grady Tate - Drums

Tracks:

A1. If I Were A Bell {Frank Loesser} (8:33)

A2. Song For My Father {Horace Silver} (7:10)

A3. Speak Low {Ogden Nash, Kurt Weill} (9:30)

B1. Unchained Melody {Alex North, Hy Zaret} (3:44)

B2. Nasty {Johnny "Hammond" Smith} (9:00)

B3. Four Bowls Of Soul {Johnny "Hammond" Smith} (7:08)

Credits:

Producer - Cal Lampley

Recording Engineer - Orville O'Brien

Liner Notes - Christopher Peters (August, 1968)

Richard "Groove" Holmes - Get Up & Get It! (1967) [re-rip]

The organ trio format is so ensconced in the minds of soul-jazz fans that hearing this album, which puts Richard "Groove" Holmes' funky Hammond B3 in the context of a larger group, sounds odd and over-produced at first. Putting Holmes' bottom-heavy instrument against a guitar-bass-drums trio and then adding Teddy Edwards' tenor saxophone on top to take most of the melody lines sounds on paper like it should be a thick, muddy mess, but thankfully, Holmes' sidemen are up to the task at hand and steer clear of over-playing. The great Paul Chambers, one of the best bassists of the post-bop generation, mostly leaves the bottom to Holmes' left hand, leaving himself free to add intriguing little accents and filigrees to the rhythm, and guitarist Pat Martino wisely avoids the temptation to do much more than comp unobtrusively and take the occasional brief solo. Billy Higgins, of course, is one of the great drummers of his time and plays solidly throughout. The original "Groove's Blue Groove" is a particular highlight, but the entire album is worthy. ~ by Stewart Mason, AMG.

Prestige Records, PRST 7514, 1967

Recorded 29^th May, 1967 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Richard "Groove" Holmes - Organ [Hammond B3]

Teddy Edwards - Tenor Saxophone

Pat Martino - Guitar

Paul Chambers - Bass

Billy Higgins - Drums

Tracks:

A1. Get Up And Get It {Teddy Edwards} (5:41)

A2. Lee-Ann {Teddy Edwards} (5:08)

A3. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (9:20)

B1. Broadway {Billy Bird, Teddy McRae, Sir Henry Joseph Wood} (5:24)

B2. Groove's Blues Groove {Richard "Groove" Holmes} (8:02)

B3. Pennies From Heaven {Johnny Burke, Arthur Johnston} (6:26)

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Rudy van Gelder

Liner Notes - Bob Porter (July 1967)

Freddie McCoy - Peas 'N' Rice (1967) [re-rip>flac]

Throughout the sixties Freddie McCoy was an active vibraphonist for the Prestige label releasing seven LPs in all. In many ways he was severely overlooked; both critics and radio stations alike didn't give him the airplay or the recognition he well deserved. Despite this he still laid down some great funky cool grooves, many penned by him and others covering contemporary R&B and pop tunes. This album "Peas 'N' Rice" was released in the middle of his short-lived career, and by now he had developed a set formula in compositions and playing. Many of these sides have now become underground collector's items among acid jazz and rare-groove enthusiasts. What makes this LP stand out is the inclusion of Joanne Brackeen, Wally Richardson and Wilbur "Dud" Buscomb to nominate a few of the band members. Together they weave an elaborate mixture of Soul Jazz tunes. Joanne Brackeen joined Freddie on Funk Drops (1966), again on this date and his last three albums for Prestige Records: Beans & Greens (1967), Soul Yogi (Prestige, 1968) & Listen Here (1968) as did Wally Richardson. McCoy's vibes blend beautifully with Joanne's piano playing. Equally Richardson adds his distinctive touch and flavour here and there. The Trumpets of Buscomb and Williams act as a great backing to Freddie's vibes whilst a changing array of drummers keep a tight pace. Very entertaining and worth listening to regularly, Enjoy!

Prestige Records, PRST 7487, 1967

Recorded 6^th October, 1965 (#B4); 10^th April, 1967 (#A2,A3,A5,B1,B2)

& 4^th May, 1967 (#A1,A4,B3) at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Freddie McCoy - Vibraphone

Wilbur "Dud" Buscomb - Trumpet (#A2,A3,A5,B1,B2)

Edward David Williams - Trumpet (#A2,A3,A5,B1,B2)

Joanne Brackeen - Piano (#A1-B3)

Wally Richardson - Guitar (#A2,A3,A5,B1,B2)

Charles L. Wilson - Piano (#B4)

Steve Davis - Bass (#B4)

Eustis Guillemet - Bass (#A1,A4,B3), Electric Bass (#A2,A3,A5,B1,B2)

Ray Lucas - Drums (#A2,A3,A5,B1,B2)

Kalil Madi - Drums (#A1,A4,B3)

Rudy Lawless - Drums (#B4)

Tracks:

A1. Peas 'N' Rice {Freddie McCoy} (3:27)

A2. Summer In The City {John Sebastian, Mark Sebastian, Steve Boone} (2:44)

A3. Huh! {Freddie McCoy} (4:05)

A4. 1-2-3 {John Medora, David White, Len Barry} (4:10)

A5. One Cylinder {Freddie McCoy} (3:05)

B1. Call Me {Tony Hatch} (3:33)

B2. Lightning Strikes {Freddie McCoy} (2:54)

B3. My Funny Valentine {Richard Rodgers, Lorenz Hart} (6:14)

B4. You Stepped Out Of A Dream {Nacio Herb Brown, Gus Kahn} (4:55)

Total Time: 34:39

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Arranger, Conductor - Dave Blum
Design - Mary Jo Schwalbach

Liner Notes - Walter Cat (June, 1967)

Red Holloway - In The Red (1997)

Red Holloway is joined by a set of veteran jazz performers for a no-nonsense, down-to-earth blowing session recalling those magnificent Prestige and Blue Note recordings of the 1950s and '60s by Johnny Griffin, Dexter Gordon, Gene Ammons, Sonny Stitt, and others. The first cut, "The Chase," was the vehicle for the seminal Dexter Gordon/Wardell Gray tenor sax battle recorded in 1947, which set the ground rules for all such battles to come. On this cut, Holloway shows he has lost little, if any, of the fingering dexterity that characterized his playing in earlier days with such notables as "Brother" Jack McDuff, Bill Doggett, and Lloyd Price. Holloway continues to be equally adroit on alto as he is on tenor, bringing out the smaller sax on "The Gypsy" and "A Tear in My Heart" (the latter a composition by piano player Norman Simmons). A highlight of the album is the very poignant rendition of Duke Ellington's "In My Solitude," played in soulful, long musical lines. HighNote Records, the successor to the old Muse label, became a home for several veteran saxophonists. In addition to Holloway, the stable includes Houston Person and Teddy Edwards. HighNote deserves considerable kudos for providing a forum for this hard driving saxophone playing, done with soul, which otherwise might be lost. ~ by Dave Nathan, AMG.

HighNote Records, HCD 7022, 1998

Recorded 27^th November, 1997 At Van Gelder Studios, Englewood Cliffs, New Jersey

Personnel:

Red Holloway - Tenor Sax, Alto Sax (#4,7)

Norman Simmons - Piano

Peter Washington - Bass

Kenny Washington - Drums

Tracks:

1. The Chase {Dexter Gordon} (4:36)

2. In My Solitude {Eddie DeLange, Duke Ellington, Irving Mills} (7:33)

3. Snu-Fu {Norman Simmons} (7:36)

4. The Gypsy {Billy Reid} (8:58)

5. Claudia {Red Holloway} (6:05)

6. Watermelon Man {Herbie Hancock} (6:49)

7. A Tear In My Heart {Norman Simmons} (5:48)

8. Rapture {Harold Land} (8:30)

Total Time: 55:35

Credits:

Producer - Houston Person

Engineer - Rudy van Gelder

Cover Photo - Ken Franckling

Tray Card Photo - J. Flint

Art Direction - Dick Smith

Richard "Groove" Holmes - Misty (1965,66)

In the mid-'60s, organist Richard "Groove" Holmes had a hit with his medium-tempo rendition of "Misty." This CD reissue has the original short version (which was cut as a 45) plus other medium-tempo ballads performed in similar fashion. Holmes and his trio (featuring guitarist Gene Edwards and drummer George Randall) play enjoyable if not overly substantial versions of such songs as "The More I See You," "The Shadow of Your Smile," "What Now My Love" and "Strangers in the Night," trying unsuccessfully for another pop hit; the organist's sound is more appealing than some of the tunes. ~ by Scott Yanow, AMG.

Not the most inspiring review, don’t let that put you off, the music speaks for itself!

Prestige Records, PR 7485, 1966

OJC Records, OJCCD-724-2, 1992

Recorded 7^th July, 1966 (#1-3); 3^rd August, 1965 (#5)

& 12^th August, 1966 (#4,6-8) At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Richard "Groove" Holmes - Organ

Gene Edwards - Guitar (Except #A5)

George Randall - Bass

Jimmie Smith - Drums (#A5)

Tracks:

A1. The More I See You {Harry Warren, Mack Gordon} (2:25)

A2. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (4:55)

A3. What Now My Love {Gilbert Bécaud} (5:30)

A4. Summertime {George Gershwin, Ira Gershwin} (4:58)

A5. Misty {Erroll Garner, Johnny Burke} (1:58)

B1. On The Street Where You Live {Al Jay Lerner, Frederick Loewe} (8:02)

B2. Strangers In The Night {Bert Kaempfert, Charles Singleton, Eddie Snyder} (2:22)

B3. There Will Never Be Another You {Harry Warren, Mack Gordon} (7:43)

Total Time: 37:53

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Digital Remastering - Phil De Lancie, 1992

Design, Photography - Don Schlitten

Liner Notes - Del Shields

Don Patterson - Soul Happening! (1966)

Similar to Satisfaction! Don puts together another fine soul Jazz groove. Again, he opts for a trio format with himself organist, Vincent Corrao guitarist and his long-term drummer Billy James and sets about interpreting a number of jazz standards and couple popular tunes to great effect, Enjoy!

Those of us who have been fortunate enough to hear Don on his other Prestige albums will recognise that he is not only able to play long, well-constructed solos, but that his ability as an accompanist is first rate. On this album we can hear how Don ably and sympathetically backs his guitarist, Vincent Corrao. In this, as in many other respects, Don is one of those complete musicians who is slowly gaining a large following on the jazz scene. It will be a worthwhile experience. Altogether, with the cohesive strength of Don, Vincent and Billy, we have another good example of what can happen when three fine musicians get together for a swinging ‘Soul Happening.’ ~ Extract from Liner Notes by Walter Catt (Jan. 1967)

Prestige Records, PR 7484, 1967

Recorded 5^th August, 1966 At Van Gelder Studio, Englewood Cliffs, NJ

Personnel:

Don Patterson - Organ

Vincent Corrao - Guitar

Billy James - Drums

Tracks:

A1. Wade In The Water {Traditional} (5:17)

A2. La Bamba {Hector Acosta, Harry Belafonte} (4:50)

A3. Strangers In The Night {Bert Kaempfert, Charles Singleton, Eddie Snyder} (7:12)

B1. Up Tight {Henry Cosby, Sylvia Moy, Stevie Wonder} (3:12)

B2. Love Letters {Victor Young, Edward Heyman} (6:47)

B3. Wee Dot {J.J. Johnson, Leo Parker} (5:55)

Total Time: 33:12

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Liner Notes - Walter Catt (Jan. 1967)

Don Patterson - Satisfaction! (1965)

Patterson had been working with drummer Billy James for four years, notably as backing group for Sonny Stitt. They don’t dwell on matters and head into two up-tempo blues shuffles, Bowl Full Of Yok and Goin' To Meeting, commenting on each other’s phrases ebulliently. Patterson is a great storyteller and capable of stretching out to the limit. Bowl Full Of Yok’s many choruses never have a dull moment. After the theme is stated guitarist Jerry Byrd immediately grabs attention in dissonant vein and launches into a solid solo. Byrd flavors his personal style with touches of Charlie Christian and Pat Martino. In this session Byrd takes some interesting solo’s; his guitar sound is a bit distorted, which enlivens the down home-type proceedings. Jagger/Richard's Satisfaction has gotten a lighthearted, funky treatment. On John Brown’s Body - a marching song about an abolitionist in the American Civil War - the resemblance of Patterson's play to the famous character that influenced him to take up the organ in the first place, Jimmy Smith, is most striking. Don Patterson operated within the classic organ combo format - a quartet consisting of organ, guitar, drums and saxophone. On Satisfaction the horn is left out. It's not sorely missed. Patterson keeps things interesting in many areas: that of technical ability, harmonic coherence and, last but not least, that of the blues. Extract from FlopHouseMagazine.

Prestige Records, PR 7430, 1966

Recorded 19^th July, 1965 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Don Patterson - Organ [Hammond B-3]

Jerry Byrd - Guitar

Billy James - Drums

Tracks:

A1. Bowl Full Of Yok {Don Patterson} (9:50)

A2. Goin' To Meeting {Don Patterson} (6:51)

B1. John Brown's Body {Traditional} (7:57)

B2. Satisfaction {Mick Jagger, Keith Richards} (3:21)

B3. Walkin' {Richard Carpenter} (5:53)

Total Time: 33:52

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Liner Notes - Bob Porter (Dec. 1965)

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)