Pucho & The Latin Soul Brothers - Jungle Fire! (1970)

Henry “Pucho” Brown, and his Latin Soul Brothers continue in the vein of their previous albums, exploring elements of jazz, Latin music, soul, and funk. What sets this LP apart from its predecessors is the interpretation of three Norman Whitfield, Barrett Strong tunes. Both writer and lyricist are renowned for their contribution to the Motown Sound and of the late-1960s subgenre of psychedelic soul. The remaining two tracks are penned by Sonny Phillips, an organist, composer and noted soul jazz giant; also, a featured musician and leader on a number of other Prestige LPs. Apart from the great songwriting the album is boosted by the inclusion of saxophonist Seldon Powell, guitarist Billy Butler and as a regular electric pianist Neal Creque, adds his own magical touch. Of course, the Latin beats would not come to much if Pucho & his Latin Soul Brothers didn’t insurmountably fuse into each of the tunes their intoxicating rhythms. In the end another fine and entertaining album, enjoy!

Prestige Records, PRST 7765, 1970

Beat Goes Public, BGPD 1049, 1992

Recorded 12^th January, 1970 At Van Gelder Studio, Englewood Cliffs, NJ

Musicians:

Pucho - Timbales

Al Pazant - Trumpet

Seldon Powell - Tenor Saxophone, Saxophone [Varitone], Flute

Eddie Pazant - Tenor Saxophone

Earl Neal Creque - Electric Piano

Billy Bivins - Vibraphone, Percussion

Billy Butler - Guitar

Seaborn Westbrook - Bass [Fender]

Bernard "Pretty" Purdie - Drums

Joe Armstrong - Congas

Norberto Appellaniz - Bongos

Tracks:

A1. Friendship Train {Norman Whitfield, Barrett Strong} (5:10)

A2. Got Myself A Good Man {Norman Whitfield, Barrett Strong} (5:48)

A3. The Spokerman {Sonny Phillips} (5:15)

B1. Cloud 9 {Norman Whitfield, Barrett Strong} (8:59)

B2. Jamilah {Sonny Phillips} (6:17)

Total Time: 31:29

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Design - Don Schlitten

Photo - H. Armstrong Roberts

Jane Ira Bloom - The Nearness (1995)

If forced to choose between this eminently thoughtful soprano saxophonist's writing and improvising, I'd have to say it's her original tunes that might keep me coming back. Not that there's anything wrong with her playing. Quite the contrary. She gets a full, gently-inflected, well-centered sound on her finicky horn -- the kind that only a full-time soprano player can produce with consistency. In the past I've found her improvising somewhat mannered; here, however, she's as spontaneous as one could ask. Her ballad playing is especially effective. But I think it's the sophistication of her contexts that fixes her among the modern mainstream's elite. "Flat6 Bop" is typically intriguing; a harmonically ambiguous, medium-tempo ostinato tune with an intervallically irregular melody, it's the product of a methodical and highly creative intellect. Bloom's arrangements of familiar material -- she does heavily re-arranged versions of standards like "Summertime" and "'Round Midnight" -- are just as meticulously conceived, but somehow seem a bit precious to my ears. They are very skillfully done, however. Bloom's collaborators are almost perfectly chosen. Trumpeter Kenny Wheeler, trombonist Julian Priester, bassist Rufus Reid, drummer Bobby Previte, and (particularly) pianist Fred Hersch are well-attuned to the saxophonist's subtle musical gestures. ~ by Chris Kelsey, AMG.

Arabesque Records, AJ0120, 1996

Recorded 12^th,13^th,14^th July, 1995 At Power Station, Studio B, New York

Musicians:

Jane Ira Bloom - Soprano Saxophone

Kenny Wheeler - Trumpet, Flugelhorn (#1-3,5-10,12,13)

Julian Priester - Trombone, Bass Trombone (#1-3,5-10,12)

Fred Hersch - Piano (#1,2,4,5,7,8,11,12)

Rufus Reid - Bass (#1-12)

Bobby Previte - Drums (#1-7,9-12)

Tracks:

01. Nearly Summertime {George Gershwin, Ira Gershwin, DuBose Heyward} (5:25)

02. Midnight Round {Jane Ira Bloom} /
'Round Midnight {Bernie Hanighen, Thelonious Monk, Cootie Williams} (5:39)

03. B6 Bop {Jane Ira Bloom} (6:17)

04. Midnight's Measure {Jane Ira Bloom} /
In The Wee Small Hours Of The Morning {Bob Hilliard, David Mann} (6:19)

05. Painting Over Paris {Jane Ira Bloom} (5:58)

06. Wing Dining {Jane Ira Bloom} (6:48)

07. Panosonic {Jane Ira Bloom} (6:36)

08. White Tower {Jane Ira Bloom} (4:10)

09. It's A Corrugated World {Jane Ira Bloom} (5:42)

10. Monk's Tale {Jane Ira Bloom} /
The Nearness Of You {Hoagy Carmichael, Ned Washington} (3:33)

11. Lonely House {Langston Hughes, Kurt Weill} (6:50)

12. The All-Diesel Kitchen Of Tomorrow {Jane Ira Bloom} (4:07)

13. Yonder {Jane Ira Bloom} (0:51)

Total Time: 67:55

Credits:

Producer - Jane Ira Bloom

Executive Producer - Marvin M. Reiss

Engineer - James Farber

Assistant Engineer - Robert Smith

Mastering, Mixing Engineer - Jim Anderson

Mastering - Allan Tucker

Art Direction, Design - Franko Caligiuri

Production Director - Daniel Chriss

A&R, Artwork, Repertoire - Joel Chriss

Post Production Director - Jodi Howard

Photography - Kristine Larsen

"By any measure, she has created one of the most melodically radiant jazz releases in recent memory." ~ Howard Reich, Chicago Tribune, 3rd March, 1996.

"Fearless musical explorers who share a commitment to beauty and adventure." ~ Bob Blumenthal, Atlantic Monthly, February, 1996.

"A delightfully atmospheric but probing disc... Bloom’s soaring lines trace a touching mix of openness and craft." ~ Gene Santoro, NY Daily News, 22nd April, 1996.

Johnny "Hammond" Smith - Black Feeling! (1970)

Johnny "Hammond" Smith, a hardcore organist who turned Hammond into his middle name. In many ways this LP could be considered his most groove-filled album released on the prestige label, invariably a jazz funk masterpiece. Virgil Jones's trumpet playing along with saxophonists Rusty Bryant and Leo Johnson bring additional power to this album, especially when compared to its predecessor “Soul Talk”. So too are crisp, tight rhythms of Bernard "Pretty" Purdie’s drumming. Equally guitarist Wally Richardson’s beautifully crafted strumming and Jimmy Lewis' thick bass lines don't disappoint, but of course the star man is Johnny himself swirling away on the Hammond, just listen to his cool organ solos scattered throughout the album. Not to be overlooked, enjoy!

Prestige Records, PRST 7736, 1970

Recorded 22^nd December, 1969 At Van Gelder Studio, Englewood Cliffs, NJ

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

Musicians:

Johnny "Hammond" Smith - Organ

Virgil Jones - Trumpet

Rusty Bryant - Alto Saxophone, Tenor Saxophone

Leo Johnson - Tenor Saxophone

Wally Richardson - Guitar

Jimmy Lewis - Electric Bass

Bernard “Pretty” Purdie - Drums

Tracks:

A1. Black Feeling {Leo Johnson} (6:32)

A2. Kindra {Leo Johnson} (5:42)

A3. Johnny Hammond Boogaloo {Wally Richardson} (5:01)

B1. Dig On It {Leo Johnson} (7:57)

B2. When Sunny Gets Blue {Marvin Fisher, Jack Segal} (4:27)

B3. Soul Talk-1970 {Johnny "Hammond" Smith} (6:23)

Total Time: 35:02

Credits:

Producer - Bob Porter

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Bill Buchanan (Boston Globe, Feb. 1970)

Pucho & The Latin Soul Brothers - Heat! (1968)

In the late 1960s Henry "Pucho" Brown was at the top of his game. He successfully merged Soul, Funk and Latin rhythms into a steaming, genre-bending mix; this formula packed both the dance floors and his pockets. He went on to produce a swag of albums. Heat! finds his group banging out their prominent brand of Latin grooves. These tracks as back then still have the capacity to excite the listener today. The album packs a thoroughly contagious array of vibes, hard-driving percussion, Fender bass backed by a small ensemble of somber strings. Other funky elements include Neal Creque's flexing organ licks and the intermingling gruff vocals of Jackie Soul's on a number of the tracks. The majority of the tracks are originals penned by Creque, but there's also a handful of colorful covers including "Georgia On My Mind", which became quite a hit. Other tunes feature a foreboding counterpoint between the strings and William Bevin’s vibes, and showcase what an accomplished arranger Creque was. Taken as a whole, this is an enjoyable and undeniably funky set showcasing some of the band’s best. For anyone who likes Latin jazz funk this album will be of great interest, recommended!

Prestige Records, PRST 7572, 1968

Beat Goes Public, BGPD 1048, 1992

Recorded 23^rd April, 1968 in New York City

Musicians:

Henry “Pucho” Brown - Timbales

Eddie Pazant - Baritone Saxophone, Tenor Saxophone, Flute

Al Pazant - Trumpet

Willie Bivens - Vibraphone

Neal Creque - Piano, Organ, Arranger

Jim Phillips - Bass

Norberto Appellaniz - Bongos

Cecil Jackson - Conga

Selwart Clarke, Sanford Allen, Alfred Brown - Violin

Jackie Soul, The Soul Sisters - Vocals

Tracks:

A1. Heat! {Jimmy Phillips} (4:46)

A2. Georgia On My Mind {Hoagy Carmichael} (3:56)

A3. The Presence Of Your Heart {Neal Creque} (4:08)

A4. Psychedelic Pucho {Pucho, Jimmy Phillips, Neal Creque} (6:59)

B1. I Can't Stop Loving You {Don Gibson} (3:37)

B2. Wanderin' Rose {Neal Creque} (7:54)

B3. Let Love Find You {Neal Creque} (3:20)

B4. Candied Yam {Neal Creque} (3:32)

B5. Payin' Dues {Neal Creque} (3:01)

Total Time: 41:13

Credits:

Producer, Design - Don Schlitten

Recording Engineer - Richard Alderson

Graphic Art - Irving Riggs

Eric Kloss - Consciousness! (1970) [re-rip]

Consciousness! is the tenth album by saxophonist Eric Kloss which was recorded in January 1970 and released on the Prestige label. The album sounds a lot more intense than To Hear Is To See! mainly because Pat Martino, who joins the band on guitar, is an fiery presence. A great album from Eric that again teams him with the Miles Davis rhythm section of the late 60's early 70's in addition Pat Martino, who was also entering much freer side to his playing. Overall, the LP is a showcase of soulful electric and funkier grooves a lot different to Kloss' earlier albums and his less tight formations in later years. All tunes are extensive with fine versions of "Sunshine Superman" and "Songs To Aging Children", plus the pieces "Consciousness" and "Outward Wisdom", highly recommended!

Prestige Records, PRST 7793, 1970

Recorded 6^th January, 1970 At RCA Recording Studios, New York City

Personnel:

Eric Kloss - Alto (#A1,B2, B3), Tenor (#A2,B1) Saxophones

Pat Martino - 6 String (#A2,B2), 12 String (#A1,B1,B3) Guitars

Chick Corea - Piano (#A2,B2), Electric Piano (#A1,B1,B3)

Dave Holland - Bass, Electric Bass

Jack DeJohnette - Drums

Tracks:

A1. Sunshine Superman {Donovan Philips Leitch} (10:36)

A2. Kay {Eric Kloss} (10:01)

B1. Outward Wisdom {Pat Martino} (6:05)

B2. Songs To Aging Children {Joni Mitchell} (6:59)

B3. Consciousness {Eric Kloss, Danny DePaola} (8:38)

Total Time: 42:19

Credits:

Producer, Design, Photo - Don Schlitten

Engineer - Paul Goodman (RCA)

Liner Notes - Greg Hall (June 1970)

Eric Kloss - In The Land Of The Giants (1969) [vinyl]

This set from 1969, finds the emerging Kloss in full flight, whether the setting is post-bop or modal, standard or balladic. At this juncture, Kloss shows maturity, outstanding technical chops and depth while the now famous supporting cast were obviously motivated and geared up for this session. The personnel here consists of Kloss; Alto Sax, Booker Ervin; Tenor Sax; Jaki Byard; Piano; Alan Dawson; Drums and Richard Davis; Bass. Highlights are, an absolutely stunning, up-tempo version of Miles Davis’ “So What” featuring the towering and vigorous tenor saxophone work of the late Booker Ervin. Here, Kloss and Ervin take turns reaching for the stars via soaring and electrifying lead soloing!........Not a cutting contest yet these esteemed gentlemen perform with conviction as if they were possessed by spirits... Kloss' sweet alto sax tone and sumptuous phrasing is evident on "When Two Lovers Touch". On the Ellington classic, "Things Ain't What They Used To Be" Kloss' expressionism and emotive lyricism displays mature sensibilities and expertise for such a young lad. ~ by Glenn Astarita.

Prestige Records, PRST 7627, 1989

Recorded 2^nd January, 1969 in New York City

Musicians:

Eric Kloss - Alto Saxophone

Booker Ervin - Tenor Saxophone

Jaki Byard - Piano

Richard Davis - Bass

Alan Dawson - Drums

Tracks:

A1. Summertime {George Gershwin, Ira Gershwin, DuBose Heyward} (7:30)

A2. So What {Miles Davis} (11:00)

B1. Sock It To Me Socrates {Eric Kloss} (5:17)

B2. When Two Lovers Touch {Eric Kloss} (5:34)

B3. Things Ain't What They Used To Be {Duke Ellington, Ted Persons} (5:48)

Total Time: 35:09

Credits:

Producer, Design - Don Schlitten

Recording Engineer - Dave Jones

Notes - Don Lass (May 1969)

Eric Kloss - To Hear Is To See! (1969) [re-rip]

Here we have another fine album from Eric Kloss. This LP like its follow up album ‘Consciousness!’ features the magnificent Chick Corea, Dave Holland  & Jack DeJohnette ‘Rhythm  Section’ without Pat Martino. Eric sets a newer tone to his earlier Prestige albums. This one clearly showcases his skills and ability to evolve into a more post bop freer jazz style. Well Recommended!

Moody bit of electric stuff recorded by Eric Kloss with the Miles' (then) rhythm section of Chick Corea, Dave Holland, and Jack DeJohnette. The groove is very open ended, as you'd expect from these guys at the time, but Kloss is right in the pocket with his sharp solos on alto and tenor. Tracks include "To Hear Is To See", "Stone Groove", and "Cynara". A tough one to find, and one of Kloss' best records! © Dusty Groove, Inc.

Prestige Records, PRST 7689, 1969

Recorded 22^nd July, 1969 in New York City

Personnel:

Eric Kloss - Alto & Tenor Saxophones

Chick Corea - Piano, Electric Piano

Dave Holland - Bass

Jack DeJohnette - Drums

Tracks:

A1. To Hear Is To See (5:19)

A2. The Kingdom Within (6:00)

A3. Stone Groove (6:57)

B1. Children Of The Morning (8:28)

B2. Cynara (9:36)

All Compositions by Eric Kloss

Credits:

Producer, Design, Photo - Don Schlitten

Recording - Danfort Griffiths

Liner Notes - Michael Cuscuna (October, 1969)

Melvin Sparks - What You Hear Is What You Get (2001)

Veteran guitarist Melvin Sparks recorded prolifically as a sideman on many classic soul-jazz recordings during the '60s and early '70s, and on What You Hear Is What You Get (Nectar), he and his organ combo host their own infectiously funky soul-jazz party. While this skilled ensemble jams with palpable good spirits throughout the recording, it's Sparks' sturdy rhythm support and dexterous Grant Green-esque solos that really highlight the tracks. The album opens with the rollicking "Another Joe," then moves on to the lively title track, which features some agile fingerwork from Sparks. The hard-grooving "The Governor" features a gritty solo by single-named tenor saxophonist Topaz, while the soul-soaked "Matter of Time" includes a chewy B-3 solo by guest organist Reuben Wilson. Sparks provides raspy vocals to two remakes: a spirited take on James Brown’s "Funky Good Time" and a rousing version of the chestnut "Money." ~ Lucy Tauss, JazzTimes.

Savant Records, SCD 2049, 2002

Recorded 3^rd-5^th December, 2001 At Tedesco Studios, Paramus, New Jersey

Personnel:

Melvin Sparks - Rhythm & Lead Guitar, Electric Bass (#7), Vocals (#4,8)

Joe "Herbie J." Hrbek - Alto Saxophone

George Papageorge - Organ [Hammond B-3]

Tim Luntzel - Electric Bass (#1,2,4,6,8) Acoustic Bass (#5,9)

Carter McLean - Drums

Guests:

Topaz - Tenor Saxophone (#3,4,8)

Reuben Wilson - Organ [Hammond B-3] (#6-8)

Tracks:

1. Another Joe {Melvin Sparks} (5:43)

2. What You Hear Is What You Get {Melvin Sparks} (6:29)

3. The Governor {George Papageorge} (5:59)

4. Funky Good Time {James Brown} (6:19)

5. Turnin' Point {Melvin Sparks} (5:57)

6. Matter Of Time {Melvin Sparks} (6:32)

7. Get N' It {Melvin Sparks} (6:50)

8. Money [That's What I Want] {Berry Gordy} (6:44)

9. Breeze {Melvin Sparks} (6:54)

Total Time: 57:27

Credits:

Producer - Mansoor Sabree, Samuel Burick

Engineer - Tom Tedesco

Photography - Dina Perrucci

Design - Keiji Obata, Littlefield & Company

Liner Notes - Bob Putignano [WFDU 'Across the Tracks']

Red Holloway - Sax, Strings & Soul (1965)

A rare captured outing whereby Tenorist Red Holloway in a European setting is backed by a full orchestra.  He chooses to play a contemporary array of tunes from the mid 60’s. His tone as always is majestic and well pronounced alongside a cleverly arranged set of charts by none other than Benny Golson. A time honoured classic not easily found, Enjoy!

Prestige Records, PRST 7390, 1965

Recorded August, 1964 in Stockholm, Sweden

Personnel:

Red Holloway - Tenor Saxophone

with Swedish Orchestra

Benny Golson - Arranger, Conductor

Tracks:

A1. When Irish Eyes Are Smiling {Olcott, Graff, Jr., Ball} (3:58)

A2. Bossa In Blue {Kahle} (2:59)

A3. Where Have All The Flowers Gone {Seeger, Hickerson} (3:07)

A4. Nights With Lora {Wallin} (3:34)

B1. If I Had A Hammer {Seeger, Hays} (3:31)

B2. I Wish You Love {Chauliac, Trenet} (4:20)

B3. Star Of David {Mason} (4:07)

B4. The Girls In The Park {Wallin} (3:09)

Total Time: 28:45

Credits:

Producer - Lew Futterman

Design - Don Schlitten

Photo - Gai Terrell

Liner Notes - Irv Lichtman

Don Patterson - Four Dimensions (1967) [vinyl]

Sweet soulful work from the legendary Don Patterson – a great Prestige set that has tenorist Houston Person joining the organist's hip trio with Pat Martino on guitar and Billy James on drums! The tunes have that loping soul jazz sound you'd find in Person's best early work at the time – a groove that's got plenty of bottom, but also a nice dose of lyricism as well – and the use of Houston's horn here seems to bring out a different approach from Patterson than you'll hear on his sessions with Booker Ervin. There's a very slight hardbop element at times - and titles include "Sandu", "Freddie Tooks Jr", "Red Top", and "Last Train From Overbrook". © Dusty Groove America, Inc.

Prestige Records, PRST 7533, 1968

Recorded 25^th August, 1967 in New York City

Musicians:

Don Patterson - Organ

Houston Person - Tenor Saxophone

Pat Martino - Guitar

Billy James - Drums

Tracks:

A1. Sandu {Clifford Brown} (4:45)

A2. Freddie Tooks Jr. {Don Patterson} (5:41)

B1. Embraceable You {George Gershwin, Ira Gershwin} (9:23)

B2. Red Top {Gene Ammons} (10:16)

B3. Last Train From Overbrook {James Moody} (3:57)

Total Time: 34:02

Credits:

Supervisor, Design - Don Schlitten

Engineer - Richard Alderson

Notes - Bob Porter (Jan. 1968)

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)