Michel Petrucciani - Playground (1991)

Pianist Michel Petrucciani, who during the early part of his career was heavily influenced by Bill Evans, gradually developed his own sound. By 1991 he was using Adam Holzman on synthesizer with his quintet (which on this date also includes bassist Anthony Jackson, drummer Omar Hakim and percussionist Steve Thornton) to play colors behind his piano. In addition, Petrucciani was backed by funky rhythms and emphasized his own original compositions. Rather than selling out to blatant commercialism, Petrucciani had actually found his own voice within the "contemporary" setting. The music on his CD is of consistently high quality (despite a few too many fadeouts). Highlights include "Miles Davis' Licks" (a blues that utilizes some of Davis' late-period nursery rhyme melodies), the intense "Brazilian Suite #3," a playful jam on "Laws of Physics" and the Keith Jarrett-ish "P'tit Louis." Actually, all 11 of Michel Petrucciani's originals are worth hearing and, despite the brief playing time (39 minutes) of this CD, it is recommended. ~ by Scott Yanow, AMG. 

Blue Note, CDP 7 95480 2, 1991
Recorded [Basic tracks and Overdubs] at Clinton Recording Studios, New York 

Musicians:
Michel Petrucciani - Piano [Steinway], Synthesizer, Arranger
Adam Holzman - Synthesizer, Programming [Synthesizer], Co-Arranger
Anthony Jackson - Bass
Omar Hakim - Drums (#1-4,6-9,11)
Aldo Romano - Drums (#5)
Steve Thornton - Percussion 

Tracks:
01. September Second {Michel Petrucciani} (4:45)
02. Home {Michel Petrucciani} (5:29)
03. P'tit Louis {Michel Petrucciani} (4:35)
04. Miles Davis' Licks {Michel Petrucciani} (4:29)
05. Rachid {Michel Petrucciani} (3:26)
06. Brazilian Suite #3 {Michel Petrucciani} (2:34)
07. Play School {Michel Petrucciani} (3:05)
08. Contradictions {Michel Petrucciani} (3:00)
09. Laws Of Physics {Adam Holzman} (4:47)
10. Piango, Pay The Man {Michel Petrucciani} (1:54)
11. Like That {Michel Petrucciani} (1:41) 

Total Time: 39:45 

Credits:
Producer - Eric Kressmann, Michel Petrucciani
Engineer - Tom Swift
Recording [Assistant] - Joe Martin, Neil Dignon
Mixing [Assistant] - David Merrill
Mastering - Jose Rodriques
Photography [Back] - Carol Friedman
Photography [Cover] - John Fenton
Art Direction - Carol Friedman
Design - Patrick Roques

Yusef Lateef Quartet - Live At International Jazz Festival, Montreux (1970)

Here we have Yusef Lateef and his quartet captured live in concert at the Festival International De Jazz held in Montreux in 1970. For this date Yusef Lateef is joined by Barry Harris on piano, Bob Cunningham on bass and Al Heath on drums. Recently it has been featured in a broadcast by Radio Suisse Romande, Espace 2. Lateef was one of the first Jazz musicians to explore Eastern music and fold those influences into his own work. A pivotal and influential musician, Lateef's blending of Eastern and Western sounds made a huge impression on John Coltrane during Coltrane’s free jazz period. In addition to his pioneering work as a musician, the late Dr. Lateef in his later years became a widely respected educator and author, leaving his legacy of music and compositions to the jazz world for future generations to enjoy. (Yusef Lateef born William Emanuel Huddleston; 9th October, 1920 - 23rd December, 2013). 

Radio Suisse Romande, Espace 2 Broadcast
Recorded 20th July, 1970 at the Casino in Montreux, Switzerland 

Musicians:
Yusef Lateef - Tenor Saxophone, Flute, Oboe
Barry Harris - Piano
Bob Cunningham - Bass
Albert "Tootie" Heath - Drums 

Tracks:
1. Yusef’s Mood {Yusef Lateef} (9:52)
2. These Foolish Things {Harry Link, Holt Marvell, Jack Strachey} (8:57)
3. Soul Flute {Yusef Lateef} (6:09)
4. The Road Back {Yusef Lateef} (6:57)
5. Stone Henge {Yusef Lateef} (11:37)
6. Off Minor {Thelonious Monk} (6:07)
7. A Blues {Yusef Lateef} (14:16)
8. Vibration {Yusef Lateef} (8:41) 

Total Time: 72:36

Archie Shepp Quartet - Live In Stuttgart {MKV} (1990)

A recording taken from the 6th International Theaterhaus Jazz Days 1990 held in Stuttgart. A wonderful concert capturing the then Archie Shepp Quartet in action. The broadcast enables the quartet to showcase four great tunes, two Duke Ellington numbers, a Cal Massy piece and one of Shepp’s own tunes; included is a short interview giving some insight to Archie’s philosophy on Jazz and Black Music. He leads his quartet playing both soprano and tenor saxes as well as some singing on “Mama Rose”. He is joined by the fantastic pianist Horace Parlan who sets out some vibrant solos. On bass is Wayne Dockery again like Horace gets a few of opportunities to demonstrate his skills. Last but not least is the energetic drummer Marvin “Smitty” Smith who clearly keeps the rhythm on a roll. The show was released on DVD which I converted to MKV for ease of upload, Enjoy! 

Recorded 14th April, 1990 At "Theaterhaus Jazztage", Stuttgart, Germany 

Musicians:
Archie Shepp - Soprano Sax, Tenor Sax, Vocals
Horace Parlan - Piano
Wayne Dockery - Bass
Marvin "Smitty" Smith - Drums 

Tracks:
1. TV Intro (0:30)
2. I Got It Bad [And That Ain't Good] {Duke Ellington, Ben Webster} (13:10)
3. Mama Rose {Calvin Massey} (11:45)
4. Dedication To Bessie Smith Blues {Archie Shepp} (13:26)
5. Interview with Archie Shepp [German subtitles] (3:22)
6. Sophisticated Lady {Duke Ellington} (10:40) 

Total Time: 55:16 

Notes:
Television Broadcast, 22nd December, 1990
Lineage: SW3 TV Broadcast > DVD > MKV
© Süddeutscher Rundfunk Stuttgart - SDR 1990

The Return of the Royal Pastry (... and eventually some Booker Ervin)

 I am reflecting on my history here in the blog world - I have a landmark event to set in my mind when it started... it was named Katrina - The original Kingcake Crypt would have started about a month prior, had maybe 3 posts, then it took a 6 month nap...that puts us in 2006. It was a solo act for 3 or 4 years and then I got the brilliant idea to invite partners because they could keep things going and growing with or without me. Turns out to be one of my better ideas in life. I grabbed grumpy before he even had his own place, although that was both imminent and inevitable, I just threw out the first invite. Chris came on board not long after and eventually became the rock of this place that he is now - other partners have come and gone and may be back. We got robot infected and 5 years in did a restart to this place which has 10 years on it now. I kept getting new ideas and wandering off, we did new blogs and met new folks - I guess the smartest thing that I did in all this is pick awesome partners, give them full admin autho so they could do what they wanted...they kept things alive and cooking even when I disappeared for long times - it is cool to have a 'home' to come back to and I've been thinking about what the hell to do to actually contribute here again... I have not ripped a new record for a long time (that is about to change), so I am going to start with some cool stuff I did way back when that hasn't been seen for years - I am gonna start with a Booker Ervin Festival because he is one of MY 'major dudes'.  

the tags say that I ripped this album in 2014 - my memory is that the cover was kind of chewed, but the vinyl was pretty clean It is in 16/48 and sounds pretty dang good.
                         

Frank Wess, Bobby Jaspar, Seldon Powell - The Spirit Of Charlie Parker (1958)

'The Spirit of Charlie Parker' is an atmospheric album that examines four Charlie Parker tunes; beautifully arranged by Billy van Planck and engineered by none other than the great late Rudy van Gelder. The musicians on this LP comprise of three flutists: Frank Wess, Bobby Jaspar, Seldon Powell, one trombonist Frank Rehak, and a crack rhythm section with the amazing pianist and vibist Eddie Costa together with bassist George Duvivier and drummer Bobby Donaldson. In all four great Bird tunes are showcased with great finesse, Enjoy!

 

World Wide Records, MGS-20003, 1958
Recorded 27th March, 1958 At Van Gelder Studio, Hackensack, New Jersey 

Musicians:
Frank Wess - Flute
Bobby Jaspar - Flute, Clarinet
Seldon Powell - Flute, Tenor Saxophone
Frank Rehak - Trombone
Eddie Costa - Piano, Vibraphone
George Duvivier - Bass
Bobby Donaldson - Drums
Billy Ver Planck - Arranger 

Tracks:
A1. Parker's Mood (5:58)
A2. Marmaduke (9:38)
B1. Now's The Time (8:07)
B2. Ah Leu-Cha (7:52) 

All Compositions by Charlie Parker

Total Time: 31:35

Credits:
Supervisor - Ozzie Cadena
Engineer - Rudy van Gelder
Photography - Hank Schneider
Design [Album] - Levy A. Agency
Liner Notes - H. Alan Stein

Donald Harrison Jr. Introducing Christian Scott - Paradise Found (2000)

Harrison is being called one of the most important musicians of the new millennium. On "Paradise Found," he continues to explore his groundbreaking Nouveau Swing style, which merges straight-ahead acoustic swing with modern R&B, second-line, hip-hop, Mardi Gras Indian, and reggae rhythms. There are few jazz musicians who can play it all, from traditional New Orleans style jazz to swing, bop, post-bop, modern, smooth, avant-garde, and beyond, but Harrison has developed his own personal style that traverses and synthesizes all these mediums with great success. Paradise Found also introduces 16-year-old trumpeter Christian Scott. Scott like Harrison is a native New Orleanian. On "Paradise Found," an aura of soothing, soulful serenity emanates from the music, reflecting the leader's recent revelations. "I think I've reached the point where I want to use music to help people and try to make the world a better place," he says. "This starts with the understanding that paradise starts within. When you come to a peaceful place within yourself and realize whom you are, you begin to play from your heart. That is what this record is about, accepting oneself and finding a peaceful place and trying to do the right thing by other people." ~ amazon.co.jp. 

Fomp Records, 9999, 2003
Recorded 5th March, 2000 At Ultrasonic Studio, New Orleans 

Musicians:
Donald Harrison Jr - Alto Saxophone
Christian Scott - Trumpet
Andrew Adair - Piano
Vicente Archer - Bass
John Lamkin - Drums 

Tracks:
01. Paradise Found {Donald Harrison} (6:53)
02. NY 2000 {Donald Harrison} (5:56)
03. Burnin {Donald Harrison} (4:55)
04. Young Blood {Christian Scott} (5:30)
05. Jamaican Girl {Donald Harrison} (7:27)
06. All My Love {Donald Harrison} (7:58)
07. Giant Steps {John Coltrane} (3:20)
08. One For Bird {Donald Harrison} (4:34)
09. Misty {Erroll Garner, Johnny Burke} (6:41)
10. Coolin {Donald Harrison} (6:29)
11. Idris Song {Donald Harrison} (3:40)
12. Soul Man {Donald Harrison, Isaac Hayes, David Porter} (6:43) 

Total Time: 70:06

Credits:
Producer, Project Coordinator - Donald Harrison
Mastering - Greg Calbi

Woody Shaw - Jazz At The Maintenance Shop (1979)

Here we have a unique video recording catching the Woody Shaw Quintet in action. For this concert Woody showcases a dynamic group especially including Carter Jefferson on saxophones, pianist Onaje Allan Gumbs, bassist Stafford James and drummer Victor Lewis. The group sets about to enthrall the audience with a number of standards and contemporary tunes. Thanks to the Iowa Public Broadcasting Network this concert was preserved on DVD. For its time the picture quality is reasonable, but the real captivation is the music!!!

Recorded at "The Maintenance Shop", Iowa State University, Ames, Iowa 

Musicians:
Woody Shaw - Trumpet
Carter Jefferson - Tenor Sax, Soprano Sax
Onaje Allan Gumbs - Piano
Stafford James - Bass
Victor Lewis - Drums 

Setlist:
1. Bye Bye Blackbird {Mort Dixon, Ray Henderson}
2. On Green Dolphin Street {Ned Washington, Bronislau Kaper}
3. Seventh Avenue {Victor Lewis}
4. Sun Bath {Peggy Stern}
5. Dolphin Dance {Herbie Hancock}
6. It All Comes Back To You
7. Theme For Maxine 

Video info from: https://www.loc.gov/item/jots.200016535/ 

Lineage: Broadcast > VHS > DVD
DVD to MKV using HandBrake cropping flickering borders preserving aspect ratio at the same and apply filters in an attempt to improve video quality.
Screenshots of the artists taken from running MKV using K-Lite Media Player.

Buried Treasure in your yard, Part 2

 Umm... I really am kind of baffled by this one, how did I not know that I had this and where the hell did it come from? I am a BIG fan of this particular band and the idea that I have one that has missed attention in the recent wave of live Woody Shaw recordings being both issued or widely circulated seems, well... almost inconceivable! I have looked high and low and compared against every set list I could see for 1979 and this does not match anything that I see. It seems unlikely, however, that it would be 1979, this lineup suggests 1977. The text document in the file lists Clint Houston on bass and Onaje Alan Gumbs on piano - my ears tell me that is not true in either case and there is no reason to assume it is not the normal band with Stafford James and Larry Willis. It is a radio broadcast from a Seattle jazz club, Parnell's... James is a little too prominent in the mix, but your ears adjust quickly: 

 The best part for me is that we get one more small scrap of Carter Jefferson to add to the precious little around! I have not done any editing to this so it has some warts.

Chris' video post has convinced me that it really is Gumbs rather than Willis in 1979, but there is still no way that is Clint Houston.

Buried Treasure in your own yard! Part one...

 

One of the things that many of you can testify to is that when you have a ridiculous huge digital collection, things can hide from you in your own files... even stunningly good stuff that you never got around to listening to! There was a time when I was into live recording trading and to this day there is a Live and Unreleased file on my hard-drive that has a bunch of stuff that I never quite got around to listening to. Now that I am officially in the 'old fart do it now' mode, I make a point of exploring what is there at least once a month. Today was that day and I found 2 jaw dropping gems... both in FLAC! I am relatively sure that I never actually listened to either of these recordings as it is tough to believe that I would not remember. Here is part one of what will be a two parter! The following comes from a text file in the file...

Red Rodney, Ira Sullivan & the Jack Wilkins Trio

Amsterdam (de Meervaart), International Jazz Festival, 9 August, 1980

The Jack Wilkins Trio with guests Red Rodney and Ira Sullivan at the International Jazz Festival Amsterdam (de Meervaart), Saturday 9 August, 1980. My taping of the direct Dutch radio broadcast.

Ira Sullivan arriving a little late on stage, thinking the Jack Wilkins Trio would play a longer set; Rodney and Sullivan had never played with Wilkins before.

There was a news bulletin (of almost 5 minutes) in between "Mr Oliver" and the following track, causing these tracks to be incomplete and  fading in, respectively.

Any info on the two "unknown" tunes is of course appreciated.

Enjoy!

Personnel:

Red Rodney (tp,flh), Ira Sullivan (tp,flh,as,fl), Jack Wilkins (g), Ron McClure (b), Billy Hart (d)

Track list:

1 Announcements

2 Unknown

3 Mr Oliver (nc)

4 Unknown (fading in)

5 Dolphin Dance

6 Monday Dance

7 The Red Arrow

8 Announcements

9 Happy Birthday into Buzzy

Lineage: FM > tape > recording, tracking and editing wav file in Audacity > CD-R > Wav > TLH (Flac 8, sector align) 

Audio quality:

A- (FM)

There it is, that is what I got... Hell, I didn't even know that I had it!

The Bossa Tres & American friends

 

Let's call this one a loner from the Kingston to Rio blog:

A somewhat oddly put together CD that combines the 12 tracks of this trio album with 7 tracks from a leaderless album  from 2 years later where they serve as the rhythm section with a group of Americans. The Brazilian version was Os Bossa Tres e sues Amigos so it is rightfully their album. That full second album also had 12 tracks and I don't see anything which describes criteria for why these 7 chosen. I have an mp3 version with the extra tracks, but I don't really see much point in cutting up the CD.

"The Bossa Três was the first instrumental group of the bossa nova. In 1961, Luís Carlos Vinhas (piano), Tião Neto (bass), and Edison Machado (drums) teamed up to form the trio. They went to the U.S. to accompany the dancers Lennie Dale, Martha Botelho, and Joe Benett on The Ed Sullivan Show. They remained in the U.S. and recorded three albums in New York, which were released by Audio Fidelity in 1962 (one of them accompanying Jo Basile). The group continued to perform in jazz nightclubs until its dissolution. Returning alone to Brazil, Vinhas regrouped the trio with other musicians and continued to work, recording and performing throughout Latin America. The Bossa Três recorded with Pery Ribeiro in 1966 and, in 2000, with Wanda Sá." AMG

Azteca - Pyramid of the Moon

Sometimes we need a little variety in our listening. Some of you have noticed that I have 2 new projects exploring music of Jamaica, Brazil, Africa and places in between. This sort of falls into a place where it isn't a good fit as it is an American band even tho it is very Latin music. I have long stretched the bounds here as The Crypt includes all my tastes even tho the primary focus has always been Jazz. This was the second album from this super group, my copy of the first is, alas, an mp3.

"Azteca was a large Latin rock band founded by percussionist Coke Escovedo (April 30, 1941 - July 13, 1986), formerly of Santana, in San Francisco in early 1972. Escovedo brought in his brother, singer/percussionist Pete Escovedo, and another percussionist Victor Pantoja; singers Errol Knowles, Wendy Haas, and Rico Reyes; horn players Bob Ferreira (saxophone), Tom Harrell (trumpet, flugelhorn), Mel Martin (saxophone, flute), and Jules Rowell (trombone); keyboardists George DiQuatro, George Maribus, Mike Nock,and Flip Nunez; guitarist Jim Vincent; bass player Paul Jackson; and drummer Lenny White. (Guitarist Neal Schon, another former member of Santana, sat in on guitar, bringing the total lineup to 17 musicians.) The band signed to Columbia Records and released its self-titled debut album in December 1972; it spent nine weeks in the lower reaches of the charts starting in January 1973.


Azteca recorded a second album, Pyramid of the Moon, for release in the fall of 1973. By the time it appeared, Bill Courtial had replaced Vincent on guitar; Pat O'Hara had replaced Rowell on trombone; and John Brinck had replaced White on drums. The album failed to reach the charts, and personnel changes continued, with Coke Escovedo leaving the group, after which Columbia canceled its recording contract. Azteca continued to perform around the San Francisco Bay Area until disbanding in 1976, with Pete Escovedo's teenage daughter Sheila Escovedo (later known as Sheila E.) replacing Pantoja toward the end.


Filmmaker Daniel E. Meza began trying to put Azteca back together in the mid-2000s, eventually succeeding in assembling a version of the band that included Pete Escovedo, Courtial, Haas, Jackson, Knowles, Pantoja, Rowell, and White, along with trumpeter Mario Gonzalez, keyboard player Murray Low, flute and saxophone player Melecio Magdaluyo, and piccolo and saxophone player Alex Murzyn. This 12-piece unit played a concert at the Key Club in Hollywood, CA, on September 15, 2007, that Meza filmed and recorded for the DVD documentary Azteca: La Piedra del Sol and the live album From the Ruins, both released by Inakustik." AMG

 

Mulgrew Miller - Getting To Know You (1995)

Mulgrew Miller is in top form for these 1995 sessions. as he covers a wide range of compositions. With his regular trio on hand, including bassist Richie Goods and drummer Karriem Riggins, plus the addition of percussionist Steve Kroon and conga player Big Black, this marked the pianist's final recording for the Novus label. Miller's exotic "Eastern Joy Dance" and thoughtful "Second Thoughts" (which brings James Williams' writing style to mind) provide an excellent introduction. Standards include a breezy waltz treatment of "Getting to Know You" (from The King and I) and a driving rendition of "If I Should Lose You." The Beatles' "Fool on the Hill" takes flight in Miller's hands, as he adds a sprightly touch without sounding like a cocktail pianist. He also manages to make something of the usually lame "I Don't Know How to Love Him," as one wouldn't expect an introspective gospel flavor added to an Andrew Lloyd Webber composition, even if it is from Jesus Christ Superstar. Goods' contributed the soulful "Nandhi" to provide a strong finish to this rewarding, though now sadly out of print, CD. ~ by Ken Dryden, AMG. 

RCA/Novus Records, 01241 63188-2, 1995
Recorded & Mixed 20th-21st March, 1995 At Manhattan Center Studios, New York City 

Musicians:
Mulgrew Miller - Piano [Steinway Concert Grand]
Richie Goods - Bass
Karriem Riggins - Drums
Big Black - Conga (#1,2,4,7)
Steve Kroon - Percussion (#1,2,7,8) 

Tracks:
01. Eastern Joy Dance {Mulgrew Miller} (6:39)
02. Second Thoughts {Mulgrew Miller} (5:49)
03. Sweet Sioux {Freddie Hubbard} (6:52)
04. Getting To Know You {Richard Rodgers, Oscar Hammerstein II} (6:19)
05. Whisper {Mulgrew Miller} (5:46)
06. Didn't We {Jimmy Webb} (5:15)
07. Fool On The Hill {John Lennon, Paul McCartney} (6:46)
08. I Don't Know How To Love Him {Andrew Lloyd Webber, Tim Rice} (5:11)
09. If I Should Lose You {Ralph Rainger, Leo Robin} (6:54)
10. Nandhi {Richie Goods} (5:36) 

Total Time: 61:07 

Credits:
Producer - Tim Patterson
Recording, Mixing & Mastering - James Nicholls
Assistant Recording & Mixing Engineer - Richard Clarke
Art Direction, Artwork, Design - Sean Mosher-Smith
Photography - Daniel Miller
Liner Notes - Samuel Fromartz

Kevin Hays - El Matador (1990)

Kevin Hays recorded this early session (his second as a leader) in 1990, at the age of 22. Originally released in 1991 on the Jazz City import label, the disc was reissued in the U.S. in 1998 by Evidence. The young pianist is joined by alto/soprano saxophonist Steve Wilson, bassist Scott Colley, drummer Bill Stewart, and on four tracks, the tenor titan Joe Henderson. Hays' writing and playing are remarkably advanced, particularly on "Emperor Leon" (dedicated to drummer Leon Parker) and "The Brahmin's Son," an extended piece inspired by Herman Hesse. Quartet renderings of "The Good Life" and John Coltrane's "Like Sonny" also appear, along with a full quintet arrangement of Hindemith's "Nobilissima Visione," on which Henderson truly shines. Steve Wilson's angular blues-head "No Such Luck" closes the set. El Matador is a vital addition to Hays' discography, even after the fact. ~ by David R. Adler, AMG. 

Jazz City, PCCY-00247, 1991
Evidence Records, ECD 22199-2, 1998
Recorded August, 1990 At “The Studio”, New York City 

Musicians:
Kevin Hays - Piano
Steve Wilson - Alto Saxophone, Soprano Saxophone
Joe Henderson - Tenor Saxophone {#1,2,5,6)
Scott Colley - Bass
Bill Stewart - Drums 

Tracks:
1. El Matador {Kevin Hays} (8:02)
2. Emperor Leon {Kevin Hays} (10:28)
3. Like Sonny {John Coltrane} (6:46)
4. The Good Life {Sacha Distel, Jack Reardon} (6:56)
5. The Brahmin's Son {Kevin Hays} (10:54)
6. Nobilissima Visione {Paul Hindemith} (6:16)
7. Snake Eyes {Kevin Hays} (7:53)
8. No Such Luck {Steve Wilson} (5:26) 

Total Time: 62:41 

Credits:
Producer - Tony Ariga, Yoshiaki Masuo
Engineer - David Baker
Photography - Alan Nahigian
Liner Notes - Ira Gitler
Reissue Producer - Jerry Gordon

Lewis Nash - It Don't Mean A Thing (2005)

For this session Lewis is accompanied by vibist Steve Nelson, pianist Jeb Patton and bassist Peter Washington. Most of the tunes are trio performances with drums, vibes and bass, with only three songs in a quartet formation with pianist Jeb Patton. There are a number of instances on this disc, where Nash as the leader plays some great solos, but never dominates. In addition, Steve Nelson is well featured playing in a crisp mid-tempo across many of the tracks. Meanwhile the driving rhythm of Peter Washington's running basslines push a tight sound are a standout. Not to overlook the comping of Jeb Patton adding further dynamism with differing chords, rhythms, and countermelodies. Overall, this album is a showcase of well-known jazz standards including "Skeeter Blues" by Nash, that that truly swing! 

M&I Jazz, MYCJ-30250, 2005
Recorded 2003? 

Musicians:
Lewis Nash - Drums
Steve Nelson - Vibraphone
Jeb Patton - Piano (#3,9,10)
Peter Washington - Bass 

Tracks:
01. It Don't Mean A Thing {Duke Ellington, Irving Mills} (6:56)
02. Caravan {Duke Ellington, Juan Tizol} (9:27)
03. Sophisticated Lady {Duke Ellington} (6:44)
04. Tico Tico {Zequinha de Abreu} (4:08)
05. Strollin' {Horace Silver} (5:25)
06. Body And Soul {Green, Heyman, Sour, Eyton} (7:13)
07. Close Your Eyes {Bernice Petkere} (6:01)
08. How Insensitive {Antônio Carlos Jobim} (5:27)
09. We'll Be Together Again {Carl T. Fischer, Frankie Laine} (5:11)
10. Skeeter Blues {Lewis Nash} (3:41) 

Total Time: 60:13 

Producer - Makoto Kimata, Todd Barkan 

"Everything depends on how daring you want to be," he said. "Parameters exist in any musical situation, and they force you to get the most from the least. You try not to limit yourself to 'this is how you're supposed to play this kind of music.' You jump in, let your ears dictate, and keep all options on the table. I might borrow some sound or approach from an avant garde context that works in the middle of trading fours on a blues. Sound can cross genres and styles. It's just a sound. It's your job to figure out how to use that sound tastefully and in context. The more things you've done, the more you'll be able to interject something new." ~ Lewis Nash.

LeeAnn Ledgerwood - You Wish (1991)

LeeAnn Ledgerwood, who played in New York clubs for most of the 1980s, finally made her debut as a leader on this set, which is comprised of six of her originals, two from flutist Jeremy Steig and a pair of standards. Throughout, the pianist often recalls Chick Corea (especially on "Nardis" and the intense "Terribillis"), performing with a trio, a quartet and solo (a largely unrecognizable "I Want to Talk About You"). Ledgerwood takes several impressive improvisations, but Jeremy Steig really dominates the four songs he appears on, while tenorman Bill Evans (who is on two selections) is quite effective on "Smash and Grab." With either Eddie Gomez or Steve LaSpina on bass in addition to drummer Danny Gottlieb, this well-rounded set was a good start for LeeAnn Ledgerwood's solo career. ~ by Scott Yanow, AMG. 

Triloka Records, 320187-2, 2002
Digitally recorded 4th-5th January, 1991 At Power Station, New York City 

Musicians:
LeeAnn Ledgerwood - Piano, Keyboards
Jeremy Steig - Flute
Bill Evans - Tenor Saxophone, Soprano Saxophone
Eddie Gomez, Steve LaSpina - Bass
Danny Gottlieb - Drums 

Tracks:
01. Robins Row {Jeremy Steig, LeeAnn Ledgerwood} (3:53)
02. Taisho Pond {LeeAnn Ledgerwood} (4:50)
03. Miss Perfect {Jeremy Steig} (5:32)
04. Chance {LeeAnn Ledgerwood} (5:39)
05. Nardis {Miles Davis} (8:09)
06. Afterglow {Jeremy Steig} (3:12)
07. You Wish {LeeAnn Ledgerwood} (7:02)
08. Smash And Grab {LeeAnn Ledgerwood} (4:20)
09. Terribillis {LeeAnn Ledgerwood} (6:31)
10. I Wanna Talk About You {Billy Eckstine} (2:58) 

Total Time: 52:06 

Credits:
Producer, Remixing - Walter Becker
Executive-Producer - KD Kagel, Mitchell Markus, Paul A. Sloman
Engineer, Digital Editing, Mastering - Roger Nichols
Engineer [Assistant] - Dan Gellert
Remixing [Assistant] - Tom Hardisty

Géraldine Laurent - At Work (2015)

A very personal approach to the alto saxophone, an incandescent playing whose sentences are imbued with an always surprising lyricism, a sound which belongs only to her: Géraldine Laurent is one of those figures who have proved that they have their word to say and that jazz was not just a men's business. 

Born in 1975 in Niort, Géraldine began her musical studies with the classical piano then with the saxophone at the age of 13. When she came of age, she was quickly noticed for her talent as a sidewoman and at 30 she took the plunge to form her own group, the Time Out Trio, in the company of double bass player Yoni Zelnik and drummer Laurent Bataille, with whom she skimmed the stages. national and international. 

Impressed by the volcanic sincerity of her playing, producer Francis Dreyfus invited her to join his label Dreyfus Jazz for which she recorded Time Out Trio (2007) and Around Gigi (2010). When the producer disappears, Géraldine leaves the label and takes part in a collective around the music of Charlie Parker with Manu Codjia on guitar and Christophe Marguet on drums. Together they record Looking for Parker (2013), an explosive record of delightful modernity. During this time, she does not neglect her pleasures as a sidewoman alongside Aldo Romano, Henri Texier, Ricardo Del Fra, Rhoda Scott or Terez Montcalm. 

In 2015, Géraldine decided to resume her career as a leader and gathered around her a group bringing together the rising stars of the new generation: Paul Lay on the piano, Donald Kontomanou on drums and the faithful Yoni Zelnik on the double bass. The resulting disc, At Work, is made up for the most part of personal compositions and a few historical standards, all approached with disconcerting freshness. To hear the result, one wonders what is the secret of Geraldine to keep intact the great lyrical tradition of jazz while radically renewing it with so much naturalness and talent. The answer is undoubtedly in her stubbornness to be in the music, always at work. ~ Inclinaisons.com. [Translated from French] 

Gazebo Records, GAZ 123, 2015
Recorded & Mastered in March, 2015 at MidiLive Studios (France) 

Musicians:
Géraldine Laurent - Alto Saxophone
Paul Lay - Piano
Yoni Zelnik - Double Bass
Donald Kontomanou - Drums 

Tracks:
1. Odd Folk {Géraldine Laurent} (3:19)
2. At Work {Géraldine Laurent} (6:15)
3. Another Dance {Géraldine Laurent} (5:12)
4. N-C Way {Géraldine Laurent} (7:01)
5. Room Number 3 {Géraldine Laurent} (5:50)
6. Up To It {Géraldine Laurent} (6:48)
7. Chora Coraçao {Antônio Carlos Jobim} (5:32)
8. Epistrophy {Thelonious Monk} (6:19)
9. Goodbye Porkpie Hat {Charles Mingus} (4:12) 

Total Time: 51:28 

Credits:
Producer - Laurent De Wilde
Executive Producer - Hélène Lifar
Recording & Mastering - Dominique "Dume" Poutet
Photography - Steve Wells
Photos [Session] - Benoît Erwann Boucherot
Artwork - Ugo Cab

Ayako Hosokawa - to Mr. Wonderful (1977)

Recorded originally by the renowned Japanese jazz label Three Blind Mice in 1977, this popular title has been re-mastered and released by First Impression Music on the popular audiophile format developed by Sony known as SACD. Discovered by Earl Hines, Ayako Hosokawa is a delightful blend of East meets West vocal jazz music. Hosokawa's music clearly illustrates the possible contact between the two cultures. Accompanied by an orchestra, you will be surprised by the heart and soul Ayako puts into each of these songs on this Stereo SACD including her versions of: 'Misty,' 'My Foolish Heart,' 'Bridge Over Troubled Water' and 'The Lady is a Tramp.' 

Three Blind Mice, TBM-3008, 1977
First Impression Music, FIMSACD061, 2004
Recorded 9th & 10th June, 1977 at Epicurus Studios, Tokyo, Japan 

Personnel:
Ayako Hosokawa - Vocals
Konosuke Saijo - Tenor Saxophone
Tsuyoshi Yamamoto - Piano
Shoji Yokouchi - Guitar
Isoo Fukui - Bass
Kazuo Okamoto - Cello
Tetsujiro Obara - Drums
Yoshihisa Tamano - Violin [1st Violin]
Mihoko Morioka - Violin [2nd Violin] 

Tracks:
1. Wrap Your Troubles In Dreams {Harry Barris, Ted Koehler, Billy Moll} (3:32)
2. Misty {Johnny Burke, Erroll Garner} (5:38)
3. Our Love Is Here To Stay {George Gershwin, Ira Gershwin} (4:04)
4. My Foolish Heart {Victor Young, Ned Washington} (5:23)
5. Bridge over Troubled Water {Paul Simon, ‎Art Garfunkel} (5:44)
6. When You Smile {Ralph MacDonald, William Salter} (2:58)
7. Mr. Wonderful {Jerry Bock, George David Weiss, Larry Holofcener} (3:56)
8. Feel Like Makin 'Love {Eugene McDaniels} (4:19)
9. The Lady Is A Tramp {Richard Rodgers, Lorenz Hart} (2:46) 

Total Time: 38:20 

Credits:
Producer - Takeshi "Tee" Fujii
Arranger - Shoji Yokouchi
Recording Engineer - Yoshihiko Kannari
Cutting Engineer - Mitsuharu Kobayashi
Art Direction - Ben Nishizawa

Dave Kikoski - Persistent Dreams (1991)

Persistent Dreams, which was produced by Walter Becker, jumps between two different genres. While Becker in the liner notes expresses admiration for pianist Dave Kikoski's modern straight-ahead quintet which he had heard a couple of years earlier at the legendary Hollywood jazz club Catalina Bar & Grill, four of the first five selections on this CD are somewhat commercial. Kikoski and his sidemen play well but the material is forgettable. Best on those mostly sleepy tracks are the wordless vocals of Vera Mera during the haunting "Lord of the Vine." Things begin to wake up with David Jensen's fiery tenor on John Coltrane's "Satellite" and Kikoski finally cuts loose on Wayne Shorter's "Toy Tune." The high point is the heated quintet on "Falling in Love with Love," featuring Kikoski, Jensen and trumpeter Randy Brecker. If only the entire CD was at that level. Still, if found at a budget price, this now-obscure CD is worth picking up. ~ by Scott Yanow, AMG. 

Triloka Records, 7191-2, 1992
Recorded 17th & 18th October, 1991 At Clinton Studios, New York 

Musicians:
Dave Kikoski - Piano, Synthesizer (#1,4,5), Arranger
Randy Brecker - Trumpet (#3,8)
Dave Jensen - Tenor Saxophone (#4,8)
Cecelia Tenconi - Flute (#5)
Vadim Zilbershtein - Guitar (#5)
James Genus - Electric Bass (#1,3,5)
Ed Howard - Acoustic Bass (#2,4,6-8)
Ben Perowsky - Drums (#1-3,5)
Billy Hart - Drums (#4,6-8)
Alex Acuña - Percussion (#1,3,5)
Vera Mera - Vocals (#1) 

Tracks:
1. Lord Of The Vine {Dave Kikoski} (5:25)
2. Morning After {Al Kasha, Joel Hirschhorn, John Williams} (8:11)
3. Train Of Thought {Dave Kikoski} (6:23)
4. Satellite {John Coltrane} (6:27)
5. Green Trees {Dave Kikoski} (5:12)
6. Toy Tune {Wayne Shorter} (5:04)
7. Lonely {Dave Kikoski} (6:58)
8. Falling In Love With Love {Richard Rodgers, Lorenz Hart} (7:14)
9. Persistent Dreams {Dave Kikoski} (3:28) 

Total Time: 54:22

Credits:
Producer, Liner Notes - Walter Becker
Executive-Producer - K.D. Kagel, Mitchell Markus, Paul A. Sloman
Engineer, Mixing, Editing [Digital], Assemblage, Mastering - Roger Nichols
Engineer [Assistant] - Jackie Brown
Coordinator - June Popowich
Art Direction - The Duke Design Co.

Donald Harrison, Mulgrew Miller, Christian Scott - The Survivor (2006)

Cultural critic Greil Marcus wrote a scathing essay at the end of the 1970s about the rampant overuse of the word "survivor" in modern life. Over 25 years on, musicians of a certain age arguably have more of a right to use the S-word, especially a saxophonist like Donald Harrison, who has stayed true to his own soul-jazz path since his early days as a sideman despite the fact that his brand of funk-influenced hard bop has rarely been the least bit fashionable, even among many jazz listeners. The Survivor is a timeless album, most of which sounds like it could have come from any point in Harrison's career. Yet it's no mere nostalgia kick, because underneath Harrison's sterling alto work, the rhythm section sounds fairly attuned to contemporary trends. "The Hook Up" in particular has a skittering, hip-hop-influenced vibe to John Lamkin's drums; the closing track takes it all the way, being a mash-up of Harrison playing the Duke Ellington standard "Caravan" over a turntablist and a sample of James Brown's iconic "Funky Drummer" beat, perhaps the most-used sample in hip-hop history. The reason this track works in the context of more standard Harrison fare as the gentle original ballad "Sincerely Yours," rather than sounding like a stab at cultural relevance from an aging player, is that funk in all its forms has been at the root of not only Harrison's own music, but of this particular jazz path since the days of Miles Davis' "Walkin'" back in the early '50s. "Survivor" may still be overstating the case a bit, but The Survivor shows that far from being an esoteric form for aesthetic snobs and old folks, Harrison's music has grown along a parallel path to more familiar styles, and moves easily back and forth between them. ~ by Stewart Mason, AMG. 

Nagel Heyer Records, 2068, 2006
Recorded 22nd November, 2004 At The Studio, New York 

Musicians:
Donald Harrison - Alto Saxophone
Christian Scott - Trumpet
Mulgrew Miller - Piano
Zaccai Curtis - Piano
Luques Curtis - Bass
John Lamkin - Drums 

Tracks:
1. The Survivor {Donald Harrison} (8:49)
2. Twerk It {Donald Harrison} (8:43)
3. Summertime {George Gershwin} (9:28)
4. Cool Breeze {Donald Harrison} (5:20)
5. The Hook Up {Donald Harrison} (9:08)
6. Oriental Folk Song {Wayne Shorter} (7:54)
7. Nouveau Swing {Donald Harrison} (7:41)
8. Sincerely Yours {Donald Harrison} (9:27)
9. Caravan [Who Is The Funky Drummer] {Juan Tizol} (5:19) 

Total Time: 71:49 

Credits:
Producer, Photo - Frank Nagel-Heyer
Engineer - Jon Rosenberg
Assistant Engineer - Eiji Takasugi
Mixing - Florian Sommer
Mastering - Ben Ahrens
Cover - Woellergestaltung, Hamburg

Weldon Irvine - Time Capsule (1973)

The sublime Time Capsule remains Weldon Irvine's most fully realized and influential recording. Assembled as a kind of musical scrapbook documenting the thought patterns and belief systems of the early '70s, it nevertheless boasts a surprising vitality and timelessness thanks to luminous funk grooves that anticipate the latter-day emergence of acid jazz. Irvine also rhymes over several tracks, further cementing his influence on successive generations of hip-hop. A profoundly righteous spirituality winds through all eight of Time Capsule's performances, assaying both the affection ("Soul Sisters") and anger ("Watergate") vying for control of post-Woodstock America. Irvine's searing keyboard and piano playing further capture the moment in question, deftly balancing between beatitude and bitterness. ~ by Jason Ankeny, AMG. 

Nodlew Music, NM-1002, 1973
Hubbub Records, HUBCD13, 1996
Recorded and Re-Mixed 17th May, 1973 At Sound Ideas Studio, New York 

Musicians:
Weldon Irvine - Hammond B-3 (#3), Fender Rhodes (#1,2,4,7) Melodica (#5,6),
Piano [Solo] (#6), Narrator (#1), Vocals (#3,4)
Jimmy Owens - Trumpet (#2,3), Flugelhorn (#4)
Preston Williams - Flugelhorn (#2-4)
George Cables - Fender Rhodes (#3,5,6)
John King - Guitar, Vocals (#2)
Alex Blake - Electric Bass [Fender] (#2,4)
Clint Houston - Bass (#3,5,6)
Anthony Wiles - Congas (#2,4,5,6) Percussion (#3)
Lenny White - Drums (#2-6)
Napoleon Revels - Percussion (#3-6)
Charlette Cook - Voice [Recitation] (#1,4,7)
Emerson Cain Vocals (#2,4)
Willa Vaughn - Vocals (#2) 

Tracks:
1. Time Capsule {Weldon Irvine} (2:24)
2. Feelin' Mellow {Weldon Irvine, John King} (3:44)
3. Soul Sisters {Weldon Irvine} (7:36)
4. Deja Vu {Weldon Irvine} (9:26)
5. Watergate---Don't Bug Me! {Weldon Irvine} (7:10)
6. Spontaneous Interaction {Weldon Irvine} (6:02)
7. I Am {Weldon Irvine} (1:27)
8. Bananas {Weldon Irvine} (2:18) 

Total Time: 40:07

Credits:
Producer, Liner Notes, Arranger - Weldon Irvine
Engineer - George Klabin
Photography, Design, Layout - Collis H. Davis, Jr.

Moacir Santos - The Maestro

by Jason Ankeny

For his Blue Note debut, Maestro, Brazilian composer Moacir Santos assiduously avoids his homeland's familiar bossa nova and samba rhythms, instead reinventing lesser-known idioms like baiao and frevo to create his own complex yet pulsating signatures and cadences. Opening with "Nana," easily Santos' most familiar and oft-recorded composition, Maestro quickly proves an uncommonly vast canvas for a who's who of Los Angeles session greats including Joe Pass, Clair Fischer, and Don Menza, all of whom explore new territory throughout the LP. For all their depth and intricacy, Santos' songs never box in their players, but allow them the space and the tools necessary to spread out. Though little-heard on its original release, many of the songs that comprise Maestro were later re-recorded by an all-star Brazilian group for the 2001 Santos tribute effort Ouro Negro, reaffirming their timelessness and their vitality.

The Guitar Album (repost)

Apparently I have been ignoring a request to repost this for a long time... here ya go oldandintheway! 

I think I bought my first copy of this at 17 or 18 yeas old! I saw a clean copy of it a couple weeks ago and couldn't resist as I had never been satisfied with the rip of it that I had.

This Town Hall concert was similar in concept to one I saw in conjunction with Newport in NY. The double album open's with 3 Charlie Byrd tunes that are quite nice and three more from Joe Beck that are also pretty good. Sides B and C are absolute monsters, one whole side of Bucky Pizzarelli and George Barnes followed by one whole side of Tiny Grimes! Both are killer.

The final side begins with 3 nice tracks from Chuck Wayne. Chuck had just had a cast taken off of his arm the day before and was playing in some pain but it isn't evident in his playing. The final track of this set is sadly utter dreck! John McLaughlin and wife Eve do a version of Devotion that is just wretched! I don't know which is worse, the dreadful auto harp or the horrid vocals. A few years ago Ron (Jazzman) posted a rip in which he refused to even include this song but for what it is worth I choose to offer this complete.

Side 1

1. Introduction
2. It Don't Mean a Thing
3. You've Got A Friend
4. Jitterbug Waltz

 Charlie Byrd

5. All Blues

6. The Things We Did Last Summer
7. Down Under
 Joe Beck

Side 2

1. Blue Skies
2. Medlley Eleanor Rigby/Here There and Everywhere

3. Satin Doll
4. Rose Room

5. Theme From Love Story
6. Honeysuckle Rose
 Bucky Pizzarelli & George Barnes

Side 3

1. Frantic
2. Watermelon Man
3. Blues For Connie
4. Food For Thought
5. Three Quarter Moon
 Tiny Grimes

side 4

1. Softly As In A Morning Sunrise
2. What's New
3. All The Things You Are

 Chuck Wayne

4. Devotion

 Eve & John McLaughlin

Fabrizio Bosso Quintet - Rome After Midnight (2004)

Here we have an excellent early release by Italian master trumpeter Fabrizio Bosso. For this date he assembles a quintet comprising of similar youngish talent that would go on to become equally well-known Italian jazz musicians. The album comprises of a lively repertoire of hard bop and post-bop classics. He is joined by Daniele Scannapieco on tenor, pianist Mike Melillo, bass player Massimo Moriconi and drummer Lorenzo Tucci. All musicians have continued to develop and have correspondingly evolved into some of the best jazz players on the continent today. Many have been part of and are still actively engaged within the European circuit and abroad. The majority have led a multitude of groups and produced a considerable number of high-quality albums. There's not a lot more to say other than that Fabrizio unites his group to produce and showcase an exhilarating assortment of great jazz music, Enjoy! 

Sound Hills, SSCD-8129, 2004
Recorded 12th & 13th October, 2004 At House Recording Studio, Rome, Italy 

Personnel:
Fabrizio Bosso - Trumpet, Flugelhorn
Daniele Scannapieco - Tenor Saxophone
Mike Melillo - Piano
Massimo Moriconi - Bass
Lorenzo Tucci - Drums 

Tracks:
01. Eye Of The Hurricane {Herbie Hancock} (3:14)
02. Ceora {Lee Morgan} (6:27)
03. Honeysuckle Rose {Fats Waller} (6:43)
04. Road Song {Wes Montgomery} (7:10)
05. Johnny Comes Lately {Billy Strayhorn} (4:14)
06. You Don't Know What Love Is {Gene DePaul, Don Raye} (7:29)
07. Birdlike {Freddie Hubbard} (3:53)
08. Have You Met Miss Jones? {Richard Rodgers, Lorenz Hart} (8:59)
09. Crisis {Freddie Hubbard} (7:13)
10. There Is No Greater Love {Isham Jones} (8:16)
11. I'll Remember April {Gene DePaul, Patricia Johnston, Don Raye} (9:00) 

Total Time: 72:38 

Credits:
Producer - Sergio Veschi
Executive Producer - Hirakasu Sasabe
Recording - Simone Ciammarughi, Emanuele Bossi
Photos - Daniele Molajoli

Geri Allen - Open On All Sides - In The Middle (1987)

Electric and acoustic pianist Geri Allen joins with fellow Detroiters for one of her more ambitious projects, offering a large ensemble featuring bassist Jaribu Shahid, drummer Tani Tabbal, soloists David McMurray and trumpeters Rayse Biggs and Marcus Belgrave, and New Yorkers as saxophonist Steve Coleman and trombonist Robin Eubanks. The tour de force "I Sang A Bright Green Tear For All Of Us This Year" is stunning, featuring the wonderful vocals of Shahida Nurullah, insistent rhythm, haunting refrains from Allen's keyboards, and shifting dynamics that are compelling. The rest of the material is not as innovative within a jazz-funk/M-Base framework, but contrasts her piano trio work. Not essential, but still an invigorating session. ~ by Scott Yanow, AMG. 

Minor Music, CD MM 801013, 1987
Recorded December, 1986 At Sound Suite Recording Studio, Detroit, Michigan 

Musicians:
Geri Allen - Piano, Keyboards, Backing Vocals
Racy Biggs - Trumpet, Flugelhorn
Marcus Belgrave - Trumpet, Flugelhorn [Special Guest] (#8)
Robin Eubanks - Trombone
Steve Coleman - Alto Saxophone, Arranger [Horns] (#4)
David McMurray - Flugelhorn, Soprano Saxophone, Flute
Jaribu Shahid - Acoustic Bass
Tani Tabbal - Drums
Mino Cinelu - Percussion [Special Guest]
Shahita Nurallah - Lead Vocals
Lloyd Storey - Tap Dance [Special Guest] 

Tracks:
1. Open On All Sides / The Glide Was In The Ride... (6:49)
2. Forbidden Place (4:27)
3. The Dancer (2:36)
4. In The Middle (4:06)
5. Ray (4:23)
6. I Sang A Bright Green Tear For All Of Us This Year... (12:46)
7. Drummer's Song (2:29)
8. In The Morning [For Milton Nascimento] (5:05)
9. The Dancer Pt. 2 (1:34) 

All Compositions by Geri Allen 

Total Time: 44:15 

Credits:
Producer, Arranger, Composer - Geri Allen
Co-Producer - Steve Coleman
Executive-Producer - Stephan Meyner
Producer [Associate] - David McMurray, Mino Cinelu
Recording Engineer - Mike Brown
Mixing Engineer - Peter Denenberg
Design [Cover] - Christin Schindler, Claus Bäuerle
Photography - Jules Allen

Nick Brignola - Burn Brigade

Amazingly enough, the 16 month old links [now 7 years! ~ grumpy] on this are still alive and well! These two belong together so I felt compelled to roll this one forward too! 

WARNING, WARNING! Do you feel the earth trembling? Your eyes do not deceive you, THREE baritones! You thought Baritone Madness was big, look out for the Burn Brigade! This is a gift once again from the amazing Wid and he dedicates it to Grumpy since it is on his beloved Bee-Hive label.

Nick Brignola - Burn Brigade 
(1980 BeeHive-7010)

01 - Nick Who's Blues
02 - I'm Getting Sentimental Over You
03 - Busy B's
04 - Groovin' High
05 - Our Delight

Nick Brignola - Baritone Sax
Ronnie Cuber - Baritone Sax
Cecil Payne - Baritone Sax
Walter Davis Jr - Piano
Walter Booker Jr - Bass
Jimmy Cobb - Drums

Recorded NYC, June 19, 1979

The big dogs are barking on this one! Normally I'd start out by pointing to that killer rhythm section and spend some time extolling their virtues (they ARE great) but the big boys step up with those bari's and somehow it is all your brain can manage to absorb what you are hearing, three of them just tearing it up! I don't think Brignola, Payne or Cuber need any introductions here at The Crypt, all three are in fine form here and the rhythm section is so good that they do occasionally manage to shine as well. It's just that the lights keep reflecting off of that impossible mass of brass up there.

I'm listening while writing and this is no gimmick album, it is in fact a dynamite very enjoyable bari-bop (my term) journey. They manage to find plenty of room to operate in, out and around each other with great dexterity and when they start trading.....Whew! Another no-brain-er here, just get it! Da Bee Hive stings again!

Thanks Wid!

Mal Waldron - The Quest (1961) [vinyl]

The Quest seems not only an appropriate name for this album but for Waldron's entire musical output, a pianist and composer who always seems to be seeking for something just out of reach. All the compositions here are Waldron's and show the variety of his approach. What makes this particular recording so interesting is the inclusion of Dolphy and Ervin, widely different in style but both rhythmically ingenious. I sometimes find Dolphy too abandoned but here he plays within the constraints of Waldron's compositions and the results are often superb. Ervin is an under-rated tenorist (all of the albums under his own name are well worth checking out, there's a good selection here at the Crypt) who plays with an economy that contrasts well with Dolphy.
A challenging record but occasionally very beautiful, I love Dolphy's clarinet on 'Warm Canto', and the whole LP is consistently rewarding.

01 - Status Seeking
02 - Duquility
03 - Thirteen
04 - We Diddit
05 - Warm Canto
06 - Warp And Woof
07 - Fire Waltz

Eric Dolphy (as, bcl) Booker Ervin (ts) Mal Waldron (p) Ron Carter (cello) Joe Benjamin (b) Charlie Persip (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, June 27, 1961

Moacir Santos - Saudade

Moacir Santos is a Brazilian composer, arranger and saxophonist from the first team of Brazilian Jazz. He's one of those artists who are underrated by the big audiences but widely known by those who appreciate inspiration, beauty, intelligence when applicable to music composition and arrangement.

This is the second of his three albums for Blue Note Records, a long time awaited for reissue. Catalog number was BN-LA260-G, recorded in New York, 1974. A natural follower to the first `The Maestro' (from 1972), also a memorable album with the unique Santos' way of doing the thing what includes an intricate shape of samba, an uncommon way of dividing that is unique in his compositions, a kind of registered mark which identifies Santos. (Carlos from Rio)
 Moacir Santos
baritone saxophone, alto saxophone, arranger, conductor
Jerome Richardson
alto saxophone, tenor saxophone, soprano saxophone, flute, alto flute
Ray Pizzi
alto saxophone, tenor saxophone, bassoon, flute, piccolo flute
Lee Ritenour
electric guitar, acoustic guitar
Steve Huffsteter
trumpet, flugelhorn
Benny Powell
trombone
Morris Repass
bass trombone
Sidney Muldrow
French horn
Mark Levine
piano, electric piano, arranger
John Heard
bass
Harvey Mason
drums
Carmelo Garcia
congas, percussion
Mayuto Correa
congas, percussion
Duke Pearson
producer

Johnny Griffin - Return Of The Griffin (1978) [Galaxy - vinyl]

Review by Chris Sheridan, Jazz Journal (UK) July 1980:
This LP, a result of a remarkable three-day session, is Griffin’s finest-ever recording. The power and variety of his playing on every title is awesome, from the compelling gallop through Autumn to the tender balladry of When We Were One; from the funky Dream to the spring-heeled I Should Care. After an almost brusque dismissal of the theme of Autumn, Griffin takes off on a series of choruses that are simply breathtaking until, halfway through, he changes into overdrive! Dream is so perfect an impression of Monk that it could have been written by the master (but, then, Griffin was Trane's successor in Monk's quartet). Fifty-Six (based on This Masquerade Is Over), the longest cut, is another headlong rush of unrelenting invention, contrasting neatly the "walking the bar" tack of The Way It Is. One interesting point emerging from these LPs is that Griffin's timbre has lost the fluffiness of earlier years; another is that he allows more space in his solos nowadays. Most important, though, is that he is probably the strongest tenorist of his generation playing these days, and, in "Return" he has made not only the record of the month, but also of the year.

Autumn Leaves
When We Were One
Monk's Dream
The Way It Is
Fifty-Six
I Should Care

Johnny Griffin (ts) Ronnie Mathews (p) Ray Drummond (b) Keith Copeland (d)
Fantasy Studios, Berkeley, CA, October 17, 1978