Sidney Bechet & His New Orleans Feetwarmers - Chronological Masters

I know what you're thinking...  "great, another Bechet collection...next!!"

Frankly I don't blame you.  I mean, how many collections have been issued with Bechet's name attached?!?!  If I had to guess, I would say hundreds. 

The reality of most, is that the fidelity sucks and the tracks which have been promised as classic, are infact not fit for release.  This is why you are left feeling nothing when you spin it - no joy, no involvement and certainly no love.  It takes a serious minded company to find the choicest tracks and then remaster them for modern listening. 

What I have for you here is exactly that.  The Italian label Saar Milano issued these volumes in 1973.  They knew, as you will soon know, that the Feetwarmers represented some of the best output Bechet had ever done...period.  I am pretty sure I will never top the Rhythm Kings sides in terms of importance, but when it comes to fidelity and musical enjoyment - these sides are it!!   There was infact a Vol.3 also issued but I was unable to snag it.  The good thing is that these two albums were purchased still sealed from the original buyer!!

The New Orleans Feetwarmers was Bechet's attempt in 1932 to start up a "hot jazz" group, using the small New Orleans format.  Many people think this was poor instincts on his part, but I like to think he was ahead of his time.  The 1932 group was quickly stonewalled by public tastes which had moved to big band.  Of course, by 1940 the revivalist movement had begun and the Feetwarmers were reformed once again.

The group had many members and size variations, but this is what lends to the excellence of this collection.  Firstly, unlike the Rhythm Kings, we are treated to vocals in roughly 1/3rd of all the tracks.  Greats like Herb Jeffries and even Bechet himself add that personal statement of lyrics.  Stylistically, the band dabble in rearranged big band, ballads, standards and originals.  The pallet is ultra varied and keeps things really interesting.  Even the standards are fresh and full of life.

The Feetwarmers were instrumental in popularizing the small group format, and essentially were keepers of the flame.  It was groups like this which caught the interests of men like Alfred Lion and Orin Keepnews - men who were to be inspired enough to put their money where their mouths were - and became tastemakers for modern jazz fans everywhere. 

There's no doubt that Bechet's playing on these tracks is amongst his greatest.  Inspired, his bandmates all turn in incredible performances as well.  I'm absolutely convinced that you'll be floored by what you hear on these two LPs.  This is some of the most important jazz ever laid down, and you'll understand why after listening.  Tracks are typically short, so despite having 30 tracks overall, it's a relatively quick listen.

Ripped from minty vinyl at 24/44.1 wav and dithered to 16/44.1 FLAC... Enjoy!!!

Saar Milano

sm 3571 / 3572

1973



Pat Martino - The early Muse albums

Pat Martino - The Visit (Footprints)
Cobblestone  1972/Muse 1974

1. The Visit
2. What Are You Doing The Rest Of Your Life?
3. Road Song
4. Footprints
5. How Insensitive
6. Alone Together

Pat Martino, Bobby Rose guitars, Richard Davis bass, Billy Higgins drums

 Pat Martino - Live
Muse 5026, 1973

Tracks:
1. Special Door
2. The Great Stream
3. Sunny

Personnel: Pat Martino (electric guitar); Ron Thomas (Fender Rhodes); Tyrone Brown (electric bass); Sherman Ferguson (drums).

An absolute beast of a live set that made a loud statement about Pat's place in the guitar world in 1972.

Pat Martino - Consciousness
Muse 5039 1974

1 Impressions
2 Consciousness
3 Passata on Guitar
4 Along Came Betty
5 Willow
6 On the Stairs
7 Both Sides Now
8 Along Came Betty (Alt.)

Personnel: Pat Martino (guitar); Eddie Green (electric piano, percussion); Tyrone Brown (electric upright bass); Sherman Ferguson (drums, percussion).


 Pat Martino - We'll Be Together Again
Muse 5090, 1976 

 A1 Open Road: Olee/Variations And Song/Open Road     15:56   
A2 Lament     4:58   
B1 We'll Be Together Again     5:01   
B2 You Don't Know What Love Is     4:42   
B3 Dreamsville     4:58   
B4 Send In The Clowns     3:41   
B5 Willow Weep For Me     5:22

Pat Martino guitar, Gil Goldstein keyboards




Pat Martino - Exit
Muse 5075 1976
1. Exit ... Pat Martino  (9:23)
2. Come Sunday Duke Ellington (7:30)
3. Three Base Hit ... Pat Martino (4:30)
4. Days of Wine and Roses Henry Mancini, Johnny Mercer (4:47)
5. Blue Bossa ... Kenny Dorham (4:57)
6. I Remember Clifford Benny Golson  (7:48)

Personnel: Pat Martino (electric guitar), Gil Goldstein (keyboards), Richard Davis (acoustic bass), Billy Hart (drums).

Steve Swallow - Home

Steve Swallow – Home · Music By Steve Swallow To Poems By Robert Creeley
Label:ECM Records – ECM 1160 (vinyl to flac)

A1 Some Echoes 5:35    
A2 "She Was Young..." (From "The Finger") 3:32    
A3 "Nowhere One..." 4:57    
A4 Colors     4:22    
A5 Home     3:20    
B1 In The Fall 4:00    
B2 "You Didn't Think..." 2:53    
B3 Ice Cream 4:16    
B4 Echo     5:22    
B5 Midnight 3:42



    Bass, Composed By – Steve Swallow
    Design – Barbara Wojirsch
    Drums – Bob Moses
    Engineer [Recording] – David Baker
    Lyrics By [Poems] – Robert Creeley
    Mixed By – Martin Wieland
    Photography By [Cover] – Joel Meyerowitz
    Piano – Steve Kuhn
    Producer – Manfred Eicher
    Saxophone – David Liebman
    Synthesizer – Lyle Mays
    Voice – Sheila Jordan

Recorded September 1979 at Columbia Recording Studios, New York

"This is a fine (& rare) example of a composer really hearing & bringing out a poet's voice inside the poems. Bob Creeley's concentrated poetry packs an emotional wallop behind an occasionally cool facade. So it is an interesting test to place these words/lyrics with a female singer. Perhaps the most important test is that the poems do function as lyrics, generating an unexpected musical-ness. The band is wonderful. Everyone plays with creative commitment to the material & to Steve Swallow's vision. The proceedings feel a bit dry here & there, the Manfred Eicher Effect. But this is a very good album; one of the few I recommend to poets for both pleasure & the possibilities it suggests."

Bob Rixon

George Lewis And His Ragtime Band In Concert

The Crypt will be doing a mini feature on the legendary clarinetist George Lewis...

George Lewis - one of New Orleans favorite and most beloved sons.  A legend of jazz and the clarinet, he dedicated his life to N'awlins music, never leaving or selling out his hometown.  His hardened belief in the music paid off during the revivalist movement, and kept on reaping rewards globally as the world discovered his incredible band.

During the 50's and 60's, Lewis' band enjoyed great success overseas in Europe and Japan.  They knew he was the real deal and couldn't get enough.  One great thing about G.L. was his dedication and loyalty.  He stayed a resident of New Orleans while most of his contemporaries were headed to Chicago and New York.  The other impressive point was his use of the same musicians to form his group.  Of course, some members would come and go occasionaly, but even the stand ins were from the same pool of players.  At the core and present for virtually all of his recordings and gigs were Avery 'Kid' Howard, Alcide 'Slow Drag' Pauageau and Jim Robinson.

This group helped to keep the small group torch lit, while big bands ruled the day.  They also kept the original New Orleans music alive and well, inspiring younger players and tastemakers of the day.  Everyone is on point and delivers that real N'awlins vibe.  The real deal my friends... an album recorded for radio.  The group are at the heights of their powers and play their asses off!!

Excellent fidelity, taken from a sealed copy.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Storyville SLP-4022
1960

Recorded in Springfield, CA May 28, 1954

George Lewis - cl;  Kid Howard - tp, voc;  Jim Robinson - tb;  Alton Purnell - p;  Lawrence Marrero - bjo;
Slow Drag Pauageau - b;  Joe Watkins - d

A Message From The Crypt...

Hey everyone!!  I didn't consult my co-authors, but I feel confident that I can represent their feelings accurately.

The last few weeks have been wild.  As sad as it was to shut down the original Crypt, we are surprised to find a whole new batch of followers... vocal followers at that!!  There's no doubt in our minds that with an outlook of "small and mighty", all of us will have everything we need.   Great music, great community and a bright future to look forward to.

So from all of us - thank you!!  Your comments and love are the fuel that keeps the Crypt moving forward, making it a wonderful place to visit.

On a more personal note, I am excited about the Crypt redux for several reasons.  The biggest would be the opportunity for me to establish a foundation of pre-bebop jazz.  There are a handful of great blogs which are solely or partly dedicated to this sect of jazz, but I want the Crypt to be thought of for this.  The original Crypt had an outstanding archive with tons of important recordings tied to the old school, but I always felt we were missing some.  Now I have the opportunity to establish that. 

OK, I suppose that's all for now... keep on keepin on people!!!

Poppa Chubby

Eric Kloss and Barry Miles - Together

Well the clothes pretty much tell us when this one is from, eh? I sheepishly admit I had a shirt very much like that one Barry is wearing and I think my grandmother sent me a pair of those pants and that belt Eric is wearing when I first got out of college and started work. (ten to one the shoes match that belt!) Mine were powder blue and had an awful jacket, at least I can say I only wore them once for a Halloween get up. I'm betting Barry is wearing Earth Shoes or something similar.

Eric Kloss and Barry Miles - Together
Muse 5112, 1976

1. Relay
2. The Wise Woman
3. Together
4. Song for a Mountain
5. The Goddess, the Gypsy, the Light
6. Opus de Mulier
……
Eric Kloss: Alto saxophone+, Tenor saxophone
Barry Miles: Piano*, Electric piano**, Synthesizer

Recorded July 19 & 20, 1976
CI Recording, New York City

If the previous post was a little too deep into the Fusion groove for you then perhaps this one will sit better with you. All original duets and extremely pretty stuff. This one required a little more cleaning attention than the others but the results sound pretty good to me.

Eric Kloss - Bodies' Warmth

Eric Kloss - Bodies' Warmth
Muse 5077, 1975

1 Lady
2 Joni
3 Bodies' Warmth
4 Scarborough Fair
5 Mystique
6 Headin' Out

Eric Kloss - Sax ; Barry Miles - Keyboards; Vic Juris - Guitar; Harvie Swartz - Bass; Terry Silverlight - Drums

I can remember a time in my life when I though this was the hippest music I had ever heard. What a difference..... The album is still quite good (dare I use the phrase 'a seminal work of fusion?) but I have to admit it sounds dated at times and I always liked Barry Miles acoustic piano best even though he was one of the most interesting electric keyboard players ever.

This album should probably be titled 'Prodigies' as three quarters of the band were indeed prodigies in every sense of the word. Barry Miles was playing professional gigs with established stars like Woody Herman at 9 years old! He was a drummer then and still used his family name Silverlight (why in the world would you change THAT?) but later morphed into a pianist with blinding chops. His little brother Terry (some 15 years his junior if I remember right) took over the drumming in the family and he was a recorded pro at 12. Eric Kloss took until the ancient age of 15 or 16 to sign his first Prestige contract but he had been gigging professionally since 12 when he took the stage with Sonny Stitt! Miles may well have been the guy who first coined the term Fusion; he was composing, playing and writing about it at Princeton in 1964! Kind of puts him way up at the front of the curve ehh?

A little dated in places to be sure and why in the world they ever decided to play Scarborough Fair will be for others to figure out - surely there was SOME better Pop vehicle for sales. This was a frequent working band for Eric, unlike the other configurations featured on his Muse dates.

Billy Strayhorn's Septet - Cue For Saxophone

Another superb gem from the Felsted label, reissued by Affinity.  Johnny Hodges plays under the pseudonym Cue Porter, and the rest of the group need no introduction.

A real great feel to this side as the band swing through an incredible songlist.  This copy is super minty and an absolute joy to listen to... enjoy!!!

Composer/arranger/pianist Billy Strayhorn led surprisingly few sessions throughout his career, and this was only his second full-length album. Actually, the main star is altoist Johnny Hodges (who goes here under the pseudonym of "Cue Porter"), while Strayhorn (who plays piano on the seven songs) only co-wrote two basic tunes ("Cue's Blue Now" and "Watch Your Cue") with Hodges and played a fairly minor role. Also in the septet are three fellow Ellingtonians (trumpeter Shorty Baker, trombonist Quentin Jackson and clarinetist Russell Procope), along with bassist Al Hall and drummer Oliver Jackson. The results are a fine mainstream session (which has been reissued on this CD) with highlights including "Gone With the Wind," the ten-minute "Cue's Blue Now" and "Rose Room." ~ Scott Yanow/AMG

Affinity AFF-166

1986

Recorded in NYC Apr. 14th, 1959

Billy Strayhorn (piano), Quentin Jackson (trombone), Cue Porter [a.k.a. Johnny Hodges] (alto saxophone), Harold "Shorty" Baker (trumpet), Russell Procope (clarinet), Al Hall (bass), Oliver Jackson (drums).

The Buddy Tate All Stars - Swinging Like Tate

The Master Jazz Recordings label did a complete reissue of the Felsted catalogue, naming it the Felsted Series.  Although professional critics don't give this side alot of praise, the fact that it's been reissued several times over is testimony to it's greatness.

A wonderful cast of players including his Celebrity Club Orchestra on side one, and some old masters on side two.  The swingin doesn't stop and this one will make you feel warm inside.  Just a solid album overall... all of the Felsted albums are worth seeking out.  This album is minty with excellent fidelity, highly enjoyable...  enjoy!!

Master Jazz Recordings MJR8127
"Felsted Series"
1958

Sidney Bechet and his New Orleans Rhythm Kings - Jazz Nocturne

I am more than excited about this post. Frankly, it's this type of share that makes me love doin this blog thang. I will unroll as much of the story around these sessions, and the albums, as I can - hopefully without boring you to death. Lately I have been getting my albums from a local jazz radio DJ, and I had to work hard to convince him to let these babies go.

Here we go...

Sidney Bechet. Grandfather of modern sax, he practically created the concept of what we all know as jazz. The beauty of players like Bechet, is that they innovated and created with little foundation. There was no Coltrane or Rollins... his genius was that of pure creativity. For anyone who is unfamiliar with his playing, or his life - Sidney Bechet was a wild man. He was erratic, ecclectic and this poured into his music. There wasn't alot of musicians who could share a stage with him, and many others didn't want to. You see, Sidney had a bad rep for "killing at will". He was so competetive, he would sometimes cut his bandmates during a gig!

These sessions were performed in 1945. Up to that point, Bechet's career had seen a decline. Partly due to changing tastes, and partly due to his negative views of the scene. The late 30's/early 40's began the revivalist movement, which brought back the appeal of small group "hot" jazz. Bechet was viewed as a living legend (and rightly so!) to this scene, and he was perfectly positioned for a comeback. He decided he would put together the most smokin' N'awlins styled group, and use this rejuvenated celebrity status to his benefit. Quite literally, world domination was on his mind - but first, he would have to put the group together and work out the kinks.

FCJ010: Royal Garden Blues

And so, Sidney Bechet and his New Orleans Rhythm Kings was founded. The rhythm section would remain the same from start to finish; Ray Parker on keys, Pops Foster on bass and George Thompson on the skins. Bunk Johnson was brought in as the other half of the front line, on trumpet. Bechet picked the Savoy Cafe in Boston, MA for an extended engagement, essentially a warm up before storming the world.

The entire jazz world was buzzing from the news, and as a result, the local radio station WCOP secured broadcasting rights. They would feature the gigs on their nightly show - Jazz Nocturne. It was being hailed as the biggest jazz event of the decade, and they probably weren't too far off from the truth. Of course, fate had other ideas for the Rhythm Kings...

Firstly, Bunk Johnson didn't work out. He was a raging alcoholic, and was butting heads with Bechet on stage. So they called down south for Peter Bocage to replace him. During the week of waiting for his arrival, local 18 year old Johnny Windhurst managed to get the gig. Bocage finally arrived, but after only a few nights it became evident that Bocage and Bechet were stylistically not working. So with Bocage's departure, Bechet called back Windhurst, and with the young trumpeter the band was finally complete. This quintet played night after night until the engagement was finished.



FCJ011: Struttin' With Some Barbecue



So now... skip ahead to 1981. A small group of afficianados start the Fat Cat's Jazz imprint, for the sole purpose of releasing the WCOP archives. 12 volumes were pressed, in small quantity, featuring rehearsals, live performances and interviews from the Savoy engagement. The albums were tracked chronologically, with Volume 1 featuring the group with Bunk Johnson, and Volume 12 ending with Windhurst.

 Moving into the late 90's, a small label called Jazz Crusade decided to transfer the Jazz Nocturne albums to CD. Curiously, they only released everything up to Volume 5 and then stopped. While these 5 albums are historically important, the best performances in terms of music are on the latter half of the albums, once the group had solidified it's line up.

And that's where the Crypt steps in folks. Here for you are volumes 10, 11 and 12. Each LP is in mint condition. Of course, the fidelity from the source can be sketchy. The music however is wildly rewarding, and worth a listen. The liner notes are fantastic, and are of course included. Since I think this is a blogland first, I also scanned the LP labels...for completion sake I suppose. These were ripped at 24/44.1 wav and dithered to 16/44.1 FLAC. Cryptheads get ready!!! Enjoy!!

FCJ012: Blues In The Air

Fat Cat's Jazz - Jazz Nocturne

FCJ010, FCJ011 and FCJ012

Recorded off the air, by WCOP Boston, MA 1945

Released 1981

Sidney Bechet - soprano sax; Johnny Windhurst - cornet; Ray Parker - piano; Pops Foster - bass; George Thompson - drums

Bob Brenner - announcer/host
Wynne Paris - interviewer

Georges Arvanitas Quintet - Soul Jazz (1960) [vinyl>flac]

Georges Arvanitas (1931-2005) was one of the pioneers of modern jazz in France and most respected pianists in Europe. Classically trained, he absorbed bebop and hard bop jazz like a sponge during the 1950s from visiting American musicians.

Arvanitas recorded Soul Jazz in 1960 with top French musicians of the time. This classic album brings together the era’s finest French jazzmen (Georges Arvanitas, François Jeanneau, Bernard Vitet, Michael Gaudry and Daniel Humai) who impeccably interpret the bop and hard bop compositions of Bobby Timmons, Thelonious Monk, Max Roach, Sonny Rollins and Bud Powell., and performances are fiery, exciting and inspired. The quintet’s energy is dazzling, the vigor of their swing captivating, while their sound evokes the best Blue Note sessions of the time. Any European jazz lover won’t hesitate to tell you. "Soul Jazz" is without a doubt one of the rarest French modern jazz records and this rip is taken from the original French Columbia Pressing.

Label: EMI Columbia
Catalog#: FPX 193
Format: Vinyl, LP

Country: France

Style: Hard Bop

Track Listing:

A1. This Here {Bobby Timmons} (4:18)

A2. Bemsha Swing {Thelonious Monk} (3:31)

A3. Oblivion {Bud Powell} (3:01)

A4. Sonny Moon For Two {Sonny Rollins} (6:06)

A5. Mister X {Max Roach} (3:50)

B1. Poco Loco {Bud Powell} (4:57)

B2. Bohemia After Dark {Oscar Pettiford} (4:35)

B3. Monk's Mood {Thelonious Monk} (6:55)

B4. Bouncin' With Bud {Bud Powell} (4:24)

Personnel:

Georges Arvanitas - Piano

François Jeanneau - Tenor Saxophone

Bernard Vitet - Bugle

Michel Gaudry - Bass

Daniel Humair - Drums

Bobby Hackett And Jack Teagarden - Jazz Ultimate

A legendary session which features Hackett on trumpet rather than his usual cornet.  This would be on my top ten of mainstream/Chicago style all time greats.  A wonderful collective of improvisational players... hugely expressive.

My copy is minty, ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  Enjoy!!

Capitol Records – T-933
1958

Click To View Personnel

A1  Indiana (Back Home Again In Indiana)  2:56  

A2  Oh Baby  2:26  

A3  It's Wonderful  3:56  

A4  I Found A New Baby  2:40  

A5  Sunday  2:26  

A6  Baby, Won't You Please Come Home  3:01  
B1  Everybody Loves My Baby  2:25  

B2  Mama's Gone, Good Bye  2:44  

B3  'Way Down Yonder In New Orleans  3:29  
B4  55th And Broadway  4:39

B5  's Wonderful  2:41  

Roland Kirk, Gifts and Messages (Live at Ronnie Scott's))

I believe that someone mentioned having been to this show in the comments to an earlier RK post so I couldn't resist bringing this one back from the Crypt. You may or may not know that one of the rocks this blog was founded on was the music of Roland Kirk, primarily the pre-Rahsaan recordings. This is one of the rarest of the rare and this time in glorious, crisp FLAC. Here is my original review from May 2009.

"There are two albums bearing this title, this one here is the live set from Ronnie Scott's Club. The showmanship, humor and boundless energy that made a Kirk show unforgettable are all on display in this marvelous show. A Roland Kirk live show was an encounter with a musical force of nature. All you could do was ride the wave, resistance was futile (Kirk as a Borg?). The accompanying group was Ronnie's house band and the very young Rick Laird sounds a little overwhelmed but that's easy to overlook.

A 78 minute slice of wonderment - Kirk's power and magnetism will quickly erase any of this recording's shortcomings."

Roland Kirk, Gifts and Messages (Live)
Ronnie Scott's Jazz House (JHAS 606)
Recorded live at Ronnie Scott's Club, 1964

1. Ronnie's Intro
2. Bags Groove
3. Roland's Intro
4. It Might as Well be Spring
5. (On a) Misty Night
6. Come Sunday
7. Avalon
8. My Ship
9. A Strich in Time
10. Gifts and Messages
11. Reeling and Rhyming

Roland Kirk tenor, strich, manzello, flute, whistle, nose flute, siren, saxophonium
Stan Tracy piano
Rick Laird bass
Allan Ganley drums

links in comments

Tubby Hayes - Return Visit! 1962

A recovery from the Crypt but with a different review and in FLAC.

Tubby Hayes - Return Visit! 1962
Fontana, 1962


1. Afternoon In Paris 5:46
2. I See My Third "I" 9:27
3. Lady "E" 3:15
4. Stitt's Tune 9:51
5. Medley: If I Had You; Alone Together; For Heaven's Sake 7:24

 Tubby Hayes tenor sax, vibes; Roland Kirk tenor sax, manzello, flute, nose flute, stritch; Jimmy Gloomy tenor sax, flute; Walter Bishop Jr. piano; Sam Jones bass; Louis Hayes drums


"A Saturday morning in June 1962 and Tubby Hayes arrives at the recording studio on West 48th Street in New York City. A session has been slated for later that day with a pick-up group. None of the group has been aware of the date until the night before. One by one they wander in. All have been playing spots in various clubs until the early hours. Introductions are made. One member wonders who Tubby Hayes is, asks if he's a rock `n' roll singer. This is Jimmy Gloomy, not his real name, as he probably shouldn't be there at all - contractual reasons. Memories of Louis Armstrong: "It wasn't me, sir. I won't do it again".

Midday arrives and producer Quincy Jones suggests maybe they get started. But what to play? They don't have a play list, have never rehearsed. Apart from pianist Walter Bishop Jnr, Tubbs has never met any of them. Quincy suggests they warm up with a blues, and they choose `Stitt's Tune`, the theme of Tubb's old band The Jazz Couriers - Tubbs and Gloomy on tenor sax, Roland Kirk providing counter melody on manzello and stritch, his customary hybrid horns. Next it's a minor blues - a Kirk original `I See With My Third "I"', then a ballad medley, including `Alone Together', one of Tubbs' favourites. Next Tubbs switches to vibes for `Afternoon In Paris', with solos from Kirk and Gloomy on tenors and Bishop on piano, and an unrehearsed coda from one-man brass section Kirk on tenor, manzello and stritch. They round off the session with another Kirk original `Lady "E"', with Tubbs still on vibes and Kirk on flute. And then they're through. Just time for bassist and drummer Sam Jones and Louis Hayes to get to Birdland and Kirk to the Five Spot for their first sets, and for Tubbs to return to the UK. In the space of just a few short hours they've recorded an exciting and memorable jazz album. That's how it was and them were the days."
By David Baxter.

Blue Mitchell - Booty (1974) [vinyl>flac]

Blue Mitchell, Roy Haynes, Charles Kynard, Curtis Fuller, Harold Mabern, Charles Williams, Chris Woods, Frank Wess, Albert Dailey, Virgil Jones, Cornell Dupree, Ron Carter, George Adams, Marvin Peterson, Lawrence Killian, Terud Nakamura and Ray Barretto [to name a few] are featured in different settings on this LP which was released in 1974 on Mainstream Records, each of these players lead their songs with a cast of other great musicians. Highlights are "Smiling Faces Sometimes"; an excellent soul jazz piece showcasing Charles Kynard’s organ, "Roy's Tune"; a fine soul funky jazz piece with fuzz bass playing by Teruo Nakamura, "Respect Yourself"; a first-rate soul jazz-funk number with Charles McPherson on alto and finally "Alone Again Naturally" with Blue Mitchell playing beautifully. Essentially this is a collection of tunes by a whole range of artists which in the end constitutes one superlative album.

Label: Mainstream

Catalog#: MRL 413

Styles: Soul Jazz, Jazz Funk

Personnel:

"Smiling Faces Sometimes"

Charles Kynard - Electric Organ

Larry McGuire - Trumpet

Jerry Rusch - Trumpet, Flugelhorn

David Roberts - Trombone, Bass Trombone

Paul Humphrey - Drums

Carol Kaye - Bass

Charles Mallory - Guitar

"Family Affair - Respect Yourself"

Dave Hubbard - Tenor Saxophone

Charles McPherson - Alto Saxophone

Ron Carter - Bass

Omar Clay - Percussion

Karl Dunbar - Guitar

Curtis Fuller - Trombone

Virgil Jones - Trumpet

Harold Mabern - Electric Piano

Roland Prince - Guitar

Grady Roker - Drums

Andre Strobert - Percussion

"Roy's Tune"

Roy Haynes - Drums, Timpani

George Adams - Tenor Saxophone, Flute

Marvin Peterson - Trumpet

Mervin Bronson - Fender Bass

Elwood Johnson - Bongo, Tambourine

Lawrence Killian - Conga

Carl Schroeder - Piano

Terud Nakamura - Bass

"Willow Weep For Me"

Charles Williams - Alto Saxophone

Chris Woods - Alto & Baritone Saxophones

Bubba Brooks - Tenor Saxophone

Frank Wess - Tenor Saxophone, Flute

Don Pullen - Electric Organ

Clyde Lucas - Drums

Cornell Dupree - Electric Guitar

David Spinozza - Electric Guitar

Gordon Edwards - Fender Bass

Paul Griffin - Electric Piano

Randy Brecker - Flugelhorn

Ray Barretto - Conga Drums

David Carey - Conga, Marimba

"Spring Can Really Hang You Up The Most"

Dave Hubbard - Tenor Saxophone

Jimmy Rowser - Bass

Buck Clarke - Conga

Albert Dailey - Electric Piano

Harold White - Drums

"Alone Again Naturally"

Blue Mitchell - Trumpet, Flugelhorn

Herman Riley - Tenor Saxophone, Flute

Joe Sample - Electric Piano

Darrell Clay - Fender Bass

Freddie Robinson - Electric Guitar

John Guerin - Drums

Ray Pounds - Drums

Track Listing:

A1. Smiling Faces Sometimes {Norman Whitfield, Barrett Strong} (2:57)

A2. Family Affair {Sly And The Family Stone} (2:32)

A3. Respect Yourself {The Staple Singers} (2:57)

A4. Roy's Tune {Roy Haynes} (5:03)

B1. Willow Weep For Me {Ann Ronell} (6:27)

B2. Spring Can Really Hang You Up The Most {Frances Landesman, Thomas  Wolf } (6:31)

B3. Alone Again Naturally {Gilbert O'Sullivan} (3:19)

The Incredible Ira Sullivan

The Incredible Ira Sullivan
Stash Records 1980

1) Lonely Moments (Salz)
2) Our Delight (Dameron)
3) Bernie's Tune (Miller)
4) Kim's Lament
5) I Can't Get Out of This Mood (McHugh, Loesser)
6) On the Seventh Day (Walrath)
7) Satin Doll (Ellington, Strayhorn)

NYC 1980


We have revisited so many Ira Sullivans lately and our previous offerings of this record were flawed so when I saw a slightly worn copy at the store I decided to see if I could coax a reasonable rip out of it. The previous post of this came from a Ron the Jazzman contribution but the actual rip came from his friend billd. The rip was decent but a little noisey and had a few full blown skips that marred it. I carefully cleaned my record twice in the hopes that most of it's problems were dirt and was rewarded with a fairly good and quiet return but with three or four places on each side where skips or sound anomalies were unfix-able.

Now I put on my Dr. Frankenstein lab coat and looked to the old rip from jazzman. Surely the two rips would not have anomalies in the same places! They did not, so after a little time matching up the volumes the cutting leaders so I could match up tracks side by side like two patients on adjacent operating tables. Slowly I marked the areas to be transplanted and the sites to receive them - it is not as hard as you might think if you listen carefully while magnifying the wave in Audacity until you can see the space between breaths and find landmarks that match up on the two waves - it takes good ears and good speakers or headphones but once you get the hang of it it is possible to make imperceptible cut and paste fixes. You may hear a couple other tiny sound bumps here that I didn't choose to fix (I spent most of a day on this) but none of the actual surgery is audible. So what we have here is something of a Frankenstein monster but the good looking elegant one that you can't tell is made of parts.

SCAM WARNING

WARNING

Particularly of followers of Uri's blogs The Jazz Inn and A Darker Shade of Blue.

Uri's email address has been hi-jacked - DO NOT respond to the fake email saying he's in trouble in the Phillipines - it's a SCAM!!

This is the scam email DO NOT RESPOND:

How are you doing today? Am really sorry to bother you with this email. Am presently in Philippines for a Seminar, everything was going fine until now, I lost my wallet and some documents in the taxi. Am currently stranded at the moment and need your help.
Kindly let me know if you can help me out of the problem, I will send you more details upon your reply.

Hope to read from you.
Uri

Black And Blue

 Ripped from my I Giganti Del Jazz LP... ultra minty!!

Also made available on the Italian budget label I Ganti Del Jazz, this little-known effort finds veteran trumpeter Joe Newman (55 at the time) stretching out quite effectively on four standards and two originals. In what was his first opportunity to lead a recording session since 1962, Newman and his top-notch rhythm section (pianist Hank Jones, bassist George Duvivier and drummer Alan Dawson) swing their way through such songs as "Softly As In a Morning Sunrise," "Paper Moon" and "Fiddy's Moods."  - Scott Yanow

 

 

 

 

 

Curcio Editore GJ-50 / Black and Blue 

I Giganti Del Jazz Vol. 50


Recorded 1960??, Released 1972



Joe Newman - trumpet;  Hank Jones - piano;  George Duvivier - bass;  Alan Dawson - drums

1. Softly As A Morning Sunrise
2. It's Only A Papermoon
3. I Love My Woman
4. Fiddy's Moods
5. Summertime
6. Prelude To a Kiss

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This is a mint rip from my Classic Jazz reissue, as is the review.  A killer side to be sure...enjoy!!!

Also put out on the French Black & Blue label, this is one of the more obscure LPs to team together tenor saxophonist Eddie "Lockjaw" Davis and trumpeter Harry "Sweets" Edison. Lockjaw and Sweets always made for an exciting combination, constantly challenging each other to play with fire. Highlights of this particular encounter include "Jim Dawg," "Intermission Riff" and "Light and Lovely"; the two distinctive horn stylists are even able to uplift "The Good Life."  - Scott Yanow

Classic Jazz CJ116 / Black and Blue 33121
1975

Recorded on July 26th 1975 in Nice.

1. Jim Dawg
2. The Good Life
3. Meditation
4. Intermission Riff
5. Land Of Dreams
6. Light And Lovely

Eddie Lockjaw Davis - ts
Harry Sweets Edison - tp
Gerry Wiggins - p

Major Holley - b
Oliver jackson - d

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This was ripped from my mint I Giganti Del Jazz reissue.  The Curcio label was an Italian imprint, they put out a set of 100 albums, all reissues or out takes.

This album is a superb set, with both Tate and Buckner as expressive as can be.  Enjoy!!

 I Giganti Del Jazz Vol. 13 / Black and Blue 33014
Paris, France
1967

A1 - When I'm Blue (Tate), 10:50
A2 - You Have Changed (Fisher, Carey), 05:10
A3 - Day by Day (Weston, Stordhal), 06:45
B1 - Them There Eyes (Tracy, Tauber, Pinkard), 10:46
B2 - Margie (Davis, Conrad, Robinson), 10:29

Buddy Tate (Tenor Sax), Milt Buckner (Organ), Wallace Bishop (Drums)

Thad Jones & Mel Lewis - Live At The Village Vanguard

This was the second album from the Jones/Lewis Orchestra.  While it's not their greatest, it certainly is excellent - a document of their progress.  Along with big bands like the Clarke/Boland, Jones and Lewis were changing the landscape and sound of large jazz orchestras.

The music is always swingin, but the leaders took advantage of their highly skilled players.  The themes and ensemble work are modern and forward thinking.  Bob Brookmeyer and Garnett Brown also contribute arrangements.

Check out the Thad Jones original Little Pixie, one of his greatest compositions.  Overall this is a sonic treat from an ultra minty, mono original.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC...enjoy!!!



Solid State SM 17016
Recorded April 1967

1. Little Pixie
2. 'A' That's Freedom
3. Bacha Feeling
4. Don't Git Sassy
5. Willow Tree
6. Samba Con Getchu

Arrangers: Thad Jones; Bob Brookmeyer; Garnett Brown

Thad Jones (trumpet, cornet, flugelhorn);  Mel Lewis (drums);
Richard Williams (trumpet);
Richard Davis (double bass);
Sam Herman (guitar, shaker);
Jerome Richardson (flute, clarinet, soprano/alto saxophone);
Jerry Dodgion (flute, alto saxophone);
Joe Farrell (flute, tenor saxophone);
Eddie Daniels (clarinet, tenor saxophone);
Pepper Adams (clarinet, baritone saxophone);
Marvin Stamm, Snooky Young, Bill Berry, Jimmy Nottingham (trumpet); Garnett Brown, Tom McIntosh, Bob Brookmeyer (trombone);
Cliff Heather (bass trombone);
Roland Hanna (piano).

Benny Carter - The Complete Further Definitions

What a feast for the ears this is!!  Carter is a jazz legend, without a doubt.  A true stylist, which is what enabled him to walk the path of a master.  Composition, arrangment, unheralded sensitivity and a unique ability on his chosen instrument.

For some reason, the two albums contained on this CD - Further Definitions and Additions To Further Definitions - have gone undetected on many jazz fan's radar.  Impulse decided to release both on one disc in 1997, an excellent decision.  Frankly, I think this is some of his best work and shows ALL of his talents.

Of course, the supporting players help to define the sessions.  Anybody with reasonable knowledge of jazz should be salivating upon reading the list of personnel.  All of the players are in top form, making for an incredible listening experience.  There's a wonderful sense of romanticism that's tangible when listening to this music.  Carter and co. create a sonic wonderland,  filled with all the right elements to help the listener drift off to a sublime place...

This was ripped from my Impulse! CD using EAC, then to Trader's Little Helper to create FLAC 16/44.1.  Superb reissue and remastering using all of the modern resources which make these CDs sound incredible.  The CD is OOP for sometime now...  Enjoy!!!

 

Roullette: At The Roundtable

By 1959 Herman had broken up his Third Herd and was utilizing a sextet filled with important young players. This live LP from 1959 (the only recording of this group) finds him well-featured on both alto and clarinet with a band that also boasts trumpeter Nat Adderley, acoustic guitarist Charlie Byrd and Eddie Costa on piano and vibes. All 12 selections (mixing together standards and forgotten originals) have their enjoyable moments. A rare chance to hear Woody Herman as a key soloist in a small group. - Scott Yanow

Forum (F 9016)

1959





A1  Black Nightgown   

A2  Pea Soup   

A3  Just A Child   

A4  Petite Fleur   

A5  Lullaby Of Birdland   
A6  Inside Out   
B1  The Swingin' Shepherd Blues   
B2  The Deacon And The Elder   
B3  Princess "M"   
B4  Moten Swing   
B5  Early Autumn   
B6  The Late Late Show   

Bass – William Betts;  Clarinet, Alto Saxophone – Woody Herman;  Drums – Jimmy Campbell
Guitar – Charlie Byrd;  Piano – Eddie Costa;  Trumpet – Nat Adderley

____________________________________________________________________

Recorded at the Roundtable nightclub in New York City on July 1, 1959, this performance marked the beginning of a new, penultimate phase of Jack Teagarden's recording career. His Capitol Records contract having ended the previous spring, he then performed for the portable recording equipment of Roulette Records, which would release some of the sides recorded at this gig as a live album, and which would, for a time, revive his fortunes. Although he's a little less agile and powerful, having reached his late 50s after a career's worth of constant work, and some health problems (later resolved), the cohesiveness of the band makes this release well-worth hearing. The group, in a typical live set, plays seven Dixieland warhorses and the obscure "When" (which was written by the King of Thailand). Teagarden, trumpeter Don Goldie, clarinetist Henry Cuesta, the great stride pianist Don Ewell, bassist Stan Puls, and drummer Ronnie Greb put on a lively, crowd-pleasing show highlighted by "South Rampart Street Parade," "St. James Infirmary" (sung by Teagarden), "St. Louis Blues," and Ewell's feature on "Honeysuckle Rose." [Note: as of 2005, At the Roundtable has never been reissued on its own, but is part of Mosaic's Complete Roulette Jack Teagarden Sessions, augmented with a significant body of unreleased track from this same performance.]  - Bruce Eder

Roullette R25091

Roundtable Nightclub, NYC 1959

Don Goldie (tp, vcl);  Jack Teagarden (tb, vcl);  Henry Cuesta (cl);  Don Ewell (p),

Stan Puls (b);  Ronnie Greb (d).

A1  South Rampart Street Parade   

A2  St. James Infirmary   

A3  Big Noise From Winetka   
A4  When   

B1  St. Louis Blues   

B2  Honeysuckle Rose   

B3  Stardust   

B4  When Tha Saints Go Marching In 

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Steve Allen was a jack of all trades as a comedian, television star, author, musician, and prolific composer, but he has been dismissed by a lot of critics as a lightweight performer and songwriter. Allen never clamed to rival Art Tatum as a pianist, or the likes of Cole Porter or Duke Ellington as a composer; he saw himself as an entertainer first. Surrounded by a strong supporting cast during this live engagement at the Roundtable (with Allen hamming it up on the cover photo in a suit of armor), Allen doesn't hog the spotlight but keeps his solos rather brief and gives his sidemen plenty of solo space. His opener "Roundtable Boogie" features guitarist Mundell Lowe, vibraphonist Terry Gibbs, and clarinetist Gus Bivona; while Allen isn't in the league of Meade Lux Lewis and Pete Johnson, he is a more than competent boogie-woogie player (he was once complimented on his boogie-woogie playing by Teddy Wilson, who confessed he had problems playing it himself!). Gibbs swings like mad in a fun-filled take of "I Got Rhythm." "Even Stephen" is actually a wild reworking of "Jeepers Creepers." Doc Severinson adds his swinging trumpet to Allen's rousing closer, "Baby, But You Did." Although this won't be an essential recording for the average jazz fan, anyone who enjoys Steve Allen will be delighted to acquire this record.  - Ken Dryden

Roullette Records
SR-25053
1959

A1 Roundtable Boogie   
A2 Why Don't You Want to Go Home   
A3 I Got Rhythm   
B1 Even Stephen   
B2 I Thought About You   
B3 Baby, But You Did

Steve Allen (piano); Mundell Lowe (guitar); Gus Bivona (clarinet, saxophone, alto saxophone);
 Doc Severinsen (trumpet); Terry Gibbs (vibraphone); Gary Peacock (bass instrument);
Gary Frommer (drums).