Philly Bands in the 70's - The Visitors and Catalyst Complete Works

 The Visitors - Neptune
Muse 5195, 1972 (1980)

Neptune (12:02)
Naima (4:40)
Reflections (2:39)
China (5:30)
Pisces (4:05)
Pat´s Tune (2:24)

Bass – Edward Crockett (tracks: B2), John Hicks
Congas – Robert Kenyatta
Drums – Bill Roy, Richard Lee Wiggins (tracks: B2)
Electric Piano – Ron Burton
Percussion – John Goldsmith, Sherman Ferguson
Piano – Elmer Gibson, Sid Simmons
Producer – Skip Drinkwater
Saxophones – Carl Grubbs, Earl Grubbs

 Catalyst - Catalyst
Muse 5170, 1972

01. Ain’t The Truth
02. East
03. Catalyst Is Coming
04. Jabali
05. New-Found Truths
06. Salaam

 Eddie Green (keyboards, vocals), Sherman Ferguson (percussion), Odean Pope (saxophone, flute, oboe), Alphonso Johnson (bass)

 Earl & Carl Grubbs (The Visitors) - In My Youth
Cobblestone 1972, Muse 5024, 1976

1. In My Youth (E. Grubbs) (8:11)
2. The Juggler (E. Grubbs) (7:48)
3. The Visit (E. Grubbs) (7:38)
4. Mood Seekers (E. Grubbs) (6:52)
5. Giant Steps (J. Coltrane) (6:45)
6. In My Youth (alternate take) (E. Grubbs) (7:54)

Carl Grubbs (alto saxophone)
Earl Grubbs (soprano saxophone 1, 6; tenor saxophone 2-5)
Sid Simmons (piano)
Stanley Clarke (bass 1-4, 6), James Glenn (bass 5)
John Goldsmith (drums, shakers)
Richard Lee Wiggins (bells 1)

 Catalyst - Perception
Muse 5025, 1972

A1 Perception 15:10    
A2 Uzuri     2:59    
B1 Celestial Bodies     9:20    
B2 Ile Ife     7:02    
B3 Got To Be There 2:44

    Bass – Zuri Tyrone Brown*
    Congas, Percussion – Farel Johnson
    Drums, Percussion – Onaje Sherman Ferguson*
    Electric Piano – Sanifu Eddie Green*
    Guitar – Norman Harris
    Percussion – Jabali Billy Hart*
    Synthesizer [Arp] – Pat Gleason
    Tenor Saxophone, Flute – Nwalinu Odean Pope*
on b3 - Bass – Anthony Jackson Congas – Larry Washington

 The Visitors – Rebirth
Muse Records – MR 5047
Vinyl, LP 1974
A1 Glad To Be Sad 5:58
A2 Black Smoke 9:44
A3 Love Is Magic 5:19
B1 Two Wives 8:04
B2 Gone Are The Days 5:32
B3 Joy 7:02

Bass – Buster Williams
Drums – Albert Heath
Percussion – Sonny Morgan
Piano – Kenny Barron
Saxophone [Alto] – Carl Grubbs
Saxophone [Tenor] – Earl Grubbs

 Catalyst - Unity
Muse 5042, 1974

A1 A Country Song 6:20
    Bass – Alphonso Johnson Drums, Percussion – Jabali Billy Hart*
A2 Little Miss Lady 4:53    
A3 Maze     5:17    
B1 Athene 5:27
    Flute – Connie Hamilton, Shirley Byrne Brown, Steve Tanzer Percussion – Jabali Billy Hart* Violin – Gail Murdaugh Violin, Soloist – John Blake
B2 Mail Order 6:12
    Percussion – Jabali Billy Hart*
B3 Shorter Street     3:53    

    Bass – Zuri Tyrone Brown*
    Drums, Percussion – Onaje Sherman Ferguson*
    Electric Piano – Sanifu Eddie Green*
    Tenor Saxophone, Flute – Mwalimu Odean Pope*

 The Visitors - Motherland
Muse 5094, 1975

A1 Kimball     7:23    
A2 Body & Soul     6:20    
A3 Levelf     6:23    
B1 Motherland     3:20    
B2 Fables Of Africa     6:03    
B3 I Want To Talk About You   5:27  
B4 A Touch Of Warm     3:15

Bass – John Lee
Drums – Victor Lewis
Piano – Joe Bonner
Alto Saxophone – Carl Grubbs
Tenor, Soprano Saxophone – Earl Grubbs    
Producer – Michael Cuscuna
Recorded at Blue Rock Studios, New York City on Oct. 27 & 28, 1975.

Catalyst - A Tear and a Smile
Muse 5069, 1976

A1 The Demon Pt. 1     4:10    
A2 The Demon Pt. 2  3:10
    Vocals – Eddie Green (3)
A3 A Tear And A Smile 4:34    
A4 Fifty Second Street Boogie Down 3:56    
B1 Suite For Albeniz 6:15
    Cello – Michael Peebles Clarinet, Flute – George Taylor (6) Flute – Shirley Byrne Brown Flute [Alto], Flute – Steve Tanzer Viola – Aliza Appel Violin [Soloist] – John Blake
B2 A Prayer Dance     5:54    
B3 Bahia     6:15    

    Design [Album] – Ron Warwell
    Drums, Marimba, Percussion – Sherman Ferguson
    Electric Bass, Acoustic Bass – Tyrone Brown
    Electric Guitar – Charles Ellerbe*
    Electric Piano, Piano [Acoustic], Synthesizer [Moog] – Eddie Green (3)
    Engineer [Mastering] – George Horn
    Engineer [Recording] – Bob Kosiba, Joel Fein
    Engineer [Remix] – Ken Hopkins, Skip Drinkwater
    Liner Notes – Onaje Sherman Ferguson*
    Photography By [Cover] – Hugh Bell (2)
    Photography By [Liner] – Abe Simbu
    Producer – Skip Drinkwater
    Tenor Saxophone, Flute, Flute [Alto] – Odean Pope
    Vocals – Sharon Scott (3)
    Vocals [Chant], Percussion [Misc.] – Farel Johnson

These two bands charted a very similar course between 1972 and 1976 and both are nearly forgotten today. The Visitors are a spiritual jazz band lead by two of Coltrane's nephews; names like Ron Burton, Stanley Clarke and Kenny Barron pass thru the ranks of this fine band. Catalyst is more of a Mwandishi style fusion band  lead by Eddie Green, Sherman Fergusson and Odean Pope that first featured Alphonso Johnson on bass and later Tyrone Brown. I would imagine that these two groups likely played the same clubs about town so pairing them together just seemed logical to my twisted brain. Another of the Philly mainstays on the club scene was of course Pat Martino who periodically sat in with Catalyst and at one point used the rhythm core of Green, Fergusson and Brown in his own group. Get out those bell bottoms and freaky shirts and fire one up, time to go back to the 70's!

Cal Collins In San Francisco

Another little something for chubb's Concord series and our ongoing exploration of Cal Collins.

Cal Collins In San Francisco
Label:Concord Jazz – CJ-71, Format:Vinyl, LP, 1978

A1 Blue Haze        
A2 How Long Has This Been Going On        
A3 Laura        
A4 Sometimes I'm Happy        
B1 Miles' Theme        
B2 Blue Prelude        
B3 Exactly Like You        
B4 Deep In A Dream        
B5 So What 

    Bass – Monty Budwig
    Drums – Jeff Hamilton
    Guitar – Cal Collins

This record was a little bit rougher than advertised, cleaned it up as well as possible but there is still some groove noise. A very fine studio trio date with Monty Budwig and Jeff Hamilton. This was clearly Collins' time to shine. I particularly enjoy the version of So What, a Miles tune that lends itself unusually well to guitar interpretations.

Cal Collins - Ohio Style

Here is another little Concord tidbit for Chubby's series and also for our burgeoning Cal Collins fans. Ripped from my own $2 CD! (Sometimes it is best not to ask, just pay your $2 and go.)

"Guitarist Cal Collins' first album as a leader in four years was also his first for Concord in nine years. Collins' reputation as a swinging and appealing improviser was formed during his Concord years (1978-81) before he moved to Cincinnatti. This "comeback" CD was recorded in Cincinatti with some fine local musicians: flugelhornist Jerry Van Blair, bassist Lou Lausche and drummer Tony Sweet. With the exception of the off-the-wall choice of "Tumbling Tumbleweeds" (Collins was always open to the influence of country music), all of the selections are veteran jazz standards. The guitarist manages to give such tunes as "East of the Sun," "Skylark," "Ghost of a Chance" and "Sweet Sue" fresh interpretations that swing and are creative within the genre of mainstream jazz. Recommended." SY@AMG

Well....Damn Scott, for by far the largest part I completely agree. Only difference is that I like The Tumbling Tumble Weeds, but what the hell do I know?

I've been a bit wordy lately so I'll just shut up and say Enjoy!

Sidney Bechet w/ Wild Bill Davison - Runnin Wild

This is a long OOP disc which features all of the Blue Note sessions of Bechet and Davison.  Undoubtedly some of his best output from the revival period, with excellent fidelity to boot!  Ripped in FLAC... enjoy!!!

After Blue Note switched to bop in 1947, it was the end of trad jazz on the label, with the exception of a few sessions led by Sidney Bechet and George Lewis. The masterful soprano saxophonist Bechet led no less than nine dates for Blue Note, as well as appearing as a sideman on four others, all of which were included in Mosaic's now out-of-print comprehensive Bechet box set. Three of Bechet's outings for Blue Note co-featured cornetist Wild Bill Davison, and all of that music is on this single 1998 CD. Since Bechet was generally quite dominant in ensembles, he did not usually get along well with trumpeters, and since Davison could be quite fiery, it is surprising that this matchup works so well. Bechet actually enjoyed Wild Bill's playing because the cornetist played fairly simply and left plenty of space. Davison had great respect for Bechet and is slightly more restrained than usual throughout these numbers, although he does let loose with some heated blasts here and there. This excellent Dixieland collection features one quintet and two sextet sessions with Bob Diehl or Jimmy Archey on trombone, Art Hodes or Joe Sullivan on piano, Pops Foster or Walter Page on bass and Freddie Moore or Slick Jones on drums; there are lots of hot moments on the warhorse material from the two principals. A surprise success.

  - Scott Yanow/AMG

Recorded at WOR Studios, New York, New York on January 21 & March 23, 1949 and April 19, 1950

Sidney Bechet (soprano saxophone);  Wild Bill Davidson (cornet); Bob Diehl, Jimmy Archey (trombone); Art Hodes, Joe Sullivan (piano); Walter Page, Pops Foster (bass); Fred Moore, Slick Jones (drums)           

Eddie Jefferson - Letter From Home

Ahhhh yes.  Sunday, laziest of them all.  Back at our old digs, I was trying to make Sunday about posting something special, yet laid back.  I think I'll bring that idea here, and start the next few weeks by posting vocal and piano based sides.

So I'm opening up with a big one.  I'm sure plenty of you have this or have at least heard it.  No doubt that it's a classic.  Aside from Jefferson's vocalese, there may be a couple of players you recognize from his band. (wink, wink)

All that said, this is presented in marvelous 320 CBR mp3... enjoy!!!







Riverside Records
RLP-411

Ernie Royal, Clark Terry (tp) Jimmy Cleveland (tb) James Moody (as, fl) Johnny Griffin (ts) Arthur Clarke (bars) Joe Zawinul (p) Barry Galbraith (g) Sam Jones (b) Osie Johnson (d) Eddie Jefferson (vo)

Plaza Sound Studios, NYC, December 18, 1961

	Letter From Home
	Things Are Getting Better
	I Feel So Good

Johnny Griffin (ts) Junior Mance (p) Barry Galbraith (g) Sam Jones (b) Louis Hayes (d) Eddie Jefferson (vo)

Plaza Sound Studios, NYC, January 12, 1962

	Billie's Bounce (take 4)
	Soft And Furry
	Keep Walkin' (take 4)
	Bless My Soul

Joe Newman, Ernie Royal (tp) Jimmy Cleveland (tb) James Moody (as, fl) Johnny Griffin (ts) Arthur Clarke (bars) Wynton Kelly (p) Barry Galbraith (g) Sam Jones (b) Osie Johnson (d) Eddie Jefferson (vo)

Plaza Sound Studios, NYC, February 8, 1962

	Take The "A" Train
	Back In Town
	A Night In Tunisia

Sonny Stitt - Finishing with Style

Sonny Stitt - Tune Up!
Muse 5334 (Cobblestone 9013)

1) Tune Up
2) I Can't Get Started
3) Idaho
4) Just Friends
5) Blues for Prez and Bird
6) Groovin' High
7) I Got Rhythm

Sonny Stitt saxophones, Barry Harris piano, Sam Jones bass, Alan Dawson drums

 Sonny Stitt - Constellation
Muse 5323

1 Constellation 5:00
2 I Don't Stand a Ghost of a Chance... 4:46
3 Webb City 3:30
4 By Accident 6:42
5 Ray's Idea 3:53
6 Casbah 5:02
7 It's Magic 5:11
8 Topsy Battle 5:35

Sonny Stitt - 12!
Muse 5006, 1972

 Sonny Stitt - tenor
Barry Harris - piano
Sam Jones - Bass
Louis Hayes - drums

01 12!
02 I got it bad
03 I never knew
04 Our Delight
05 The night has a thousand eyes
06 Blues at this tempo
07 Every Tub

Sonny Stitt - The Champ
Muse 5023, 1973

01 - The Champ
02 - Sweet and Lovely
03 - The Midgets
04 - The Eternal Triangle
05 - All the Things You Are
06 - Walkin'

Sonny Stitt (as, ts) Joen Newman (t) Duke Jordan (p) Sam Jones (b) Roy Brooks (d)
RCA Studio, NYC, April 18, 1973

Sonny Stitt - My Buddy
Muse 5091 1975

1. You Can Depend On Me
2. Red Top
3. Exactly Like You
4. My Buddy
5. Confirmation
6. Blues For Brad And Kolax

 Sonny Stitt - Mellow
Muse 5067 1975
A Sailboat In The Moonlight 6:44
If You Could See Me Now 5:00
A Cute One 8:12
I Should Care 5:43
Soon 3:40
How High The Moon 6:30

Alto Saxophone, Tenor Saxophone – Sonny Stitt, Bass – Richard Davis (2), Drums – Roy Haynes, Flute, Tenor Saxophone, Soprano Saxophone – Jimmy Heath, Piano – Barry Harris

 Sonny Stitt - Blues for Duke
Muse 5129 1975

C. Jam Blues
I Got It Bad And That Ain't Good
Perdido
Blues For Duke
Don't Get Around Much Anymore
Satin Doll

Sonny Stitt Tenor Sax, Barry Harris Piano, Sam Jones Bass, Billy Higgins Drums

Sonny Stitt - In Style
Muse 5228 1981

A1		Western Style	4:42
A2		I'll Walk Alone	5:34
A3		Just You, Just Me	4:50
A4		The Good Life	2:46
B1		Is You Is Or Is You Ain't My Baby?	4:58
B2		Killing Me Softly With His Song	4:08
B3		Eastern Style	3:35
B4		Yesterdays	6:16

Personnel: Sonny Stitt (saxophone); Barry Harris (piano); George Duvivier (bass); Jimmy Cobb (drums).

Sonny Stitt - Sonny's Back
Muse 5204 1980

1. Canadian Sunset
2. Sonny's Bounce
3. Soon
4. Dodge City
5. It Might As Well Be Spring
6. Constellation
7. Streets Of Dreams

Sonny Stitt (as-2,ts) Ricky Ford (ts-1) Barry Harris (p) George Duvivier (b) Leroy Williams (d) New York, April 7 & July 14, 1980

Sonny Stitt - The Last Stitt Sessions Vol. 1 & 2
Muse 6003 (1982)

1.Steamroller
2.I’ll Be Seeing You
3.Out Of Nowhere
4.Sweet Georgia Brown
5.Keepin’ It
6.This Is Always
7.Makin’ It
8.Angel Eyes
9.At Last
10.Bouncin’ With Bud
11.As Time Goes By
12.Swiftly
13.Sugar
14.Jumpin’ The Blues

 Sonny Stitt (alto & tenor saxophones); Bill Hardman (trumpet); Junior Mance, Walter Davis (piano); George Duvivier (bass); Jimmy Cobb (drums).

Thanks to Rubberduck, Yewsta, Grumpy and Uri for their contributions to this post.

George Lewis In Japan Vol. 1

Of the 4 Lewis sides I have shared, this is my personal favorite.  You'll notice that only Joe Watkins is present from GL's usual line up.  This is because Lewis took the Preservation Hall members with him for this tour.  It was actually billed as The George Lewis Preservation Hall Jazz Band. 

As you can see from the cover image, the Japanese were clamouring for the real thing in jazz, so when Lewis rolled into town it was hailed as an event.  Much like any large rock act, the band were greeted at the airport by fans and media alike.  Their popularity was so huge that they were able to play for 3 months in Japan - each gig a success.  The liner notes have lots of great info about his time there, I encourage you to read them.

Almost as entertaining as the band is the poor MC who was tasked with introducing each member of the band by name.  Once that awkward intro is done the band take off and never look back.

Ultra tight and just killin every tune, GL and co. showed the Japanese what it means to be a New Orleanian jazz musician.  A real big nod to Emanuel Sayles who just tears it up on the banjo, a real joy to listen to.  For anyone enjoyin the Snowden sides, Sayles will be a treat.

This is the first of three volumes, but I don't have the other two.  I will be actively seeking them out.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!
GBH Records GBH-14
Recorded in Osaka, Japan 1963

Charles McPherson - Beautiful!

Now here is one of those contributions I've been sitting on a while, an lp rip of a Xanadu date for McPherson with a very appropriate title which comes to us from Jazzpracticum Soest. Please direct your thanks to him.

Charles McPherson - Beautiful!

Xanadu 115, 1975

 Charles McPherson - alto
Duke Jordan - piano
Sam Jones - bass
Leroy Williams - drums

01 They Say It's Wonderful
02 But Beautiful
03 It Could Happen to You
04 Lover
05 This Can't Be Love
06 Body and Soul
07 It Had to be You

 From the opening notes of 'It Had to Be You' you can tell exactly why Clint Eastwood chose McPherson as the horn voice of Bird in his movie. This whole session is testimony that bop was alive and well and certainly in safe hands with this quartet. It is interesting that in the 40's and 50's, even into the early 60's the specter of comparison to Bird had many scurrying to other horns than the alto but by the 70's there was no longer a stigma to sounding like Parker. McPherson and Sonny Stitt both recorded unabashed Bird like albums, both in sound and song selections, repeatedly through the 70's and all are worth hearing. 

The rhythm section supporting Charles is sublime and Jordan's piano is nicely miked so that the sensitive touch and key pressure is well reproduced. Sam Jones bass is huge and full-throat-ed, right at the edge of too much but I kind of like the sound. Williams is always the epitome of classy timekeeping, punctuating with style but never overbearing. The leader is in lovely voice here as he is on all his material at Xanadu; I suspect that Charles remembers this time of his career fondly as it seemed all the experience of the Mingus band and the Prestige years had crystallized into a fully mature artist. One the highlights of any visit to the San Diego area ought to be catching a McPherson gig.

Elmer Snowden - Harlem Banjo

As much as Orin Keepnews' career is celebrated, in the grand scheme of things, I'm not sure he gets the credit he deserves.  This album is a perfect example of his contribution to the recorded history of jazz.

Snowden was brought out of relative obscurity to record what would become his calling card.  The art of jazz banjo was all but lost, so the beauty of this album is hearing a classic style in a modern recording.

This a a wildly fun and upbeat side, guaranteed to entertain.  It's presented here in VBR mp3, which while not ideal, does infact sound great.  The Crypt will be looking closely at some of Keepnews' lesser known sides from his Riverside imprint...  enjoy!!!

Banjoist Elmer Snowden only led two albums in the LP era, and his OJC CD reissue is his best showcase. Snowden, who is joined by pianist Cliff Jackson, bassist Tommy Bryant, and drummer Jimmy Crawford, is the lead voice throughout the dozen standards, all of which date from the 1920s or '30s. Snowden's banjo style is a lost art, and this is his definitive recording. - Scott Yanow/AMG

Riverside RLP 9348
1960

Elmer Snowden - banjo;  Cliff Jackson - piano;  Tommy Bryant - bass;  Jimmy Crawford - drums.

George Lewis At Club Hangover Vol. 3

It's a shame that I don't have Vol. 2 of this series, but I will keep an eye out.  Vol. 3 brings us more from this great engagement, with all the players firing on all cylinders.

Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Storyville SLP-4055
Club Hangover, San Francisco, CA  (11/07/1953-12/27/1953)

George Lewis (clarinet); Laurence Marrero (vocals, banjo); Avery Howard (vocals, trumpet); Joe Watkins (vocals, drums); Lizzie Miles (vocals); Jim Robinson (trombone); Alton Purnell (piano)

Ramsey Lewis - And His Gentle-Men of Swing (1956) [vinyl>flac]

This was pianist Ramsey Lewis' first album; a trio set with bassist Eldee Young and drummer Redd Holt. From their first appearance in the Chicago SRO club in the spring of 1957, the Ramsey Lewis Trio was considered, by the public and critics, one of the brightest jazz groups to appear in the jazz scene. Great jazzmen such as Dizzy Gillespie called them “A gust of fresh air on the musical scene,” and Duke Ellington said they were “A bouquet of tonal delight.” A trio with a rare combination of stimulating music and personal magnetism, the group was in the mold of the Modern Jazz Quartet - thoughtful, studious, exploratory, but possessing a quietly throbbing, thoroughly captivating beat. Lewis sounds like a cross between John Lewis and Oscar Peterson, playing melodic and lightly boppish versions of such pieces as "Carmen," Russ Freeman's "The Wind," "Bei Mir Bist Du Schön," Gerry Mulligan's "Limelight" and a few originals.

Argo Records, LP-611, 1956

Recorded 12th December, 1956

Track Listing:

A1. Carmen {Georges Bizet} (4:21)

A2. I'll Remember April {Gene de Paul, Patricia Johnston, Don Raye} (4:03)

A3. The Wind {Russ Freeman} (3:49) 

A4. Bei Mir Bist du Schön {Sammy Cahn, Saul Chaplin, Jacob Jacobs, Sholem Secunda} (3:08)

A5. My Funny Valentine {Lorenz Hart, Richard Rodgers} (3:21)

B1. Fantasia For Drums {Ramsey Lewis} (5:35)

B2. Dee's New Blues {El Dee Young} (2:52)

B3. Tres {Ramsey Lewis} (4:32)  

B4. Limelight {Gerry Mulligan} (2:18)

Personnel:

Ramsey Lewis - Piano, Keyboards

Eldee Young - Bass

Redd Holt - Drums

Note:
Ripped from 56 year old well-loved vinyl, some sound artifacts.

Helen Humes - Helen

Helen Humes - Helen
Muse 5233, 1981

1) There'll Be Some Changes Made
2) Easy Living
3) You Brought a New Kind of Love to Me
4) Evil Gal Blues
5) Why Try to Change Me Now?
6) Draggin' My Heart Around

Helen Humes vocals, Joe Wilder trumpet, Buddy Tate tenor sax, Norman Simmons piano, Billy Butler guitar, George Duvivier bass, Butch Miles drums

Helen Humes was one of the most appealing jazz singers of the late '30s, and of the late '70s. Her comeback in her last few years was a welcome event, and all of her recordings for Muse are recommended. This one finds her backed by a veteran sextet including tenor man Buddy Tate, trumpeter Joe Wilder and pianist Norman Simmons. Her versions of "There'll Be Some Changes Made," "Easy Living" and "Draggin' My Heart Around" are particularly memorable. AMG

Kind of an unusual date because Joe Wilder comes out of the commercial studios to play real jazz, Billy Butler also adds some lovely touches on guitar. Norman Simmons and Buddy Tate are consummate pros  but the best feature of this band is....

***********George Duvivier is an absolute monster on this album!!************

Shirley Scott - Oasis

Shirley Scott - Oasis
Muse 5388, 1990

1 Oasis
2 Lament
3 Blues Everywhere
4 Alone Together
5 Basie in Mind
6 Do You Know a Good Thing When You See One?
7 Nature Boy

Shirley Scott (organ); Houston Person (#3), Charles Davis (tenor saxophone); Virgil Jones (trumpet); Mickey Roker (drums), Arthur Harper (bass).

Fox Recording Studios, Rutherford, NJ (08/28/1989).
Liner Note Author: Jerry DeanIn an ideal world, Shirley Scott would have made as many trips to the studio in the 1970s and 1980s as she did in the 1960s. But regrettably, she did very little recording in the 1970s and 1980s. After 1974's One for Me on Strata East, the Philadelphia organist/pianist stayed away from the recording scene for 15 years before making an impressive return to the studio with 1989's Oasis. Produced by tenor titan Houston Person, this solid hard-bop/soul-jazz effort finds a 55-year-old Scott leading a combo that employs Charles Davis on tenor sax, Virgil Jones on trumpet, Arthur Harper on bass, and Mickey Roker on drums. While Davis is the main saxophonist, Person is featured on Scott's relaxed 12-bar number "Blues Everywhere." Scott is in fine form throughout the album, playing with plenty of warmth and feeling on original material as well as soulful interpretations of "Alone Together," J.J. Johnson's "Lament," and "Nature Boy" (which has been performed as a ballad by Nat "King" Cole and others but gets a surprisingly uptempo treatment from Scott). In 1989, it was nice to know that Scott was recording again -- and thankfully, she wouldn't neglect the studio in the 1990s. ~ Alex Henderson

Cal Collins - Blues on My Mind Concord Jazz 1979

Cal Collins - Blues on My Mind
Concord Jazz 1979

A1 Blues On My Mind 5:39    
A2 Imagination 4:30
A3 Softly, As In A Morning Sunrise 4:56    
A4 I Love You, Samantha 5:27    
B1 Marie 2:51    
B2 Dream A Little Dream Of Me 6:12 
B3 My Melancholy Baby 3:32    
B4 Ruby 6:02    

Bass – Bob Maize, Drums – Jeff Hamilton, Guitar – Cal Collins, Piano – Larry Vuckovich

Think about this for a moment....just how bad-ass a guitar player did you have to be to record at Concord? I mean Joe Pass, Tal Farlow, Herb Ellis, Charlie Byrd, Remo Palmieri, and....Cal Collins. Well actually Collins BELONGS in that kind of company. I'd compare my first experience of Cal to my more recent first experience with Louis Stewart, your heads snaps up and you say"Oh Good Lord Who is THAT?" Cal had chops to equal anyone and an infectious swing that reminded me of George Barnes and Tiny Grimes. I don't think Cal would have minded either comparison.

One of the things that will strike you when first hearing this music is that surely this was a 'working band', this sort of effortless swing is hard won. Well yes and no, this is The Larry Vuckovich Trio with Guest Cal Collins. Anyone who is a Jazz fan in the Bay Area can tell you these guys are (or maybe were, it has been awhile) consummate pro's and they clearly made Cal feel like he was right back home in Cincinnati. If you are a guitar guy or gal, then I'm betting this will stay in your play list for quite awhile.

Mickey Tucker - Sojourn

When we made the move to our new home I tried an experiment in creating false history by backdating posts to before we actually came here. I thought it might provide some continuity....yeah, okay THAT didn't work out so well so I am saving these one by one by bringing them forward.

This comes once again from Wid and I'm putting it both here and at Kublah's Crib mostly because I don't think anyone will notice the upgraded links over there since they don't expect any new postings anymore. We had an mp3 link previously that is now replaced with a FLAC lp rip!

Mickey Tucker - Sojourn
Xanadu 143, 1977

1: Fast Train To Zurich
2: Norwegian Nights - Norwegian Days
3: Tunisian Festival
4: The Silent Mind of Fraulen Stein
5: French Fables
6: Dusseldorf Dance

Bill Hardman tp
Junior Cook ts
Ronnie Cuber bs
Mickey Tucker p
Cecil McBee b
Eddie Gladden d

RCA Studios, NYC, March 28, 1977
Engineer: Paul Goodman

Whoever said it is under-rehearsed never listened to that album. All tracks were composed and arranged by Tucker and are his impressions of a European tour with the Jazz Messengers - his quotes in Bob Blumenthal's notes are much fun to read, and the music is full of Tucker's own take on humour in music - if I had but one album to pick as Tucker's most impressive, I'd probably choose Sojourn! Great playing from all involved. Highly recommended!

"One of the greatest sessions – if not the best – cut as a leader by pianist Mickey Tucker, and a soaring set of spiritual tunes that best shows his talents as a player and arranger! The group's a sextet, with Junior Cook on tenor, Bill Hardman on trumpet, and Ronnie Cuber on baritone – and most tracks have a fast comping sound that's part Horace Silver Blue Note and part Strata East post-Coltrane grooving. Titles include "Dusseldorf Dance", "Fast Train To Zurich", "Tunisian Festival", and "The Silent Mind Of Fraulein Stein"." © 1996-2012, Dusty Groove America, Inc.

Albert Wynn And His Gutbucket Seven - Chicago: Living Legends

I just want to say... what happened to the George Lewis lovefest??  The last post was a dustbowl - seems the interest simply vanished.  I am not one to ever say anything about comments (until now), but the comments aren't about vanity for me, I want to know that you guys are enjoying the music.  I also love to discuss the tunes or artists.... but anyhow... I will continue the mini-series with or without comments.

I had a search through my HD and was rewarded with a bunch of albums I ripped years ago.  They are in mp3 and the scans are either done with a camera or not at all.  That said, I think you'll enjoy what I have comin.  I decided to start big, and give you a firm taste of the goods...

This one is a real swinger... enjoy!!!


 Trombonist Albert Wynn, a veteran of the Chicago jazz scene of the 1920s, recorded six selections as a leader from 1926-1928 and then headed no further sessions until he cut this full-length album in 1961 as part of Riverside's Living Legends series. Reissued on CD in the Original Jazz Classics program along with two additional cuts ("I Ain't Gonna Give Nobody None o' This Jelly Roll" and the alternate take of "How Long Blues") originally only on samplers, this is a particularly exuberant date. In addition to Wynn, the septet includes such alumni of the 1920s as clarinetist Darnell Howard, obscure trumpeter Bill Martin, Bus Moten (Bennie's brother) and Blind John Davis alternating on piano, guitarist Mike McKendrick, bassist Robert Wilson, and drummer Booker T. Washington. On a variety of Dixieland and swing standards (including "Ice Cream," "Someday Sweetheart," "Bourbon Street Parade," and "Nobody's Sweetheart"), these veterans show that they were still in their musical prime in 1961. The musicians, who were mostly in their mid-fifties, were considered ancient at the time.  - Scott Yanow/AMG

Riverside RLP-426
1961

Bill Martin (tp, vo) Albert Wynn (tb) Darnell Howard (cl) Bus Moten (p, vo) Mike McKendrick (g, bj) Robert Wilson (b) Booker Washington (d)

"The Birdhouse", Chicago, IL, September 5, 1961

Dizzy Gillespie 1960 - 63

I know that many of you are looking at this post with great excitement, can't say I blame you!  These wonderful gems have been provided by our friend and Crypt brother - Tom Ryan.  For some of you, this will be an introduction to Tom's work which is exactly why I chose these sides.  Many of us are privvy to Mr. Ryan's great contributions, but for the rest of you, I have decided to start rolling out some of his amazing efforts.

These albums are all killer, no filler.  These were Diz' working bands at the time, and they were rock solid.  Superb music, executed by one of jazz' finest sons.  I want to assure you that none of these LPs have any of the corniness which began to creep into his later albums.  My personal favorite would have to be 'Something Old, Something New'.

Let's make sure we thank Tom for these and keep your eyes peeled for more of his great vinyl transfers!!  Enjoy!!

_________________________________________________________________________

Something Old, Something New

1963

Philips

Vinyl Rip + Front & Back Covers

FLAC

1.  Bebop

2.  Good Bait

3.  Medley:  I can't Get Started / 'Round Midnight

4.  Dizzy's Atmosphere

5.  November Afternoon

6.  This Lovely Feeling

7.  The Day After

8.  Cup Bearers   

Dizzy Gillespie, trumpet;  James Moody, tenor and alto sax, flute; Kenny Barron, piano;  Chris White, bass;  Rudy Collins, drums

______________________________________________________________________

The Ebullient Mr. Gillespie

1960

Verve MG V-8328

Vinyl Rip + Front & Back Covers

FLAC

1.  Swing Low, Sweet Cadillac

2.  Always

3.  Willow Weep For Me

4.  Ungawa

5.  Lorraine

6.  Girl Of My Dreams

7.  Constatinople

8.  The Umbrella Man

Dizzy Gillespie, trumpet;  Junior Mance, piano;  Leslie  Spann, flute and guitar;  

Sam Jones, bass;  Lex Humphries, drums;  Francisco "Chino" Pozo, conga drums

_______________________________________________________________________

New Wave!
1962
Philips PHM 200-070
Vinyl Rip + Front & Back Covers
FLAC

1. In A Shanty In Old Shanty Town
2. Careless Love
3. Chega De Saudade (No More Blues-Part II)
4. Taboo
5. Gee Baby Ain't I Good To You
6. One Note Samba
7. Morning Of The Carnival (Theme From Black Orpheus)
8. Pergunte Ao Joao (Ask John)


Dizzy Gillespie, trumpet; Leo Wright, alto saxophone & flute; Lolo Schifrin, piano;
Chris White, bass; Rudy Collins, drums; Bola Sete, guitar; Jose Paula, guitar & Tambourine;
Carmen Costa, cabasa, Charlie Ventura, tenor and bass saxophone

Joanne Brackeen - AFT

Joanne Brackeen - AFT
Timeless Muse TI302, 1979
recorded 1977, NYC

A1 Haiti B     7:35    
A2 Charlotte's Dream     5:04    
A3 Dreamers     5:31    
B1 Aft     6:28    
B2 Winter Is Here     7:31    
B3 Green Voices Of Play Air     9:09

Bass – Clint Houston
Guitar – Ryo Kawasaki
Piano – Joanne Brackeen
Producer – Wim Wigt, Engineer – Elvin Campbell
Written-By – Clint Houston (tracks: A2), Joanne Brackeen (tracks: A1, A3, B1, B3), Ryo Kawasaki (tracks: B2)

This is one of the more obscure Joanne Brackeen recordings. Although the pianist is heard in a trio with guitarist Ryo Kawasaki and bassist Clint Houston, the music sounds nothing like Nat King Cole or Oscar Peterson. Actually Brackeen long ago developed her own distinctive chord voicings and, even when one hears touches of McCoy Tyner or Chick Corea in her solos, in reality she sounds like no one else. Her close interplay with Kawasaki and Houston on the six group originals (four by Brackeen) is consistently impressive and unpredictable. AMG

Yanow is certainly right about this band having almost nothing in common with those earlier piano, bass, guitar trios. For me Joanne and Clint Houston are known quantities so the wildcard here is Ryo Kawasaki. Not to worry, Kawasaki is plenty good enough to run in this company. Exceptionally fleet fingered with an almost pianistic tone, at times he can be mistaken for Brackeen. Strong, entertaining music here.

George Lewis At Club Hangover Vol. 1

In 1953, George Lewis took his band west for an extended engagement at San Fransisco's Club Hangover.  It was an 8 week run and an incredible success.  As the west coasts' most popular Dixieland venue, Lewis and co. packed the joint nightly.

Of course, the local radio station were on hand for recording.  Most of it was done off-the-air, but none the less their diligence paid off as a record of this outstanding band during this stay.

The album is MC'd by club stalwart Bob Gurner and he can be heard introducing several tracks.  Lewis himself, ever the polite southern gentleman, also can be heard introducing the songs.  Both G.L. and Kid Howard provide wonderful vocals for roughly half the album.

Once the band start, the vibe never diminishes.  Superb uptempo jazz, all wildly loose and soulful, is the order of the day.  Despite the fact that these standards are old hat for many of us, this band really give 'em the treatment resulting in an exciting and sometimes surprising tune.

Overall the album is a relatively quick listen.  It was infact issued on CD, but here for you is a vinyl transfer (of course!!!!).  As I listen while I write, I am realising that I forgot to edit with click repair.  It's not too much of a travesty - track 3 has a few clicks which you may want to deal with yourself.  Apologies, but it's certainly nothing which takes away from the listening experience.

Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC, this is for my old school Cryptheads...enjoy!!!

Storyville SLP-4055
Club Hangover, San Francisco, CA  (11/07/1953-12/27/1953)

George Lewis (clarinet); Laurence Marrero (vocals, banjo); Avery Howard (vocals, trumpet); Joe Watkins (vocals, drums); Lizzie Miles (vocals); Jim Robinson (trombone); Alton Purnell (piano)

___________________________________________________________________________

                                                          

Club Hangover

Owner ”Doc” Dougherty

Edmond Hall w/ Ralph Sutton c. 50's

Street Sign

Club Hangover, which opened in the late 1940's, was the premier traditional jazz venue in San Francisco during the 1950's. The club at 729 Bush Street, close to Powell Street,  was run by Doc Dougherty. During the 1950's there were many radio broadcasts of concerts at Club Hangover. Subsequently a number of these have been released on CD, particularly on the Storyville label.  (Taken From http://www.fellers.se/Kid/1950s_Club_Hangover.html)