Joe Henderson - The Red Records Albums

 Joe Fest rolls on!

This pair of Red Records releases find Henderson in a format in which, in my view, he excelled above all others...the straight tenor trio with merely a bass and drums. Sure, Sonny Rollins was the pioneer in this format and his tenor trio recordings are important landmarks in Jazz, but, for me, no one has ever been so engaging, so fluent and endlessly creative as Joe.

On the first live album with Haden and Foster you are treated to two of the most eloquent small group conversationalists in history - - Charlie and Joe seem to know everything the other will say in advance - - pure magic!

This one is a studio date, still with Al Foster who also excels in this format, but Charlie is replaced by another profoundly eloquent bassist in Rufus Reid. The delightful program features a host of tunes that are Joe Henderson standards, i.e. tunes most of us already connect with Joe or were actually written by him.

Once again, magical stuff not to be missed!

Hank Crawford - From The Heart (1962) [vinyl>flac]

Warm and laidback soul jazz from the great Hank Crawford – cut in a relaxed mode that makes the set feel like some of the late nite smokers on the Prestige label at the time! Hank's alto work is perfectly placed on the set, and he's working with fellow Ray Charles bandmember David Fathead Newman on tenor – plus John Hunt and Phil Guilbeau on trumpets, and Leroy Cooper on baritone sax – plus guitar from Sonny Forrest on two tracks. Titles include "The Peeper", "Sherri", "Sweet Cakes", "Don't Cry Baby", "What Will I Tell My Heart", and "But On The Other Hand". © Dusty Groove, Inc.

Recorded in 1962 with most of the same band that made Soul Clinic, Hank Crawford turns in a simmering, deep soul performance that draws in equal parts from Ray Charles' R&B, James Moody's blues and Duke Ellington's swing. Accompanied by Texas tenor giant David "Fathead" Newman, baritone saxophonist Leroy Cooper, trumpeters John Hunt and Phil Guilbeau, bassist Edgar Willis and drummer Bruno Carr (with Sonny Forrest on guitar on three tracks), Crawford follows the soul-blues Muse into the night on this set. His four originals, including "Stoney Lonesome," "The Peeper" and "Sherri," are high points, so are his readings of Percy Mayfield's classic "But on the Other Hand," and Charles' "Baby Let Me Hold Your Hand." The bookends on the set are the Unger-Bernie-Johnson blues finger-popper "Don't Cry Baby" and the elegant, melancholy ballad "What Will I Tell My Heart." From the Heart features Crawford digging deep into the Memphis tradition for expression. His own playing is exceptional as is that of Newman. These solos are as notable for their restraint in the service of melody as they are for their depth of expression. This is an early highpoint for Crawford. ~ by Thom Jurek, AMG.

Atlantic Records, SD 1387, 1962

Recorded 8^th November, 1961 - 16^th May, 1962

Personnel:

Hank Crawford - Alto Saxophone

David "Fathead" Newman - Tenor Saxophone

Leroy Cooper - Baritone Saxophone

Philip Guilbeau - Trumpet [Solo #B3]

John Hunt - Trumpet

Sonny Forrest - Guitar (#A1,A5,B1)

Edgar Willis - Bass

Bruno Carr - Drums

Track Listing:

A1. Don't Cry Baby {Stellar Unger, Saul Bernie, James P. Johnson} (4:21)

A2. Sweet Cakes {Hank Crawford} (3:38)

A3. You've Changed {Bill Carey, Carey Fischer} (3:18)

A4. Baby Let Me Hold Your Hand {Ray Charles} (3:52)

A5. Sherri {Hank Crawford} (4:37)

B1. The Peeper {Hank Crawford} (3:08)

B2. But On The Other Hand {Percy Mayfield} (5:02)

B3. Stoney Lonesome {Hank Crawford} (5:42)

B4. What Will I Tell My Heart {Peter Tinturin, Jack Lawrence, Irving Gordon} (5:09)

Credits:

Producer, Supervisor - Nesuhi Ertegun

Audio Engineer - Tom Dowd, Phil Lehle

Cover Design - Loring Eutemey

Cover Photo - Jim Marshall

Liner Notes - Leo Davis

Bud Shank - That Old Feeling (1986) [vinyl>flac]

I rather like the review I've used below but one thing struck me listening to this that Sheridan doesn't mention. In his West Coast heyday the similarity between Shank and Art Pepper was often remarked. Shank acknowledged Pepper as a major influence and at times sounded uncannily like him. Both musicians disappeared from the jazz scene in the latter part of the 60s, Pepper to deal with the consequences of his drug addiction, Shank for the lucrative security of the film and recording studios. Both returned in the 70s. This album was cut a few years after Pepper's passing and cut with Pepper's preferred pianist in his later years. Yet there is now no way that I could confuse the two. In the 50s they shared a similar tone, a sound, but by the late 70s they had moved apart. Sheridan uses the phrases 'a little more grit' and 'impassioned playing' to describe Shank's approach and indeed it is possible to discern more 'attack' more 'adventure' here, but I feel that Pepper had moved far further from his mid-fifties playing, there's a ferocious intensity, even on ballads, and a feeling for the blues that Shank never displays. Don't get me wrong I love the playing of both musicians throughout their respective careers, but I'd be interested in your opinions.

Review by Chris Sheridan, Jazz Journal, May 1987:
Bud Shank was always a highly effective alto soloist in the old West Coast days, as performances like East Of The Sun, with Howard Rumsey's Lighthouse All-Starts testify. However, his post-studio renaissance has seen a little grit added to the harmony, a bit of the crie de coeur that makes the difference between pleasantries and something more profound.
Here, his impassioned playing meshes vigorously with a robust rhythm trio to produce music of immense involvement, strong melody and varied emotional content. From the wiry opening bars of Benny Golson's usually wistful Whisper Not, this is clearly music that reaches out for attention — nor is the Shank way with a ballad any the more passive these days, as Cabin In The Sky readily testifies. Other highlights include the Monkishly puckish El Wacko, the bounding treatment of Sonny Rollins' No Moe and his unhackneyed way with As Time Goes By.
This is Shank's second album for Contemporary in 14 months and his third winner since splitting with the more wispy approach of the LA4. It should go a long way towards restoring his reputation as a pungent soloist with something worthwhile to say.

1. Whisper Not
2. Dream Dancing
3. Cabin In The Sky
4. El Wacko
5. No Moe
6. I've ToldEv'ry Little Star
7. As Time Goes By
8. That Old Feeling

Shank (as); George Cables (p); John Heard (b); Albert Heath (d).
Berkeley, California, February 17-18, 1986.
(Contemporary 14019)

Al Cohn/ Billy Mitchell - Xanadu In Africa (1980) [vinyl>flac,24bit]

A rip was available on the Xanadu blog but this is taken from my newly acquired near mint LP and includes full scans.

Review by Scott Yanow:
Despite the exotic location, this LP contains a typical Xanadu high-quality bebop date. The quintet (tenors Al Cohn and Billy Mitchell, pianist Dolo Coker, bassist Leroy Vinnegar and drummer Frank Butler) performs five standards (including long versions of "All or Nothing at All" and "Robbins Nest") in Senegal (this may very well be the first live recording of American jazz musicians in Africa) and the crowd is rightfully enthusiastic. Even if the music contains few surprises, this album is easily recommended to bop collectors although it may be difficult to find.

01 All or Nothing at All
02 Robbins Nest
03 I Surrender Dear
04 Blues in the Closet
05 Easy Living

Al Cohn, Billy Mitchell (ts) Dolo Coker (p) Leroy Vinnegar (b) Frank Butler (d)
Dakar, Senegal. March 14, 1980

Joe Henderson - A Pair with Chick

Joe-fest continues!

From 1963 to 1968 Henderson's output as a leader was all Blue Note; from 1968 to 1978 it was all Milestone. All of that material is and has been pretty readily available, but in 1978 it appears that Joe's Milestone contract expired and he began to show up on some of the independent labels for one-off (or two in the cases of Enja and Red) dates that are all strong records.

The Enja sessions are a bit too far 'out' for my tastes, but these two are real gems! Both the Contemporary and MPS sessions are in monster quartets featuring Chick Corea on piano.

These two aren't quite as hard to get as they once were, but still not exactly 'mainstream' issues for all fans. The rips are both in flac w/ scans.

Ray Bryant - The Ray Bryant Touch (1967) [vinyl>flac]

Here’s another classic LP by Ray Bryant on the rare and elusive Cadet label. As usual Ray’s piano playing is simply marvellous as is the backing by his crack rhythm section; being Jimmy Rowser on bass and Rudy Collins on Drums. This album comprises of recordings taken from a live gig at Memory Lane L.A. All the excitement and showmanship of the trio is well and truly on display here. Four of the seven tunes are penned by Bryant; the others match with Soul Jazz appeal. In the end you wish you could have been there to share in the exuberance. Enjoy!

Simple stuff - but very nice! Ray's working here in a live trio setting - ala Ramsey Lewis or Les McCann from the same time - and his work on the album has a similar gutbuckety soul feel to it. The rhythm section of Jimmy Rowser bass and Rudy Collins drums is very tight - and the best cuts kick along with a heavy groove that's a lot more than you'd expect from the setting. Titles include "Little Suzie", "Takin My Ease", "City Tribal Dance", and "Prayer Song". © Dusty Groove, Inc.

Cadet Records, LPS 793, 1967

Recorded 19^th & 20^th May, 1967 Live at Memory Lane, Los Angeles, California

Personnel:

Ray Bryant - Piano

Jimmy Rowser - Bass

Rudy Collins - Drums

Track Listing:

A1. Little Suzie {Ray Bryant} (5:00)

A2. Is All I Ask {Gordon Jenkins} (5:34)

A3. City Tribal Dance {Ray Bryant} (2:27)

A4. Prayer Song This {Ray Bryant} (4:09)

B1. You Keep Me Hangin' On {Lamont Dozier, Brian Holland, Eddie Holland} (5:14)

B2. Talkin' My Ease {Ray Bryant} (5:19)

B3. And I Love Her {John Lennon, Paul McCartney} (7:31)

Credits:

Producer - Esmond Edwards

Engineer - Wally Heider

Design [Cover] - Jerry Griffith

Photography [Cover] - Don S. Bornstein

Liner Notes - Jack Springer (WCHB & WCHD, Detroit)

Notes:

Released as LP on Bellaphon/Chess 4019 (Germany, 1967)

and LP on Baybridge ULS-6113-BC (Japan, 1983)

Joe Henderson In Japan (1971)

And for anyone not familiar with this...

From the Penguin Guide to Jazz:
We can give an unequivocal welcome to the reissue of In Japan, an old favourite from the vinyl era. Never mind that the in-concert sound (recorded at Tokyo's Junk Club!) is no better than documentary quality - this is hard, vital Henderson. He opens 'Round Midnight' with a typically severe cadenza, and the three longish tracks which follow have as much ot the band as they do of him. This was a difficult period for players of Henderson's gifts, but he clearly received hosan-nas when he went to Japan, and the trio play above themselves in splendid support.

1. 'Round Midnight
2. Black Narcissus (Out 'N' In)
3. Blue Bossa
4. Junk Blues

Joe Henderson (ts) Hideo Ichikawa (el-p) Kunimitsu Inaba (b) Motohiko Hino (d)
"Junk Club", Tokyo, Japan, August 4, 1971
(Original issue Milestone MSP 90

Joe Henderson - Sunrise In Tokyo

Joe-fest continues! Most of you will be familiar with the Milestone album 'Joe Henderson in Japan' which was recorded at the Junk Club in August of 1971. That performance is often hailed as one of THE premier saxophone performances of the 70's; required listening for any student of the tenor sax. What is decidedly less well known is that the following night he performed at Tokyo Toshi Center Hall with a sextet of Japan's young lions including Terumasa Hino and Masabumi Kikuchi. That show too was recorded and first released on a Japanese Fontana LP. More recently it has been reissued on this Jazz Door cd.

The performance opens with an infectious Henderson composition 'Sunrise in Tokyo' featuring some sparkling solos from Henderson, Hino and Kikuchi. Listen to how tight and cohesive the band sounds; it is hard to believe this could be their first time playing this piece. Perhaps Henderson had sent them the piece ahead of his arrival (?), because I don't recall any previously released version that they could have learned from.

The second piece played is Miles Davis' 'So What'. It is taken at such a breakneck pace that at first I was a bit put off by it, but as the players dug into their solos, I quickly forgot all about that. The final tune is a Kukuchi composition 'Get Magic Again'. It straddles  modal and free jazz in a way that Henderson always excelled at in my book. For whatever the reason, I have always had a much easier time with Henderson's free explorations than I do most any other player. Terumasa Hino also shines brightly on this piece, as do the composer and bassist Yoshio Suzuki.

The visit to Japan must have been very exciting for Joe. Jazz wasn't receiving much love in the USA in 1971, but in Japan he was hailed as a modern giant of the tenor and the knowledgeable fans there flocked to see him, while the cream of Japan's musicians were lining up for the opportunity to play with him. He responded with some of the most inspired playing of his life.

Donald Byrd (with Joe Henderson) ~ Getting Down To Business (1999) [vinyl>flac]

Review by Scott Yanow

Trumpeter Donald Byrd's second jazz album during his comeback after years of playing R&B/funk and then totally neglecting his horn finds him starting to regain his former form. The strong supporting cast (altoist Kenny Garrett, tenor saxophonist Joe Henderson, pianist Donald Brown, bassist Peter Washington and drummer Al Foster) sometimes overshadows the leader on this CD but the music overall (modern hard bop) is rewarding. The sextet performs originals by Byrd, Henderson, Donald Brown, Bobby Hutcherson, James Williams and Duke Ellington ("I Got It Bad").

1. Theme for Malcolm
2. That's All There Is to Love
3. Pomponio
4. Certain Attitude
5. Onliest
6. Around the Corner
7. I Got It Bad (And That Ain't Good)

Donald Byrd (t, flh) Kenny Garrett (as) Joe Henderson (ts) Donald Brown (p) Peter Washington (b) Al Foster (d)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, October 10 & 12, 1989

Donald Byrd [w Joe Henderson] - A City Called Heaven (1991)

This, the third of Byrd's Landmark recordings, was to be his final studio release. As far as I know he only made one other recording before his death in 2013, one track on a 1995 Ahmad Jamal album.

Review by Derek Ansell, Jazz Journal, July 1992:
This is a fairly straight ahead jazz album by Dr Donaldson Toussaint L'Ouverture Byrd II who, understandably, prefers to be called Donald Byrd. King Arthur, Complete with back beat and Blues March type theme, is dedicated to Art Blakey and although no doubt sincerely meant, does not quite work. Only Art himself, behind the drums, could work magic with this type of thing. A City Called Heaven is a bit ponderous and both vocalist and musicians sound rather strained and self-conscious at times.
The rest is magic. I’ll Always Remember is a plaintive ballad with Byrd's muted trumpet warm and winsome and Hutcherson and Henderson in fine form. Byrd's bright, billowing tone and inventive lines are heard to good effect on Lu Easy Anna and Byrd Song, the latter much more effectively in a Jazz Messengers vein.
Remember Me is adapted from Dido & Aeneas—not jazz, but if you love Purcell's music as much as I do you won't complain. Lorice Stevens' vibrant voice carries the melody aided by Hutcherson and the continue part is shared by Brown and Reid with the bass sounding like a baroque cello. Half way through there is a jazz flavour as Byrd and Hendsrson contribute bluesy horn lines. Surprisingly, it works.
Not Necessarily The Blues is the blues, in free time; an experiment with symmetry and geometric shapes according to the leader in his liner notes.
This is an engaging, varied and highly original programme, and apart from the reservations expressed above it offers a rich musical experience.

1. King Arthur
2. I'll Always Remember
3. A City Called Heaven
4. Back Down In Lu Easy Anna
5. Byrd Song
6. Del Valle
7. Remember Me
8. Not Necessarily The Blues

Donald Byrd (t, flh) Joe Henderson (ts) Bobby Hutcherson (vb) Donald Brown (p) Rufus Reid (b)
Carl Allen (d) Lorice Stevens (voc -3,7)
Berkeley, CA, January 17-19, 1991

Valery Ponomarev - Profile (w/ Joe Henderson)

 This post is numba 2 in my little Joe-Fest, but it also links to grumpy's post through Valery Ponomarev.

"This is a dream date for Russian hard bop trumpeter Valery Ponomarev that should keep fans of the hard bop style of jazz wide awake. Many listeners may simply regard Profile as part of the Joe Henderson body of water, not a bad thing at all in that this superb tenor player is Ponomarev's main foil and will constantly reward listeners' attention with neat turns of phrase, solid energy, and a tone that would still seem hearty even if surrounded by loaves of Russian bread and bowls of steaming soup. The program is an even mix of standard selections and the trumpeter's original compositions, which the band digs into with the type of appetite that might have been stimulated by the previous sentence. There's Cole Porter's "I Concentrate on You," a classic as well as a description of this fine rhythm section's attitude toward the soloists; a Harold Arlen number; and Bud Powell's "Time." The latter may seem on paper to be the alarm clock for pianist Kenny Barron, who has established a reputation for his masterly touch with the repertoire of jazz keyboard masters. The truth is that Barron is in fine form throughout, as is Ponomarev. "I Was Afraid You'd Never Call Me" kicks off the album, the title perhaps a reflection on the career of this often-overlooked but never under-swinging trumpeter and composer. If this early-'90s session sounds exactly like an old Blue Note or Prestige session, it isn't just because of the players' style; engineer Rudy Van Gelder was in the booth, doing his usual beautiful thing." Eugene Chadbourne

Art Blakey & The Jazz Messengers - Reflections In Blue (1978) [vinyl>flac]

Reposted from old crypt.

I've tended to overlook Blakey's post 60s recordings, easy to do given the astonising body of work previously recorded for Blue Note. In comparison, his 70s recordings are few and far between, this was a
period when Jazz seemed to be in decline. The Penguin Guide to Jazz describes this '77 band as 'workmanlike' rather than 'inspired', fair enough but workmanlike Blakey is better than most. I'm just grateful that my recent discovery of Schnitter's Muse recordings has led me back to these Timeless Blakeys.

Dusty Groove:
“Key proof that Art Blakey was still going strong in the late 70s – continuing his 60s legacy of working with the best young players he could find, in a setting that was bristling with sweet soul jazz energy! This version of The Jazz Messengers includes some tremendous players – including a young Bobby Watson on alto, the great David Schnitter on tenor, James Williams on piano, and Valery Ponomarev on trumpet – all grooving with Art in a style that steps nicely from the soulful Prestige Records years, when Blakey was leading the group with Woody Shaw and Carter Jefferson. Tracks are nearly all originals – loping and grooving with a soulful finish that's really wonderful, showing off equal parts of writing from nearly all corners of the group. The album's awash in soulful joy and love, and titles include "Reflections In Blue", "ETA", "Mishima", "Say Dr J", and "Stretching".”

01. Reflections In Blue
02. E. T. A.
03. Say Dr. "J"
04. Mishima
05. Ballad Medley: My Foolish Heart, My One and Only Love, Chelsea Bridge, In a Sentimental Mood
06. Stretching

Valen Ponomarev (t); Robert Watson (as); David Schnitter (ts); Dennis Irwin (b); James Williams (p); Art Blakey (d)
Fendel Sound Studio, Loenen, Holland, December 4, 1978

Neil Swainson - 49th Parallel (with Woody Shaw & Joe Henderson)

"Bassist Neil Swainson is known more as an accompanist (most notably with George Shearing) than as a bandleader, and this was his first opportunity to head his own recording date. Swainson was able to secure the services of both trumpeter Woody Shaw (on his final studio session just two years before his death) and tenor saxophonist Joe Henderson, in addition to a couple of Toronto-based musicians: pianist Gary Williamson and drummer Jerry Fuller. Swainson, who has long had impressive technique and a beautiful tone, performs five of his originals, plus Henderson's "Homestretch." Overall, this is an underrated, high-quality advanced hard bop date worth exploring."  Scott Yanow

A very good session made all the more important in historical context because it is our last studio session for Woody and now Joe is gone as well. I'm starting a little Joe Henderson fest, some lesser known examples of his art. I invite the guys to join in - I imagine we can all find some gems.

That's The Way I Feel Now - A Tribute To Thelonious Monk (vinyl rip)

"Two years after the death of pianist-composer Thelonious Monk, this very unusual and quite memorable double-LP tribute was put together. Producer Hal Willner's most successful project, the 23 interpretations of Monk originals all feature a different group of all-star players and stretch beyond jazz. Some of the performances are fairly straightforward while others are quite eccentric; certainly the crazy duet on "Four in One" by altoist Gary Windo and Todd Rundgren (on synthesizers and drum machines) and the version of "Shuffle Boil" featuring John Zorn on game calls (imitating the sound of ducks) are quite unique. There are many colorful moments throughout the project and the roster of musicians is remarkable: Bobby McFerrin with Bob Dorough, Peter Frampton, Joe Jackson, Steve Lacy, Dr. John, Gil Evans, Randy Weston, Roswell Rudd, Eugene Chadbourne and Shockabilly, the Fowler Brothers, NRBQ, Steve Khan, Carla Bley, Barry Harris, Was (Not Was) and many others. There is not a slow moment or uninteresting selection on this highly recommended set."

Richard 'Groove' Holmes - Shippin' Out

Once again, a brand new rip - MUCH better than the old one.

Richard 'Groove' Holmes - Shippin' Out
Muse 5134, 1978
 recorded 1977

1) Feelings
2) Windows
3) Stella By Starlight
4) Where or When
5) Shippin' Out

Groove Holmes organ, David Schnitter tenor sax, Steve Giordano guitar, Idris Muhammed drums, Bobby Caldwell conga

Are those the twin towers of the World Trade Center I see off in the distance on this cover shot? I guess this one is pretty rare since I can't even find mention of it on google. I found my copy at a discogs vendor who specializes in punk rock and when I received it the vinyl looked like some punk rockers had played frisbee with it. After a good cleaning, a re-rip and a pass through Izotope RX3, I think it sounds awesome!

This is a nice record -- Groove is well, Groove and Schnitter and Giordano give fine performances on tenor and guitar in support. and as it says in the liner notes: "The players are fine. The music is fine. The recording is excellent. These are the facts."

Ted Curson - The Trio (1979) [vinyl>flac]

Review by MikeShera, Jazz Journal November 1979:
The acidic trumpet of Curson is combined well with the strong bass of Ray Drummond, and the complex and intricate drumming of Roy Haynes, to produce an album rarely descending to the commonplace. The trio work extremely well together as a unit, dominated by a bass player whose dexterity and strength is not unfortunately matched by an attractive tone. Roy Haynes' drumming has never been more intricate though he also remembers to swing as well. The exoticism of Curson, whether playing trumpet or fluegel horn, certainly ensures that the listener never goes to sleep, but equally he can never be accused of being too relaxed in his approach! My personal preference is for the second side of this album, where Straight Ice is the closest performance on the record to what could be described as a straightforward piece, and Round Midnight which receives the expected pungent treatment. Only on Pent-Up House is there anything resembling the work of the late Clifford Brown, Curson's early influence.

1. Snake Johnson
2. Pent-up House
3. Quicksand
4. Straight Ice
5. 'Round Midnight

Ted Curson (t/pic-t/flh/pc); Ray Drummond (b); RoyHaynes(d).
NYC, January 3, 1979.
(Interplay IP 7722)

Gil Evans & Gary McFarland - Dedication Series IX – The Great Arrangers

A great 2LP set – with two classic albums on Impulse! First is Gil Evans' Out Of The Cool – a pivotal session for Gil – one that brought his genius to the American public strongly and successfully, without the help of Miles Davis! Sure, Gil had recorded albums as a leader before this one – but the sparkling quality of this set is right up there with the charts he handled for Miles, and the quality of the players in the group make the performance every bit as great. Gil's band includes trumpeter Johnny Coles, plus Ron Carter on bass, Elvin Jones on drums, Budd Johnson on tenor, and Ray Crawford on guitar. Titles include "Stratusphunk", "Sunken Treasure", "La Nevada", and a great reading of Kurt Weil's "Bilbao Song". Next is Gary McFarland's Profiles – a great little jazz record by Gary – very different than his groovy/easy albums on Verve, and with a dark sound that shows his strength as a composer and arranger. The group features McFarland in the lead on vibes, plus reed work by Phil Woods, Zoot Sims, and Richie Kamuca, and lots of rhythm backing by the likes of Richard Davis, Gabor Szabo, Sam Brown, and others. Willis Conover does a bit of narration, and tracks include "Sage Hands", "Milo's Other Samba", "Winter Colors", and "Bygones & Boogie"

Frank Butler: The Stepper (1977) [vinyl>flac]

I've posted a link for this at Kubla's Crib but few seem to have noticed it...

Review by Ken Dryden, All Music Guide:
Frank Butler's first record date as a leader came about a few years following a self-imposed sabbatical to take care of his battle with drug addiction. Known especially for his work in the Curtis Counce Group and a brief tour with Miles Davis, the drummer is in top form on this quartet date with pianist Dolo Coker, tenor saxophonist Jack Montrose and bassist Monty Budwig. He never loses the listener's attention during his two long drum solos, which are the focal points of the nearly twenty minute "The Stepper" and "Urbane," both composed by Coker. Montrose and Coker share the spotlight in the one standard on the date, "Easy Living." Budwig's introduction to Charlie Parker's "Au Privave," as well as his great comping in support of Coker's solo, is a refreshing switch from the obvious focus on the saxophone, which is omitted entirely from this track. One of only two sessions which Butler recorded as a leader and out of print since the demise of Xanadu, this LP should be snapped up without delay by bop fans.


1 The Stepper - 19:58 (Charles 'Dolo' Coker)
2 Au Privave - 4:43 (Charlie Parker)
3 Easy Living - 5:38 (Leo Robin, Ralph Rainger)
4 Urbane - 8:36 (Charles 'Dolo' Coker)
5 Captain Kidd - 5:51 (Charles 'Dolo' Coker)

Jack Montrose (ts), Dolo Coker (p), Monty Budwig (b), Frank Butler (d)
Los Angeles, CA. November 19, 1977

Freddie Hubbard (w Art Pepper) - Mistral (1980) [vinyl>flac]

New link in comments.

Review at Sound Insights:
Recorded for the Japanese label East World (and later issued in the US by Liberty, an EMI label hardly known for issuing jazz), there is a slick West Coast feeling to this album that's as endearing as it is enjoyable. Perhaps it is the addition of legendary West Coast alto saxist Art Pepper into a mix that finds pianist George Cables, bassist Stanley Clarke and drummer Peter Erskine in the rhythm section. All the tunes have a relaxed, laid-back feeling (what Scott Yanow snidely refers to as "no one sounds like they're sweating"), even on the up-tempo "Bring It Back Home." While there is a casual air of familiarity in the program, all involved sound as if they are enjoying themselves and each other's company.
Hubbard has never sounded better. His playing is confident, definitive, nearly poetic, and his engagements aren't limited merely to Pepper, who seems to be just another guy in the band here. Hubbard is musically caressed by the pianist, his old comrade George Cables, but is more notably poked, prodded and provoked by bassist Stanley Clarke, who is simply outstanding here, doing things throughout that are worth paying attention to.

1. Sunshine Lady - 7:18
2. Eclipse - 7:08
3. Blue Nights - 7:17
4. Now I've Found Love - 6:53
5. I Love You - 7:27
6. Bring It Back Home - 7:55

Freddie Hubbard (t,flh) Phil Ranelin (tb) Art Pepper (as) George Cables (p,el-p) Peter Wolf (synth) Roland Bautista (g) Stanley Clarke (b,el-b) Peter Erskine (d) Paulinho da Costa (pc)
Ocean Way Recording, Hollywood, CA. September 15, 17, 18 and 19, 1980

Jack Walrath - The Muse Albums

1. The Serpent's Kiss 15:36

2. Jump Monk 10:56

3. Adagio for Strings and Organ 9:01
4. Gagaku (Fourth Movement of Sept Haikai) 7:06
5. Blues in the Guts 9:07
6. Faith 17:56

Jack Walrath - trumpet
Carter Jefferson - tenor & soprano sax
Mike Cochrane - piano
Anthony Cox - bass
Ronnie Burrage - drums

Recorded live at Merkin Concert Hall, NYC, on September 10, 1990

Jack Walrath and The Masters Of Suspense - Out of the Tradition
Muse Records 5403

Jack Walrath - Trumpet, Flugelhorn, Mouthpiece
Benny Green - Piano
Larry Coryell - Guitar
Anthony Cox - Bass
Ronnie Burrage - Drums

1. Clear Out of This World
2. So Long Eric
3. Stardust
4. Wake Up and Wash It Off!
5. Come Sunday
6. Brother, Can You Spare a Dime?
7. Cabin in the Sky
8. I'm Getting Sentimental over You

Recorded on May 7, 1990

1. Spherious (J. Walrath)

2. (The Last Remaake) I Can't Get Started (V. Duke, I. Gershwin)

3. Killer Bunnies (J. Walrath)

4. Inn The Pit (C. Jackson)

5. Baby, You Move Too Fast (J. Walrath)

6. Spontooneous (J. Madison, C. Jackson, J. Walrath)

JACK WALRATH trumpet, CHIP JACKSON bass, JIMMY MADISON drums

Recorded at Garden Productions, NYC, on March 15 and April1, 1986

MUSE Records 5362

1. Anya and Liz on the Veranda 6:36
2. Get on the Good Foot 5:11
3. Better Get Hit in Yo' Soul 8:06
4. Izlyal E Delyo Haidoutin 7:29
5. Monk's Feet 6:50
6. Decisions 3:04
7. Gloomy Sunday 6:31
8. Weird and Wonderful 8:08

Jack Walrath - trumpet, flugelhorn
Don Pullen - Hammond B3 organ
David "Fuse" Fiuczynski - guitar
Michael Formanek - bass
Cecil Brooks III - drums

Recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey on April 4, 1992

Bob Brookmeyer - Back Again (1978) [vinyl]

Review by Review by Scott Yanow:
This session was valve trombonist Bob Brookmeyer's first jazz date in 13 years after a period writing for the studios and then away from music altogether. Brookmeyer, who is featured in a quintet with cornetist Thad Jones, pianist Jimmy Rowles, bassist George Mraz and drummer Mel Lewis, proves to still be in prime form playing in an unchanged style. Other than the leader's uptempo blues "In a Rotten Mood" and a Latin piece ("Carib"), the quintet sticks to veteran standards. Highlights include "Sweet and Lovely," "Caravan" and "You'd Be So Nice to Come Home To."

Review Dusty Groove:
Gentle genius from Bob Brookmeyer – a 70s session recorded with all the swinging poise of his best work from the late 50s! The group on the set features Bob on valve trombone, next to Thad Jones on fluegelhorn and cornet, Jimmy Rowles on piano, George Mraz on bass, and Mel Lewis on drums. Tracks are all nicely swinging, even on the mellower numbers – and Bob proves once again that his work on the valve trombone is some of the freshest in jazz. Titles include "Carib", "Caravan", "I Love You", "In A Rotten Mood", and "You'd Be So Nice To Come Home To". CD also features a bonus track! (Out of print.)

01 - Sweet And Lovely
02 - Carib
03 - Caravan
04 - You'd Be So Nice To Come Home To
05 - Willow Weep For Me
06 - I Love You
07 - In A Rotten Mood

Thad Jones (flh, cnt) Bob Brookmeyer (v-tb) Jimmy Rowles (p) George Mraz (b) Mel Lewis (d)
Cl Studio, New York City, May 23-25, 1978
(Sonet 778)

Roland Kirk - Now Don't You Cry, Beautiful Edith (vinyl rip)

The second rip on the new turntable!

"Now Please Don't You Cry, Beautiful Edith (about Kirk's wife) was the first of his all groove sides. Out of ten tunes, Kirk composed eight, of the other two, only one was a recognizable jazz tune ("It's a Grand Night for Swinging" by Billy Taylor, who wrote the liner notes) and the other was a pop tune (Bacharach and David's "Alfie"). Unlike Rip, Rig, and Panic from two years earlier in 1965, this set featured an in-the-pocket rhythm section. Adventure was not the name of the game on this date, feeling was -- and for the job he got some of the finest cats working in the groove jazz idiom: drummer Grady Tate, pianist Lonnie Liston Smith, and bassist Roland Boykins. The record opens with "Blue Rol," a standard blues made more beautiful by Kirk's playing three horns throughout except for his tenor solo and Smith's tough comping in the middle register. "Alfie" is another story. Kirk blows his tenor with the same tonal warmth Ben Webster did by reading the melody faithfully and tenderly adding fills with Smith, slipping around him for subtle accents, adding color and dimension even when he picks up the tempo, which is led by a steaming, hard-swinging Tate. The end of the album is very special as well, as the title track features the only outside playing on the disc, but it feels more like it's honking R&B shouting rather than vanguard invention as it gives way to the gorgeous Latin swing of the melody. Finally, on the Taylor tune, after a breathtaking arpeggio orgy on "Stompin' Grounds" between Kirk and Smith, the elegance of the musician shines through, as Kirk's flute sweeps through the rhythm section, carrying the cut-time number through a bop permutation or two before coming back to the blues in his solo. Smith's pianism here is so light, his touch so quick and fluid, Kirk can't help but cruise over the tune. This was the beginning of the exploration that led listeners to Blacknuss and Boogie Woogie String Along for Real, and it is worth every bit as those two recordings." Thom Jurek

Archie Shepp - Black Ballads & Blue Ballads

Hmmmm....we don't seem to have spent any time here exploring the giant talent of Archie Shepp and I am more than a little stunned to have just now noticed this. REALLY?

I think a little journey into the Impulse recordings of Shepp AND Pharoah Sanders may be in the near future......

These two albums are such a logical pairing that I couldn't resist posting them together.

My first experience of Shepp was in the Impulse era and at that time I dismissed him quickly due to foolish prejudices and uneducated ears. Today I hear Ike Quebec and Ben Webster all over even his wildest work.

These two albums feature 2 entirely different, yet equally awesome awesome quartets, each is a deeply sensitive conversation over familiar and beloved ground. If you do not have these PLEASE don't pass them by.

Count Basie - Basie Rides Again

 I really must insist you read the album notes for a great overview of this album. These sides really display everything that made the Basie band so legendary.  We are also treated to some not-so-typical scenarios... 1) Basie directing w/ Oscar Peterson on piano and 2) Oscar Peterson on piano & Basie on organ.  Al Hibbler handles vocals which is another treat.  Overall a really fun time.

I spent top dollar on this US original, it's absolutely minty. This glorious mono recording is what hi-fi is all about and I challenge those of you with remasters to compare.  The dynamics of the full band are enough to bring tears of joy to my eyes.  The brass has such incredible impact - that true musical reach that punches you in the chest.This was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  I hope it helps to shape your weekend... enjoy!!!

Hank Crawford - Help Me Make It Through The Night (1972) [vinyl>flac]

Help Me Make It Through the Night is one of those Hank Crawford albums: large band, many horns, funky chunky Hammond B-3, strings, and polyrhythms dropping all over the arrangements by Don Sebesky and company. This 1972 set by Crawford is an exemplary portrait of his movin' and groovin' style. With the help of Sebesky and Pee Wee Ellis, Crawford provides the deep groove side of his work without reservation. Jazz takes a back seat as the R&B pours forth all sweaty, greasy, and dripping with a raw, honeylike sweetness. With cats like Airto, Eric Gale, Cornell Dupree, Grover Washington, Jr., Pepper Adams, Snooky Young, and Richard Tee in the house, a masterful groove session was to be expected. Listeners get their money's worth after the opener, which is the title track. With the Junior Walker stinging alto countered by the Hammond, the mess is loose and the vibe is pure downtown. Other cuts such as "Imagine," "Go Away Little Girl," "Brian's Song" -- perfect string arrangement by Sebesky -- and "In the Wee Small Hours of the Morning" make this a date of some of the most stellar covers Crawford ever cut. There are no extra notes, but there are plenty of extra beats; the improvisation is red hot, but the strings and supporting rhythm section are out of this world. Help Me Make It Through the Night is indeed one of those Crawford records. ~ Thom Jurek, Rovi

Kudu Records, KU-06, 1972

Recorded January 1972, except #B3 August 1971 at Van Gelder Studios, Englewood Cliff, New Jersey

Personnel:

Hank Crawford - Alto Saxophone, Tenor Saxophone (#B3)

Grover Washington, Jr. - Tenor Saxophone (#B3)

Pepper Adams - Baritone Saxophone (#B3)

Al DeRisi, Eugene "Snooky" Young - Trumpet (#B3)

Wayne Andre - Trombone (#B3)

Richard Tee - Organ (#A1,A4,B3,B4), Piano (#A2,A3), El-Piano (#B1,B2)

Phil Kraus - Vibraphone (#A1,A4,B1)

Cornell Dupree - Electric Guitar

Eric Gale - Electric Guitar (#B3)

Ron Carter - Bass (#A2-A4,B1,B2,B4), Electric Bass (#A1,B3)

Bernard Purdie - Drums

Idris Muhammad - Drums (#B3)

Airto Moreira - Percussion (#B3)

Strings Section [All Tracks, except #B3]:

Bernard Eichen, Felix Giglio, Emanuel Green,
Harold Kohon, Harry Lookofsky, Joe Malin,

Gene Orloff, Max Polikoff, Elliot Rosoff - Violin

Alfred Brown, Theodore Israel, Emanuel Vardi - Viola

Charles McCracken, George Ricci - Cello

Margaret Ross - Harp

Track Listing:

A1. Help Me Make It Through The Night {Kris Kristofferson} (5:53)

A2. Brian's Song {Michel Legrand} (3:24)

A3. Uncle Funky {Hank Crawford} (5:36)

A4. In The Wee Small Hours Of The Morning {Bob Hilliard, Redd Evans} (2:51)

B1. Go Away Little Girl {Gerry Goffin, Carole King} (4:21)

B2. Imagine {John Lennon} (4:07)

B3: Ham {Alfred Ellis} (3:09)

B4. The Sun Died {Ann Grégory, Hubert Giraud, Pierre Delanoë, Ray Charles} (4:09)

Credits:

Producer - Creed Taylor

Recording Engineer - Rudy van Gelder

Arranger - Don Sebesky, Pee Wee Ellis (#B3)

Album Design - Bob Ciano

Photography - William Cadge

The Bill Perkins Quartet - Journey To The East (1984) [vinyl]

For some strange reason, this doesn't appear to have had a CD reissue.

Review by Scott Yanow
Bill Perkins, a West Coast jazz legend, evolved from a cool-toned tenor into a John Coltrane-inspired player who did not lose his original musical personality. For this fine effort (not yet reissued on CD), Perkins is joined by pianist Frank Strazzeri, bassist Joel Di Bartolo and drummer Peter Donald for seven standards, two Strazzeri songs and one by Alan Broadbent. Perkins uses a saxophone-synthesizer interface that he invented on a few numbers to make the ensembles fuller, but he mostly plays his solos on a regular tenor and flute. Highlights include an emotional version of Billy Strayhorn's "Blood Count," "I'm an Old Cowhand," "'Tis Autumn" and "Invitation." One of Bill Perkins' better sessions.

1. From The Hip
2. Blood Count
3. I'm An Old Cowhand
4. Mendocino Nights
5. Moose The Mooche
6. Journey To The East
7. 'Tis Autumn
8. Invitation
9. You Must Believe In Spring
10. All Through The Night

Bill Perkins (tenor saxophone, flute) Frank Strazzeri (piano) Joel Di Bartolo (bass) Peter Donald (drums)
Granada Hills, CA, November 19, 20 & 21, 1984
[Contemporary 14011]

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1986 - 1993

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1986 - 1993 by Kingcake on Mixcloud

Randy Weston Sextet - Monterey '66

Recorded in Monterey, California. The Monterey Jazz Festival of 1966. "I think this is the best band I've ever had. We were together almost 3 years. It was Booker Ervin on tenor saxophone, Ray Copeland on trumpet; Bill Wood was on bass; Lenny McBrowne on drums, and Big Black on congas. It was very difficult for us to be recorded because it was a very strong African message. I'm talking about around maybe 1963, '64, '65 during that period. So it was hard for us to get gigs, you know. And so finally, our last appearance together was at the Monterey Jazz Festival, the same night as Duke Ellington, the same night as Carmen McRae. So you know we had to play strong. And it was an incredible band because number one, we had Booker Ervin. Booker Ervin, for me, was on the same level as John Coltrane. He was a completely original saxophonist. I don't know anybody who played like Booker. But Booker, he was very sensitive, very quiet-not the sort of guy to push himself or talk about himself. You know what happens with Black artists-they (the industry) can never let too many come out at the same time. There was a big emphasis on Sonny Rollins and John Coltrane. And everybody was into Coltrane but meanwhile Booker Ervin was kind of left out. He was a master saxophonist, and the song I wrote for my mother, Portrait of Vivian, only he could play it; nobody else could play that song.

In fact, the African Cookbook, which I composed back in the early 60's, was partly named after Booker because we (musicians) used to call him "Book," and we would say, "Cook, Book." Sometimes when he was playing we'd shout, "Cook, Book, cook." And the melody of African Cookbook was based upon Booker Ervin's sound, a sound like the north of Africa. He would kind of take those notes and make them weave hypnotically. So, actually the African Cookbook was influenced by Booker Ervin. By the way. Ervin was from Texas and he had the typical big sound from Texas. I don't know why, but for some reason many great tenor saxophonists come from Texas and they have all got this big sound. For instance, Billy Harper is from Texas, Dexter Gordon, Frank Haynes. I could go on and on and on....Randy Weston

Stanley Black and His Orchestra - Place Pigalle (1957)

As ‘Monty Python’ would say “And Now For Something Completely Different”.

As a young boy my parents would often play this album around the home. Upon hearing again today it brings back fond memories of the joy and happiness that it brought to the atmosphere and wellbeing of our family. My mother as an Australian in particular was fascinated by French culture and longed to experience for herself the richness of Parisian life. Fortunately this dream became a reality with an overseas trip in later years. Up until that time she would immerse herself in this wonderful LP and attend to her daily chores.

For the majority of Britons, Stanley Black (1913-2002) needs no introduction. He goes down in their annals as one of their most talented and prestigious pianists, composers, conductors and arrangers of classical music and orchestral jazz. He wrote and arranged many film scores and recorded prolifically for the Decca and London labels. Beginning with jazz collaborations with American musicians such as Coleman Hawkins and Benny Carter during the 1930s, he moved into arranging and recording in the Latin American style and also won awards for his classical conducting. He received for his dedication and contribution s to music an OBE. He was made a life fellow of the Institute of Arts and Letters, and life president of the Celebrities Guild of Great Britain. So it is fitting that something of his legacy can be shared here. Enjoy!

Decca Records, LK 4212, 1957

Track Listing:

A1. Dominó {Ferari} (2:00)

A2. Why Do You Pass Me By {Trenet, Hess} (2:45)

A3. At Last! At Last! {Miles, Trenet} (2:45)

A4. Autumn Leaves {Kosma} (2:48)

A5. C'est Si Bon {Betti, Hornez, Seelen} (2:37)

A6. La Mer [The Sea] {Trenet} (4:08)

B1. Waltz Of Paree {Gerard, Dreajac} (2:15)

B2. Chez-Moi {Misraki} (2:45)

B3. Boom! {Trenet} (2:22)

B4. Mademoiselle {Durand} (2:49)

B5. When The World Was Young {Vannier, Philippe, Gerard} (2:53)

B6. Au Revoir {Olivieri, Poterat, Sosenko} (2:26)

Makin' Whoopee - Sex & the Tenor Saxophone

Lord knows this isn't by any means an original idea, but in my defense I put this one together 15 or 20 years ago. I checked around for covers and discovered that many commercial and private collections used the same theme, but none of them had an even remotely similar playlist. Frankly I think mine's a lot better than any of them. I focused first on the sound of the horn, then on actual songs. Oddly enough, a sort by artist first name yielded a listening experience that was so good, I wasn't tempted to screw with it.

Makin' Whoopee - Sex & the Tenor Saxophone by Kingcake on Mixcloud

 

 

HAPPY VALENTINES DAY

Bill Barron Quartet - Live At Cobi's, Vol. 2 (1985)

As indicated in the previous post, Bill Barron in two distinct quartet formations was recorded ‘Live at Cobi’s’ during the mid to late eighties and made available through SteepleChase Records as two volumes. This is the 2^nd of the two. However, it must be noted that the music found here was recorded earlier and released a year later than the first. In some ways the best was kept till last. Bill is joined by his very talented brother Kenny on piano; Santi Debriano is replaced by the master bassist Cecil McBee whilst Ben Riley maintains his position on drums. Straight away the listener is swept along by the exuberant synergy developed by the brothers’ years of interaction. Kenny’s playing flows beautifully alongside his brother’ soloing. Equally Cecil and Ben offer a solid backing for this wonderful quartet. For this date the majority of the tunes were penned by Bill with one by Kenny and like before two additional well-known standards are showcased. On ‘Tragic Magic’ Bill swaps to soprano, but for the rest of the tracks he is featured on tenor. Any way as before Enjoy!

SteepleChase Records, SCCD 31596, 2006

Recorded 5^th October, 1985 at Cobi's, New York City

Personnel:

Bill Barron - Tenor Sax, Soprano Sax (#5)

Kenny Barron - Piano

Cecil McBee - Bass

Ben Riley - Drums

Track Listing:

1. September 1979 {Bill Barron} (11:22)

2. Spring Thing {Bill Barron} (15:37)

3. What's New? {Bob Haggart, Johnny Burke} (8:50)

4. Interpretation {Bill Barron} (14:57)

5. Tragic Magic {Kenny Barron} (8:23)

6. Cherokee {Ray Noble} (11:18)

Credits:

Producer, Mastering, Restoration, Photography - Nils Winther

Mal Waldron - Manfred Schoof

This is a gorgeous album delivered by an exemplary quintet of jazz pros.  In some ways, on paper anyhow, they almost seem incompatible.  I liken this album and grouping to Benny Bailey's SABA release: Soul Eyes.  What we end up getting is a highly capable group who can take the music to both likely and unlikely destinations.

As we listen, we find out that what really makes this quintet tick - their incredible sensitivity.  It's what allows the music it's interesting flavour, at least as much as their collective talents on their respective axes.

Sonically, this recording is beautiful and the album itself is super minty.  Some of you may have this already as an Enja release.  For those who don't, don't miss it.  This is really adventurous music which never gets boring OR pretentious.  Ripped at 24/96 and dithered to 16/44.1 FLAC... enjoy!!!

Horace Silver - Live 1964 & The Natives Are Restless

Well Grumpy's post of a Silveto album got me looking back through the archives and it has been quite some time since I dragged these gold nuggets out of my stash bag. For me, the discovery of these albums was some kind of jazz wet dream. One of my personal fave periods with monsters everywhere and all captured really well and live....GASP!

All the old guard here at the Crypt will already have these of course, but maybe some new friend will have the same kind of knee buckling experience that WE had back we first heard this stuff. The view into what it was like to hear these wonderful bands in the club is like a magical Way-Back Machine opportunity not to missed!

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1977 - 1985

Gary Giddins' Post-War Jazz: An Arbitrary Road Map, 1977 - 1985 by Kingcake on Mixcloud

Cecil Payne - Brookfield Andante (1966) [vinyl>flac]

New link now available. Never reissued on CD.

Review by Michael Shera, Jazz Journal, September, 1972:

With the exception of Harry Carney, Cecil Payne probably has a longer pedigree on his instrument than anyone else currently playing. He's paid his dues, and its about time he got some of the recognition. Although he was one of the stars of Dizzy Gillespie's pioneering big band of the forties, he was largely overshadowed as a soloist on his instrument by the brilliance of Serg Chaloff (and I certainly wouldn't care to argue that Cecil was better than Serge). By the early fifties, however, Gerry Mulligan became such a big name (and with such a small talent) that Cecil became almost forgotten. His fans had to be content with occasional, highly treasured records. The early sixties were little better, though a couple of fine Cecil items were issued on the cheap Egmont label ('Plays Bird' and 'Music from The Connection"). In recent years, Cecil has visited these shores [UK] four times, as a single act and with the Herman, Gillespie and Basie bands. The first occasion was in 1966, when during a brief, ill-publicised tour this music was recorded by a local enthusiast, and is now issued only through the persistence of Mark Gardner and Tony Williams. Recording quality is very fair, though the bass is under-recorded and the piano could have done with the attention of a tuner. These minor blemishes aside, there is little doubt in my mind that the album contains the best of Cecil's work by far to be issued to date. Despite the shortest track being over nine minutes, Cecil has no problems producing a series of exciting and melodically interesting ideas which hold the listener's rapt attention. The rhythm section swings hard, with pianist Joe Palin also soloing well. The Opener starts a little slowly, but soon Payne is cooking on this up-tempo riff tune. Brookfield Andante is a beautiful waltz with an engaging melodic line and some of the most lyrical work Cecil has ever put down. Azoff Blues is a superb fast bebop blues, with long and inventive solos by all four members of the group. Sterling Place, another delightful composition by Payne, was originally written for the score of The Connection, and has more virile and melodically strong playing by the leader.
I can end only by urging everyone to rush out and buy this album immediately, and by fervently concurring with annotator Mark Gardner that since this album has been issued ten years after his last one, let's hope we don't have to wait another ten years for the next!

[NB I do not concur with the opinion of Mulligan, expressed by Shera!]

1. The Opener
2. Brookfield Andante
3. Azoff Blues
4. Sterling Place

Cecil Payne (bs) Joe Palin (p) Alan Cooper (b) Ron Parry (d)
Club 43, Manchester, England, November 5, 1966.
(Spollite CP2)