Eddie Harris - A Study In Jazz

Still the same base band here, but Harris finally puts the Hollywood themes aside for an album and plays some of his own compositions. The tracks are curiously short (except for the final track), perhaps still seeking to be radio and jukebox friendly I suppose, but still a pretty satisfying album.

Eddie Harris - Breakfast at Tiffiny's

Tenor-saxophonist Eddie Harris's third album features him exploring 11 themes from Henry Mancini's score for Breakfast At Tiffany 's. Harris stretches out the most on "Moon River" and the title cut but he does justice to the nine lesser-known themes. This long out-of-print LP holds one's interest throughout and, although Harris comes up with plenty of fresh ideas, he also never leaves the melody far behind. His unlisted backup group is a septet that includes trombonist Joe Avant, vibraphonist Charles Stepney, pianist Willie Pickens and guitarist Joe Diorio. A fine (if obscure) outing.AMG

Eddie Harris - Mighty Like A Rose

"Mighty Like a Rose was Eddie Harris' follow-up to the smash Exodus to Jazz, and it probably comes as no surprise that it's mightily similar in sound and style. One can hardly blame Harris for taking essentially the same approach; it's not every day that a jazz artist's debut LP makes him a million-selling star overnight. And he struck while the iron was hot, completing the sessions for Mighty Like a Rose a month before the single edit of "Exodus" had even peaked on the pop charts. Perhaps that's why there are only two Harris originals this time around; the rest of the repertoire is mostly standards, plus another movie theme adaptation -- this time of "Spartacus" -- that would prove to be the first of many "Exodus" sequels Harris recorded in his early period (although pop-chart lightning never did strike twice). Harris is once again joined by his regular Chicago backing group of the period -- guitarist Joe Diorio, pianist Willie Pickens, bassist William Yancey, and drummer Harold Jones, who provide solid, appropriately easygoing support. Harris' playing strikes a balance between cool bop and straightforward soul-jazz, though it's possible to hear the influence of Detroiter Yusef Lateef beginning to creep in. It's all well-executed, and Harris' command of the highest ranges of his instrument is as lovely as ever, making this date worthwhile for anyone who loved the sound of Exodus to Jazz." AMG

Lakota Jazz - The Eduring Joy of Jim Pepper

My loving tribute to the late, great Jim Pepper, the Lakota Nation's glorious gift to Jazz.

"Water Spirit feelings running round my head, makes me feel glad that I'm not dead."

This one always brings a tear to my eye, I miss you my brother.

Lakota Jazz - The Enduring Joy Of Jim Pepper by Kingcake on Mixcloud

Bobby Shew Quartet - Breakfast Wine (1983) [vinyl>flac 24/48]

From www.artsjournal.com: Doug Ramsey on Jazz and other matters... Breakfast Wine: Missing Too Long (July 17, 2009)

Bobby Shew’s Breakfast Wine is so rare that it does not appear in the Shew discography on the trumpeter’s own web site. Nonetheless, the PAUSA long-playing vinyl album released in 1985 is a highlight not only of Shew’s recording career but also of all jazz releases in the last two decades of the twentieth century. I lost my copy of Breakfast Wine in a move, so when I was rummaging through the used LP bin in a Seattle store the other day and came across a pristine copy, I gave a whoop. That prompted another customer to amble over and see what the fuss was about. I showed him the cover. He stared at it blankly and went back to the rock section. Good. I didn’t want to have to fight him for the LP.

Shew’s rhythm section on the record included the stalwart drummer Sherman Ferguson, pianist Makoto Ozone and bassist John Patitucci. Ozone and Patitucci were in their early twenties, at the launch points of their substantial careers. They shared with Shew the enthusiasm he had rekindled after deciding to walk away from his career of lead trumpet work with Woody Herman, Buddy Rich and other big bands, and from the Hollywood studios in which he had spent hundreds of lucrative hours.

“After all the Woodys and Mork and Mindys,” he told the liner note writer (full disclosure: I was the liner note writer), “I realized I wasn’t doing what makes the hair stand up on the back of my neck. So I threw it all over, and now I’m playing jazz in clubs and doing clinics for student musicians about 200 days a year. I don’t make the kind of money I used to as a studio musician. But I love everything I do. It’s a self-inflicted eccentricity. And I’ve discovered it works not only in an artistic sense, but in a business sense too. I’m doing what I love and life is good.”

And that, essentially, is what Shew has been doing for a quarter of a century. He has recorded more than two dozen albums as a leader since, but Breakfast Wine has a special place in his output because of the sense of discovery in his playing, the freshness of the emerging Ozone and Patitucci and, not least, because of the title tune. Randy Aldcroft’s intriguing “Breakfast Wine” has made its way into the repertoires of many musicians and into fake books. The recording that introduced it should make its way back into general circulation as a CD reissue.
In the meantime, if you get lucky, as I did, you may find the LP. This web site lists several copies ranging in price from expensive to ridiculous. They include an offer from an outfit in France that will sell you the LP and a CD-R transfer for a mere $78.84 US.

Grumpy: I was lucky picked up a sealed copy for a reasonable price!

1. Breakfast Wine - 8:24
2. Alone Together - 6:13
3. Waltz For Bill Evans - 6:00
4. Softly As In The Morning Sunrise - 6:00
5. I Waited For You - 5:05
6. Shew-In - 8:05

Bobby Shew (flh, t) Makoto Ozone (p) John Patitucci (b) Sherman Ferguson (d)
Sage & Sound Studios, Los Angeles, September, 1983

Ronnie Mathews - Legacy (1979) [vinyl>flac]

New link now available. Ripped from a mint LP in flac with scans.
Aside from the songs on Johnny Hartman's LP "Once In Every Life" that were featured on the "Bridges of Madison County" soundtrack, none of the material released on the Beehive label has been reissued. The man who owns the catalog has resisted repeated urgings to reissue the music himself or to let someone else do it for him. Sad.

Review by Scott Yanow:
Pianist Ronnie Mathews assembled an all-star group (tenor saxophonist Ricky Ford, trumpeter Bill Hardman, bassist Walter Booker, Jr. and drummer Jimmy Cobb) for this hard bop set. Mathews had long been a distinctive but underrated player and is heard in prime form on a varied program including two of his songs, a pair of Tex Allen originals, "Suicide Is Painless," "A Child Is Born" and "Once I Loved." The musicians all live up to their potential, making one wish that the Bee Hive releases of the late 1970s were available on CD.

01 - Legacy
02 - A Child Is Born
03 - Once I Loved
04 - Ichi Ban
05 - Theme From Mash
06 - Loose Suite
07 - Four For Nothing

Ronnie Mathews (p) Ricky Ford (ts) Bill Hardman (t) Walter Booker Jr (b) Jimmy Cobb (d)
Rec: NYC, Setember 21, 1979

Incidentally, 'Ichi Ban' composed by Mathews, is revisited here, having first been released on the marvellous 1963 Prestige recording 'Doin' The Thang', which featured Freddie Hubbard.

Doc Cheatham - It's A Good Life! (1983)

Doc was 77 years old when this album was recorded, but frankly you would never know.  He still had a surprising amount of power and stamina left in him - enviable by anyone's standards.  This album is a wonderful, feel good side with solid playing by all who appear.

In my opinion, its Doc's vocals that keep things interesting and pacing nicely.  He sings on several tracks and much like his horn, has lots of wind for each tune.

Certainly nothing groundbreaking here, but its a great mainstream joint for those of us who dig it.  This album is ultra minty, ripped in 24/44.1 wav and dithered to 16/44.1 FLAC.  I didn't use any editing tools - didn't need to.  Enjoy!!!!

The 77-year-old trumpeter proves to be very much in his prime during this excellent session. In fact Cheatham, who is backed by a fine rhythm section led by pianist Chuck Folds, dominates this set, taking melodic but passionate trumpet solos and contributing charming vocals. His versions of "Struttin' with Some Barbecue" and "You're Lucky to Me" are particularly memorable. - Scott Yanow / AMG

Dancing In the Garden of the Muses #3

Volume 3 covers Muse releases 5037-5055 (5050 & 5051 were never used) -- Most of this music was recorded in 1973 or 1974 (excepting the Dorham 1960, and Vick 1966 titles) -- The set opens with a marvelous Phil Woods track followed by Eric Kloss, Pat Martino, Carlos Garnett, Mark Murphy, Catalyst, Eddie Jefferson, Kenny Barron, Teddy Edwards, Red Rodney, The Visitors, Willis Jackson, Dom Um Romao, Louis Hayes, Kenny Dorham, Harold Vick and Lester Bowie.

Dancing In the Garden of the Muses #3 by Kingcake on Mixcloud

Curtis Amy - Mustang (1967) [re-rip]

A fantastic LP of beautiful modal tracks, played by one of the most underrated reed players ever, during the most fruitful time of his career. At this point, Amy's moved away from his bluesy Texas roots, and has discovered a freer Coltrane-esque sound that works beautifully with his spiritual, strident compositions. Although the record was pushed by Verve with the funkier track "Mustang" (also recorded by Donald Byrd), the record really sounds more like a Nathan Davis record, with a mix of tenor and soprano sax that is extremely spiritual. Tracks include "Mustang" (2 versions), "Shaker Heights", "Enojo", and "Old Devil Moon". © Dusty Groove, Inc.

The Texas Tenor tears it up on this release for Verve from 1966. It's a fantastic LP of beautiful modal tracks, played by one of the most underrated reed players ever, during the most fruitful time of his career. At this point, Amy's moved away from his bluesy Texas roots, and discovered a freer Coltrane-esque sound that works beautifully with his compositions. Although the record was pushed by Verve with the funkier track "Mustang" -also recorded by Donald Byrd- the record really sounds more like a Nathan Davis record, with a mix of tenor and soprano sax that is extremely spiritual. This has never made it to CD or a vinyl re-issue -suprising given the popularity of the very funky title track and the fact it's on Verve. ~ Orgyinrhythm

He might have been known as a Texas tenorman but Amy plays more soprano sax here (probably due to the Coltrane influence of the era). The band is mostly of unknowns (local Texas players?) except for pianist Kenny Barron but create quite a energetic stir often with a Latin tinge. Verve needs to reissue this! It's not easy to find but keep your eyes open in those dusty record bins. ~ RateYourMusic

Verve Records, V6-8684, 1967

Recorded 26^th January, 1967 at Bell Sound Studios, New York

Personnel:

Curtis Amy - Tenor Sax (#A1,B1,B2), Soprano Sax (#A2,A3,B3)

Leroy Cooper - Baritone Saxophone

Jimmy Owens - Trumpet, Flugelhorn

Kenny Barron - Piano

Carl Lynch - Guitar

Edgar Willis - Bass

Bruno Carr - Drums

Eva Harris - Vocals (#B2)

Track Listing:

A1. Mustang [Short Version] {Sonny Red} (3:18)

A2. Shaker Heights {Curtis Amy} (11:51)

A3. Enojo [Peevish] {Curtis Amy} (3:36)

B1. Mustang [Long Version] {Sonny Red} (5:08)

B2. Please Send Me Someone To Love {Percy Mayfield} (3:28)

B3. Old Devil Moon {E.Y. "Yip" Harburg, Burton Lane} (6:07)

Credits:

Producer - Joel Dorn, Jack Shaw

Director Of Engineering - Val Valentin

Remix Engineer - Norman Baker

Cover Design - Acy R. Lehman

Cover Photo - Jon Henry

Eddie Harris - Exodus To Jazz (vinyl rip)

Someone suggested an Eddie Harris series in recent comments so I thought I'd toss this one out for a starter. Harris was a really unusual horn voice at this point in his career - a tone with the airyness of Getz and Desmond but drenched in Chicago Blues.

 I was somewhere around 10 years old when first I heard this one. It was a favorite of my step-father's so it was played often enough that I noticed it even as a kid. I also seem to recall the music showing up on T.V. soundtracks by the mid to late 60's, but I could be wrong there.

Years passed and I forgot the album entirely until a badly re-mastered Collectables two-fer CD reminded me just how good it was. At some point early in the digital ballgame I made a mini-disc rip of a scratchy LP that I think I had borrowed. The mini disc wav files were eventually stored on a CD when I gave up on the medium, and were promptly forgotten. I was going thru a CD wallet with some unmarked discs and tossing most of them out, but these files had been partially tagged on the disc (albeit incorrectly) and I decided to see what I could do with the files.

Isotope RX cleaned up the clicks and pops and resolved the slight clipping issues. A lovely rip emerged after some additional beginning and ending editing on the bit of groove noise there. I'd guess that I had a HiFi Mono version rather than the stereo covers shown here: these I obtained from discogs - it looks like mono in both Audacity and Isotope, and it sounds like High Fidelity Mono to my ears when played. It sounds quite good, but there is no apparent 'sound-stage'. In 1961 the mono version likely sounded better than the stereo anyway.

Houston Person - Chocomotive (1967)

Review by Alex Henderson

"Some jazz improvisers believe that appealing to R&B and pop fans is beneath them, but Houston Person never had that elitist mentality. The big-toned tenor titan was always a communicator; though he has first-rate chops and can easily sail through difficult bop changes, Person doesn't value pyrotechnics over feeling and emotion. Consequently, albums like Chocomotive have managed to reach a lot of R&B and pop fans who don't necessarily buy a lot of jazz. Person was 32 when he recorded this excellent LP, which employs Cedar Walton on piano, Bob Cranshaw on bass, Frankie Jones on drums, and Alan Dawson (who was primarily a drummer) on vibes. No organist is employed, but even without the mighty Hammond B-3, Chocomotive is a fine soul-jazz/hard bop date. True to form, Person is as expressive on ballads (including "You're Gonna Hear From Me" and Neal Hefti's "Girl Talk") as he is on a hard-swinging blues like the title track. And the saxman really pours his heart into a blues-drenched performance of Buddy Johnson's "Since I Fell for You." Person also tackles the Fifth Dimension's corny "Up, Up and Away," but don't snicker -- after he gets through with the tune, it becomes a swinging soul-jazz instrumental. Even if "Up, Up and Away" isn't your favorite Fifth Dimension hit, you have to admire Person's ability to give it an interesting makeover. In 2001, Fantasy reissued five of this LP's seven tracks on a 78-minute CD titled Trust in Me (Prestige 24264), which also contains the Trust in Me LP in its entirety. Due to space limitations, "Girl Talk" and "Up, Up and Away" were omitted from Fantasy's Trust in Me CD. And for that reason alone, collectors who have this LP should hold on to it."

01 - Chocomotive
02 - You're Gonna Hear From Me
03 - Close Quarters
04 - Girl Talk
05 - Since I Fell For You
06 - Up, Up And Away
07 - More

Houston Person (ts) Cedar Walton (p) Bob Cranshaw (b) Alan Dawson (d, vib) Frankie Jones (tp, d)
NYC, June 14, 1967

Dancing in the Garden of Muses #2

Dancing In the Garden of the Muses #2 by Kingcake on Mixcloud

Charlie Haden & Quartet West - Jazz Baltica 1999

Another fine unpublished live recording; this one from one of the most important quartets in jazz over the last 2o + years. It's hard for me to believe that Quartet West was some 13 years together by this point. Seems like yesterday I heard that first album and was knocked out. This beautiful recording features tunes from at least 4 different albums, all of them played if anything better than the originals. I actually listen to this more often than all the regular releases put together. Bless those European radio broadcasts.

Charlie Haden & Quartet West Live at Jazz Baltica 1999
Unpublished live recording

1 Hello, My Lovely
2 Child's Play
3 First Song
4 The Long Goodbye
5 Segment
6 Body and Soul

Charlie Haden bass
Ernie Watts tenor sax
Alan Broadbent piano
Lawrence Marable drums

Kublah's Xanadu Dreams #1

Xanadu was established in 1975 by former Prestige exec Don Schlitten both as a vehicle to continue publishing the artists he had spent a career with at various labels and to re-issue impossibly rare recordings going back to the birth of BeBop. Like Muse, Mainstream, Flying Dutchman and the other big players of the 70's, Xanadu actually benefited to some degree by the alleged 'Death of Jazz' in that they no longer bothered to angle for commercial success but instead catered to the real but reduced market with high quality jazz with a primary focus on BeBop.

Kublah's Xanadu Dreams #1 by Kingcake on Mixcloud

Conversations with Charlie Haden

The new restrictions here in the U.S. make tribute posts considerably more difficult, but by using three long tracks from a live show at the 1990 Montreal Jazz Fest I think you'll find this half hour well spent.

Charlie was one of the ultimate conversationalists amongst bassists. A player perfectly suited to smaller format groups where he could stretch out with his beautiful melodic statements that always kept the 'song' well within sight. Even his free jazz rarely strayed too far from the melody which gave Ornette Coleman the freedom to go as far out as he wished, knowing that Charlie was there like a life line.

Jim Hall and Charlie played together in duets several times between 2000 and Jim's death last year, but this is the earliest time that I have come across. I wonder why this was never added to the Montreal Tapes box set? As far as I can tell, it has never been released.

Conversations With Charlie Haden by Kingcake on Mixcloud

Dancing in the Garden of the Muses vol 1

Muse Records was an American record label active circa 1972 to 1996 which released jazz and blues music. Muse was founded by Joe Fields, previously an executive for Prestige Records in the 1960s. The label became a haven for producers who were leaving their failing major labels. Often they brought their musician relationships with them, as well as session tapes, some of the resulting releases were reissues from the failed labels, but most was new music.

We all have a special affinity for the music of our late teens and 20's. For me that includes a strong love of the independent Jazz labels of the 70's like Muse, Xanadu, Strata East and Black Jazz. These 16 tracks come from the first 18 albums issued by Muse (2 didn't work, but I had them!). Artists include James Moody, Roy Brooks, Jimmy Raney, Don Patterson, Eric Kloss, Jaki Byard, Tiny Grimes, Al Cohn/Zoot Sims, Pete LaRoca, Kenny Baron, Cecil Payne/Duke Jordan, Cedar Walton, Grant Green, Sonny Stitt, and Dom Um Romao.

Dancing In the Garden of the Muses #1 by Kingcake on Mixcloud

Charlie Haden & Hampton Hawes - As Long as There's Music (1976)

I don't normally post CDs here, but this seems out of print. It's my memorial for Charlie Haden who passed away recently, and features him in duets with my favourite pianist. From the Verve CD reissue which includes three alternative takes.

Review by Scott Yanow:
Although one would not immediately associate bassist Charlie Haden with pianist Hampton Hawes, they had performed together on an occasional basis since first meeting in 1957. This Artists House LP, a set of five duets, was their last opportunity to play together because Hawes would pass away the following year. The music includes a fairly free improvisation on "Hello/ Goodbye," the duo's intepretation of the title cut, a collaboration on "This Is Called Love" and two originals from the pianist. This quiet and often lyrical set contains a great deal of thoughtful and subtle music by two masters.

01 - Irene
02 - Rain Forest
03 - Turn Around
04 - As Long As There's Music
05 - This Is Called Loved
06 - Hello Goodbye
07 - Irene (Alternative)
08 - Turnaround (Alternative)
09 - As Long As There's Music (Alternative)

Kendun Recorders, Burbank, CA, January 25, 1976
and
The Village Recorder, Los Angeles, CA, August 21, 1976

Hampton Hawes (piano) Charlie Haden (bass)

Hank Crawford - Dig These Blues (1966) [vinyl>flac]

Hank kicks back and blows soulfully - working in a variety of groups with hip players that include Wendell Harrison, Ali Mohammed, Wilbur Brown, and Leroy Cooper. The overall sound is similar to Crawford's other work on Atlantic - nothing too challenging, but in a soulful mode that's always pretty tight. Titles include "New Blues", "Hollywood Blues", "These Tears", "HC Blues", and "The Crazy Saloon". © Dusty Groove, Inc.

This LP in many ways could easily be considered one of Hank Crawford's finest albums released on Atlantic records. It showcases Hank in some excellent groupings and performing some great soul jazz-jazz blues styled tunes. Highlights include the title track “Dig These Blues”, “Don't Get Around Much Anymore” and "Baby Won't You Please Come Home" featuring Marcus Belgrave on trumpet. The final tune, "Bluff City Blues," features Hank on piano, also heard on "The Crazy Saloon". Overall some deep soul grooves that clearly express Crawford's wonderful versatility and phenomenal musicianship.

Atlantic Records, SD 1436, 1966

Recorded 13th April, 1964 (A4,B1,B3); 10th December, 1964 (A1,A3,A5);
and 11th February, 1965 (A2,B2,B4) in New York City

Personnel:

Hank Crawford - Alto Saxophone (#A1,A2,A4-B3), Piano (#A3,B4)

Oliver Beener - Trumpet (#A1,A3,A5)

Phil Guilbeau - Trumpet (#A1,A3,A5)

Jimmy Owens - Trumpet (#A2,B2,B4)

Marcus Belgrave - Trumpet (#A2,B2,B4)

John Hunt - Trumpet (#A4,B1,B3)

Julius Brooks - Trumpet (#A4,B1,B3)

Wendell Harrison - Tenor Saxophone (#A1,A3,A5)

Abdul Baari - Tenor Saxophone (#A2,B2,B4)

Wilbur Brown - Tenor Saxophone (#A4,B1,B3)

Leroy Cooper - Baritone Saxophone (#A1,A3-B1,B3)

Howard Johnson - Baritone Saxophone (#A2,B2,B4)

Ali Mohammed - Bass (#A1,A3,A5)

Charlie Green - Bass (#A2,B2,B4)

Edgar Willis - Bass (#A4,B1,B3)

Bruno Carr - Drums (#A1,A3-B1,B3)

Milt Turner - Drums (#A2,B2,B4)

Track Listing:

A1. Dig These Blues {Hank Crawford} (4:33)

A2. Don't Get Around Much Anymore {Duke Ellington, Bob Russell} (5:02)

A3. The Crazy Saloon {Hank Crawford} (2:58)

A4. H. C. Blues {Hank Crawford} (2:48)

A5. These Tears {Hank Crawford} (2:35)

B1. Hollywood Blues {Hank Crawford} (3:18)

B2. Baby Won't You Please Come Home {Charles Warfield, Clarence Williams} (5:46)

B3. New Blues {Phineas Newborn} (4:23)

B4. Bluff City Blues {Hank Crawford} (3:52)

Credits:

Supervision - Nesuhi Ertegün & Arif Mardin

Recording Engineer - Phil Lehle, Tom Dowd

Cover Design - Marvin Israel

Liner Notes - Nat Hentoff

Real Live Jazz #3: These Are Soulful Days

More Real Live Jazz! This set with Melvin Sparks 2003, Herbie Hancock & Michael Brecker 1988, Dave Holland Quintet 2000, Don Grolnick with Joe Henderson 1991, Pat Martino with Joey DeFrancesca 2002, Charlie Haden Quartet West 1999, Bobby Hutcherson Quintet 1996, The Cookers 2009, Carla Bley w/ Paulo Fresu 2007, Brian Blade Fellowship 2008, and Wallace Rooney Sextet 2000.

Real Live Jazz #3: These Are Soulful Days by Kingcake on Mixcloud

John Patton - Along Came John (1963) [vinyl>flac]

Along Came John is the debut album by American organist John Patton, recorded in 1963 and released on the Blue Note label. ~ Wiki.

An excellent John Patton album and one that's got a two-tenor lineup for an extra-heavy soul jazz sound! Fred Jackson and Harold Vick are on the dual reeds, and Grant Green brings up the rear on guitar. Over it all is John Patton's searing organ, and Ben Dixon grooves nicely on drums. Most of the tracks are by Patton and Dixon, and titles include "Gee Gee", "Pig Foots", "Spiffy Diffy", "Along Came John", and the classic modal groover "The Silver Meter". Great stuff and one of Patton's best albums! ~ Dusty Groove Inc.

These original compositions may not all be memorable, but the band's interaction, improvisation, and solos are. Tenor saxophonists Fred Jackson and Harold Vick provide good support, as well, but the show belongs to Patton, Green, and Dixon, who once again prove they are one of the finest soul-jazz combos of their era. ~ Stephen Thomas Erlewine, AMG.

Blue Note, BST 84130, 1963

Recorded 5^th April, 1963 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

John Patton - Organ

Harold Vick - Tenor Saxophone

Fred Jackson - Tenor Saxophone

Grant Green - Guitar

Ben Dixon - Drums

Track Listing:

A1. The Silver Meter {Ben Dixon} (5:40)

A2. I'll Never Be Free {Bennie Benjamin, George David Weiss} (5:02)

A3. Spiffy Diffy {Ben Dixon} (5:59)

B1. Along Came John {John Patton} (6:01)

B2. Gee Gee {John Patton} (6:01)

B3. Pig Foots {Ben Dixon} (5:42)

Credits:

Producer - Alfred Lion

Recording Engineer - Rudy van Gelder

Artwork [Cover Design] - Reid Miles

Photography [Cover] - Francis Wolff

Liner Notes - Joe Goldberg

Phil Woods - Greek Cooking (1967) [vinyl 24 bit]

Review by Ken Dryden:
Probably one of the more unusual recordings in Phil Woods' considerable discography, Greek Cooking features the alto saxophonist leading a tentet with a distinctly Greek flavor, including four Greek musicians. None of them have become household names in jazz, though oud player George Mgrdichian later sat in with the Dave Brubeck Quartet during a few concerts. While the addition of instruments like the dumbeg and buzukie add a new twist, the annoying fender bass and the material chosen make the LP sound rather dated. "A Taste of Honey" is given a modal-like arrangement and it's hard not to break into a broad grin when hearing the lively "Zorba the Greek." A musical curiosity that's been out-of-print for a long time, it should appeal to Woods' fans because of his ability to make the best of the material with his powerful, never dull playing.

01 - Zorba The Greek
02 - A Taste Of Honey
03 - Theme From Antony And Cleopatra
04 - Got A Feelin'
05 - Theme From Samson And Delilah
06 - Greek Cooking
07 - Nica

Phil Woods (alto saxophone) William Costa (accordion, marimba) George Mgrdichian (oud) Stuart Scharf (guitar) Chet Amsterdam (electric bass) Bill LaVorgna (drums) Souren Baronian (drums, cymbals) Seymour Salzberg (percussion) Iordanis Tsomidis (buzukie) John Yalenezian (dumbeg) Norman Gold (arranger)
NYC, January 31 & February 1, 1967

Real Live Jazz #2: You'll Know When You Get There

Real Live Jazz #2: You'll Know When You Get There by Kingcake on Mixcloud

Bud Shank At Jazz Alley (1986) [Vinyl 24/48]

A Japanese 1987 issue is the only CD I'm aware of, and I could never locate a copy, so I was very pleased to pick up this mint LP

Review by Scott Yanow:
Altoist Bud Shank celebrated his move to the Seattle area by utilizing two talented Seattle players (pianist Dave Peck and bassist Chuck Deardorf) plus drummer Jeff Hamilton for this fine live set. On a well-rounded program of originals, an obscurity and a couple of standards ("A Nightingale Sang In Berkeley Square" and "I Loves You Porgy"), Shank is in top form, really stretching himself on the frequently challenging material. A good example of Bud Shank's playing in the 1980s.

The liner notes are much more interesting than Scottie's review!

01 - A Nightingale Sang In Berkelet Square
02 - Seaflowers
03 - Too Long At The Fair
04 - Arion
05 - Song For Lady Lynn
06 - I Loves You, Porgy
07 - Wales
08 - Bud's Theme

Bud Shank (alto saxophone) Dave Peck (piano) Chuck Deardorf (bass) Jeff Hamilton (drums)
"Jazz Alley", Seattle, WA, October 16, 17 & 18, 1986
Contemporary LP C 14027

Real Live Jazz!

From my too rarely visited 'Live and Unreleased' vault, I am always startled when I see how much STUFF is in there, of course in today's world some of what was once unreleased may have seen some issue or other since - oft times the full shows are way too much and 25 minute songs can be excessive so I think with judicious selecting and editing, the material lends itself quite well to this format.

(I think I feel a series coming on...either that I ate too much.)

Let's hear some real live Jazz from Harold Land - 1958, Lucky Thompson Octet - 1961, Booker Ervin - 1966, Roland Kirk - 1967, Pat Martino - 1969, Dave Pike Set - 1969, Yusef Lateef - 1971, Louis Hayes/ Junior Cook Quintet -1976, Bobby Hutcherson Quartet - 1977, Red Rodney, Ira Sullivan, Jack Wilkins -1980, Sonny Stitt & Red Holloway - 1981, and Mal Waldron w/ Charlie Rouse - 1984. Whew!

REAL LIVE JAZZ!! by Kingcake on Mixcloud

Lament For Horace Silver

I was surprised that the sun could show it's face today, surely the sky should be grey and weeping for we have lost our dear brother Horace and we shall not know his like again!

This is a personal collection assembled this morning with the pain still fresh and tears in my eyes. Goodbye old friend.

I first intended this as a mixcloud but they have changed the rules in the US and we can no longer use more than 3 tracks of any individual in a mix which has kind of killed all my tribute posts.

Doin' The Thing: Understanding The Legacy Of Horace Silver

Doin' The Thing: Understanding The Legacy Of Horace Silver by Poppachubby on Mixcloud

Road Hardened: Classic Working Bands

Lest We Forget Vol. 9 / Road Hardened: Classic Working Bands by Poppachubby on Mixcloud

Hank Crawford - Don't You Worry 'Bout A Thing (1974) [vinyl>flac]

"Don't You Worry 'Bout A Thing" by Hank Crawford was released in 1974 on Kudu Records, a subsidiary of the CTI label. On this his fourth Kudu release, Crawford showcases three original compositions alongside two Stevie Wonder tunes; "Don’t You Worry 'Bout A Thing" and “All In Love Is Fair.” Bob James handles the string arrangements and also shares electric keyboards with Richard Tee. James' arrangements don't smother Hank but instead instill a light touch of classiness, perfectly blending Crawford’s rhythm & blues phrasing. Joining him on this date is quite an impressive array of soul-jazz and modern jazz performers, including Pepper Adams, Randy Brecker, Ron Carter, Idris Muhammad, Joe Farrell, Jon Faddis, Bernard Purdie, and Hugh McCracken. As usual it is beautifully engineered by van Gelder; another significant slice of Hank’s discography to immerse even the most discerning jazz aficionado, Enjoy!

Sweet soulful jazz from reedman Hank Crawford - one of his killer Kudu sessions from the 70s - all of which really helped Hank redefine his sound! The setting here is large and full - put together beautifully by Bob James, with that sense of space for the soloist that makes his CTI/Kudu arrangements so crucial - and light years ahead of what other arrangers were doing at the time. The tracks are longish, but never overdone - and the record has all the soulful alto sounds of Crawford's 60s work at Atlantic, but with a definite 70s bent overall. James plays Fender Rhodes, Arp, and clavinet - and other players include Joe Farrell on tenor and flute, Idris Muhammad and Bernard Purdie on drums, and Richard Tee on additional keyboards. Titles include "Jana", "Sho Is Funky", "Don't You Worry 'Bout A Thing", "Groove Junction", and "All In Love Is Fair". ~ Dusty Groove, Inc.

Kudu Records, KU 19 S1, 1974

Recorded June, 1974 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Hank Crawford - Alto Saxophone

Alan Rubin, Jon Faddis, Randy Brecker - Trumpet, Flugelhorn

Pepper Adams, Romeo Penque - Baritone Saxophone

Jerry Dodgion, Joe Farrell - Flute, Tenor Saxophone

Dave Taylor - Bass Trombone

Bob James, Richard Tee - Keyboards

Hugh McCracken - Electric Guitar

Gary King - Bass (#A1-A3,B1)

Ron Carter - Bass (#B2)

Bernard Purdie - Drums (#A1,A3)

Idris Muhammad - Drums (#A2,B1,B2)

Ralph MacDonald - Percussion

Strings:

Lewis Eley, Max Ellen, Alexander Cores, Paul Gershman, Emanuel Green,
Matthew Raimondi, Charles Libove, Harry Lookofsky, David Nadien - Violin

Charles McCracken, George Ricci - Cello

Al Brown, Manny Vardi - Viola

Track Listing:

A1. Don't You Worry 'Bout A Thing {Stevie Wonder} (8:49)

A2. Jana {Hank Crawford} (5:08)

A3. All In Love Is Fair {Stevie Wonder} (4:46)

B1. Sho Is Funky {Hank Crawford, Bob James} (12:41)

B2. Groove Junction {Hank Crawford} (3:32)

Credits:

Producer - Creed Taylor

Arranger - Bob James

Recording Engineer - Rudy van Gelder

Design - Bob Ciano

Illustration - Pierre Le-Tan

Richie Cole's Alto Madness (new Rips)

 Richie Cole – New York Afternoon
Muse 5119, 1976

A1 Dorothy's Den
A2 Waltz For A Rainy Be-Bop Evening
A3 Alto Madness
B1 New York Afternoon
B2 It's The Same Everywhere
B3 Stormy Weather (Trenton Style)
B4 You'll Always Be My Friend

Richie Cole alto sax, Eddie Jefferson vocals, Vic Juris guitar, Mickey Tucker piano, Rick Laird bass, Eddie Gladden drums, Ray Mantilla congas

 Richie Cole – Alto Madness
Muse  5155, 1978
Richie Cole : Alto saxophone, Eddie Jefferson : vocals, Eddie Gladden : drums, Harold Mabern : piano, Rick Laird : bass, Steve Gilmore : bass, Vic Juris : guitar, Ray Mantilla : percussion, Produced by Eddie Jefferson

A1 Cole's Nocturne 6:11
A2 The Price Is Right 7:13
A3 The Common Touch 2:23
Vocals – Eddie Jefferson
A4 Last Tango In Paris 4:40
B1 Island Breeze 5:20
B2 Big Bo's Paradise 5:29
B3 Remember Your Day Off 5:15
B4 Moody's Mood '78 2:59

Dave Burns - Warming Up! [Vinyl rip/FLAC]

When poppachubby posted this a couple years back, I had just purchased a new sealed copy which actually stayed that way until a few days ago. Obviously I've opened it and ripped a fresh copy. Sounds pretty damn good to me! Not only is the ripping rig much improved but I've learned some new tricks too!

Vanguard (VRS-9143)
1964

Dave Burns (tp);  Al Grey (tb);  Billy Mitchell (ts);  Herman Wright (bass fiddle);
Harold Mabern (p);  Bobby Hutcherson (vh);  Otis Finch (d);  *Willie Corea (tymboli)
* on Richie's Dilemma and Rigor Mortez only

1. Day By Day   2. Now Ain't It   3. I Can't Give You Anything But Love
4. Richie's Dilemma   5. Slippers   6. Warm Up   7. My Romance   8. Rigor Mortez

Charles McPherson - New Horizons (New LP rip/FLAC)

There have been major upgrades to my ripping system, this is a FAR superior rip to my previous attempts. The dynamic range, soundstage and realism are off the charts.

"If you're a hardcore be-bopper, this probably won't suit your fancy quite as well as Live In Tokyo, but if you're a child of that 70s period of Jazz, this is about as good as it gets. Tucker is in top form as a sideman (his strongest role, IMHO) and McBee is unconscious, as usual. This is a great period for McBee, and while maybe a step past prime for Freddie Waits, he's still burning and this is a very solid, straight ahead Jazz date during a period when the Rhodes and crossover were favored. McPherson is sort of the forgotten soldier -- no one seems to discuss him much and he's always been under recorded. There are no anthems here, and I won't use the word 'clinic' to describe this music because there is nothing clinical about it (a fault much of the 70s/80s Jazz seems to suffer from). This is honest, productive, interesting and enjoyable Jazz, the way it was intended to be." Lost Soul blogspot

  I couldn't see how I was going to do anything but parrot that review so thanks to Lost Soul.

Charles McPherson - New Horizons
Xanadu 149, 1977

1. Promise
2. I'll Never Stop Loving You
3. Night Eyes
4. Horizons
5. Samba D'Orfeo
6. Dee Blues

Charles McPherson - alto sax
Mickey Tucker - piano
Cecil McBee - bass
Freddie Waits - drums

Recorded September 28, 1977

George Robert/Tom Harrell - Sun Dance (1987) [vinyl>flac]

The AMG review of this is very lukewarm and very wrong. This is a terrific album with great playing from both Robert and Harrell with a cooking rhythm section. Harrell is well known but Robert seems to be unheard of in comparison. I recommend a trip to: http://new.georgerobert.com/Biography.html

1. Solad
2. Moon Alley
3. Cancun
4. Sun Dance
5. Because I Love You
6. Viking's Theme

Tom Harrell (t,flh) George Robert (as,ss) Dado Moroni (p) Reggie Johnson (b) Bill Goodwin (d)
Lausanne, Switzerland, March 29 & 30, 1987
(Contemporary LP C 14037)

This has had a CD reissue although I couldn't find a copy. Once again this is from mint, sealed vinyl.

Ray Charles Presents David Newman - Fathead (1958) [vinyl>flac]

Fathead: Ray Charles Presents David "Fathead" Newman (also referred to as Ray Charles Sextet) is the debut release of jazz saxophonist David "Fathead" Newman. Teamed with Ray Charles, ‘Bennie’ aka Hank Crawford and others; this sextet really gets down and plays a number of great tunes, three of which are written by Hank and one by David himself “Fathead”; the rest fine standards, enjoy!

The talented David Newman, who alternates on this album between tenor and alto, made his debut as a leader at this session. Since he was in Ray Charles' band at the time, Newman was able to use Charles on piano along with Hank Crawford (here called "Bennie Crawford") on baritone, trumpeter Marcus Belgrave, bassist Edgar Willis, and drummer Milt Turner. The music is essentially soulful bebop, with the highlights including "Hard Times," "Fathead," "Mean to Me," and "Tin Tin Deo." Everyone plays well and this was a fine start to David "Fathead" Newman's career. ~ Scott Yanow, AMG.

Atlantic Records, SD 1304, 1960

Recorded 5^th November, 1958 at Atlantic Recording Studios, New York City

Ray Charles Sextet:

David "Fathead" Newman - Alto Sax (#A1,A3,B3), Tenor Sax (#A2,A4,B1,B2,B4)

[Bennie] Hank Crawford - Baritone Saxophone

Marcus Belgrave - Trumpet

Ray Charles - Piano

Edgar Willis - Double Bass

Milton [Milt] Turner - Drums

Track Listing:

A1. Hard Times {Paul Mitchell} (4:41)

A2. Weird Beard {Bennie Crawford} (4:48)

A3. Willow Weep For Me {Ann Ronell} (4:57)

A4. Bill For Bennie {Bennie Crawford} (4:15)

B1. Sweet Eyes {Bennie Crawford} (3:44)

B2. Fathead {David "Fathead" Newman} (5:21)

B3. Mean To Me {Fred Ahlert, Roy Turk} (4:14)

B4. Tin Tin Deo {Gil Fuller, Chano Pozo} (5:19)

Credits:

Supervision - Nesuhi Ertegün, Jerry Wexler

Recording Engineer - Tom Dowd

Cover Photo - Lee Friedlander

Cover Design - Marvin Israel

Booker Ervin - Booker N' Brass (lp rip to flac)

I know that I've posted the cd version of this (which came from our old friend Ron The Jazzman) on a couple of previous occasions, but I came upon a vinyl copy a while back and couldn't resist. It was an original Pacific Jazz pressing and in the store it looked really clean.....It wasn't....my old eyes deceived me. Fortunately there have been some serious upgrades to both hardware and software on the KCC ripping rig. It took some work, I think it sounds better than the cd. It feels more dynamic to me. Vinyl ripping freaks please let me know what ya think.

Midnight Trumpet Tales

Some late night trumpet without any Miles or Chet and without anyone playing Round Midnight! This one was enough fun assembling that it may well require a second volume! My goal here was not only a great 'mood', but also to offer some trumpet voices that not everyone will know.

Midnight Trumpet Tales by Kingcake on Mixcloud

The Musical Courage of James Spaulding

Lest We Forget Vol. 8 / The Musical Courage of James Spaulding by Poppachubby on Mixcloud

The Complete Blue Note Blue Mitchell Sessions (1963-67) [flac + full scans]

This classic Mosaic box is long gone...

All Music Guide Review, ~ Scott Yanow:

Blue Mitchell was always a consistent, lyrical, and pleasing trumpeter. Although not as significant during the 1960s as Lee Morgan and Freddie Hubbard (much less Dizzy Gillespie and Miles Davis), Mitchell had his own appealing sound and was a major asset on many modern mainstream dates. This four-CD limited-edition Mosaic box set collects Mitchell's first six Blue Note dates as a leader: Step Lightly, The Thing to Do, Down With It, Bring It Home to Me, Boss Horn, and Heads Up. Three albums are by his quintet, which included tenor saxophonist Junior Cook and usually the young pianist Chick Corea and was formed shortly after he left Horace Silver, and the three others are with larger groups, two of which have arrangements by Duke Pearson. Among the other key sidemen are tenor great Joe Henderson, altoist Leo Wright, baritonist Pepper Adams, and pianists Herbie Hancock and McCoy Tyner. There are just two previously unreleased cuts (both alternate takes), but most of the sets have been somewhat rare for years, and taken as a whole, the swinging hard bop and boogaloo performances are Blue Mitchell's finest recordings as a leader.

Review by Doug Ramsey:

Blue was the perfect nickname for Richard Mitchell. Bright or soft, his tone had a wistfulness about it, and his improvisations inclined toward the harmonic implications of the blues even when he worked with sophisticated material. His trademarks were calm, assurance, and relaxation. They were welcome in an era heavily populated with trumpet players bent on exploiting the instrument's capacity for bravura proclamation.

Mitchell's career with Riverside Records, from 1958 to 1963, coincided with his membership in the Horace Silver Quintet. His own recordings of that period and those with Silver trace the growth of confidence that resulted in a blooming of his lyricism, swing, and narrative ability. By the time of his first Blue Note session, when he was still with Silver, he was a skilled storyteller. With bassist Gene Taylor and drummer Roy Brooks from the Silver band, Mitchell used pianist Herbie Hancock and two saxophonists, Joe Henderson on tenor and altoist Leo Wright. Henderson brought in a new tune, "Mamacita," that would become a classic, and demonstrated why the originality of his playing generated enthusiasm in the New York jazz community. Mitchell's solos on "Sweet and Lovely" and "Cry Me A River" are examples of the maturity and sweetness of his ballad playing.

After Silver disbanded in early 1964, Mitchell continued the group with his frontline partner Junior Cook. Through the remainder of the Mosaic collection, Cook's tenor solos are reminders that he, like Mitchell, rarely gets the credit he plainly deserves. Their partnership, with its stunning ensemble togetherness in "Fungii Mama" and other pieces, dominates the dates that produced the albums The Thing to Do, Down With It! and Bring It Home to Me. The rhythm section is Taylor, pianist Chick Corea, and the 18-year-old Al Foster on drums. Harold Mabern is on piano and Billy Higgins the drummer in the Bring It Home to Me session. Taylor is the only player other than Mitchell who is on every track of the four CDs. He is not a bassist whose notes have long decay times. Rather, the distinctness and intensity of his notes contribute to an inevitability of swing that makes his work notably satisfying.

Corea was a young wonder in the earlier sessions and by the time of the Mitchell octet date of 1966 (Boss Horn) had become a pianist of pronounced originality in harmony, touch, and conception. He also contributed two important compositions, "Tones for Joan's Bones" and "Straight Up and Down," arranged by Duke Pearson. Pearson's chart on "I Should Care" combined with Mitchell's caressing of the melody for a timeless performance. Pearson's master touch continued the following year at the Heads Up! session with his, Jimmy Heath's, and Melba Liston's arrangements for a nine-piece band. They included another perfect ballad performance by Mitchell in "The Folks Who Live on the Hill." Heath's intricate "Togetherness" included side trips into modality, a challenge that Mitchell and Cook met with aplomb. This valuable set from Mosaic preserves some of the best work of a trumpeter who blazed no trails, but played beautifully.

A Deep Blue Vein

A Deep Blue Vein by Kingcake on Mixcloud

Claude Engel - Fantasmagory (1976) [vinyl>flac]

Claude Engel a former member of Magma is quite an enigma, emerging out of the seventies, known primarily as an innovative guitarist, singer and song writer. In many ways it is hard to truly classify his music and in particular what is offered on this album. He employs elements of Jazz-Rock, Pop and Fusion to construct quite an unusual array of sounds showcased on this rare LP. I was lucky to find a well used copy and hence some noticeable detritus. Many would argue this is not truly jazz, but why not open your ears and minds to a classic from the past. Enjoy!

CBS/Marginal Records, KFS 90351, 1976

Personnel:

Claude Engel - Guitars, National Steel Guitar, Bass Fender, String Ensemble ‘Solina’, Percussions (#A5,B1-B4), Arp Odyssey “Locotango”, Hammond Organ (#B2,B4), Singing, Vocals

Christian Leté - Percussion (#A1,A2,A5,B1-B3), Drums (#A2), Exhaust Pipe (#B4)

Georges Rodi - Arp Odyssey (#A1,A2,A5,B4), Piano Fender (#A1), Hammond Organ (#A2,B4)

Anne Vassiliu - Voice “Chateaufort Blues” “Marzom”, “Zom-zom”, Voice and Cello “Tendez-Moi La Main”

Track Listing:

A1. Fantasmagory (7:33)

          Claude Engel - Guitar, Synthesizer

          Christian Leté - Percussion

          Georges Rodi - Synthesizer, Piano [Electric]

A2. Igor (4:28)

          Claude Engel - Guitar, Voice, Bass Guitar

          Christian Leté - Drums, Percussion 

          Georges Rodi - Synthesizer, Organ

A3. Improvisation Sur "Le Thème De "Colchique Dans Les Près" (3:29)

          Claude Engel - Guitar [Spanish]

A4. Chateaufort Blues (3:28)

          Claude Engel - Guitar [Acoustic, Electric], Synthesizer

          Anne Vassiliu - Voice

A5. Locotango (3:12)    

          Claude Engel - Guitar [Spanish], Percussion, Synthesizer

          Christian Leté - Percussion

          Georges Rodi - Synthesizer

B1. Tendez-Moi La Main (4:39)

          Claude Engel - Guitar, Voice, Percussion

          Christian Leté - Percussion

          Anne Vassiliu - Voice

         

Suite Populaire Martienne

B2. 1) Marzom (3:57)

          Claude Engel - Guitar [Acoustic, Electric], Percussion, Organ, Bass Guitar, Voice

          Christian Leté - Percussion

          Anne Vassiliu - Voice

B3. 2) Tikidaï (2:59)     

          Claude Engel - Guitar, Voice, Percussion, Flute

          Christian Leté - Percussion

B4. 3) Zom-Zom (10:06)

          Claude Engel - Guitar [Electric], Voice, Bass Guitar

          Georges Rodi - Organ, Synthesizer

          Performer - Christian Leté

          Anne Vassiliu - Voice

Credits:

Artwork - Allen Weinberg

Written - Claude Engel