Stan Getz - Jazz Classics

I just ripped this for my friend Robers and thought I offer it up to y'all as well. Two different dates with two different bands from Stans' early days.

Sahib Shihab - Conversations (Polydor LP Vinyl Rip)

Looking at my Sahib Shihab files, I have to admit to an ulterior motive in making this post - I see that I need upgrades on most of my stuff and this is one way to generate a global collaboration.

This one here is a fresh LP rip that I'm hoping will set off a run of others from my colleges to fill in the thin, but fabulous Shihab catalog in 'high def'.

The Best Of Max Roach And Clifford Brown In Concert [vinyl rip-flac]

"This set has the earliest documented performances of the Clifford Brown/Max Roach Quintet. Trumpeter Brown and drummer Roach, along with tenor-saxophonist Teddy Edwards, pianist Carl Perkins and bassist George Bledsoe, perform four numbers including hot versions of "All God's Chillun Got Rhythm" and Edwards's "Sunset Eyes." In addition there is a later set with the permanent lineup of the Quintet: Brown, Roach, tenorman Harold Land, pianist Richie Powell and bassist George Morrow. Together they play "Jordu," Brown's feature on "I Can't Get Started" and versions of "I Get a Kick Out of You" and "Parisian Thoroughfare" that are both heated and colorful. This is a very rewarding and somewhat historic release of high-quality straightahead jazz from one of the great hard bop bands." AMG

Covers are from Discogs, but the rip is a fresh one from me

Eddie Davis Trio with Shirley Scott (1958) [vinyl>flac]

Most jazz critics and serious jazz listeners will almost certainly agree that, were there no Coleman Hawkins and/or were there no Lester Young, just so would there be no appreciable saxophonists of today. Either one or the other, or both, will inevitably appear in every tenor sound.

This album gives a savoury taste of just such a happy mixture, with the added ingredients of a happy swing and heartfelt drive, furnished by EDDIE "Jaws" DAVIS.

Much more than ably assisted by veteran George Duvivier on Bass, newcomer (and really a "comer,") Shirley Scott on Organ and the very tasteful Arthur Edgehill on drums, a better word would be "augmented", because these three are artists in their own right and Eddie certainly doesn't need assistance. Eddie's clean drive on the up-tempos is something to marvel at and something sorely missed of late. Fresh from the solo chair in that sensational Basie band, Eddies' is a talent that insisted on being showcased on its' own mettle. It's a talent that should, and will, flourish on its' own.

This is jazz, with heart, with feeling: Jazz that literally radiates from each groove; Jazz that insists on being felt; - Jazz by EDDIE DAVIS.

Roost Records, RLP 2227, 1958

Recorded May, 1958 in New York City

Personnel:

Eddie "Lockjaw" Davis - Tenor Saxophone

Shirley Scott - Organ

George Duvivier - Bass

Arthur Edgehill - Drums

Track Listing:

A1. Day By Day {Sam Kahn, Axel Stordahl, Paul Weston} (4:02)

A2. Do Nothing Till You Hear From Me {Duke Ellington, Bob Russell} (3:48)

A3. I'll Remember You {Johnny Mercer, Victor Schertzinger} (4:11)

A4. Autumn In New York {Vernon Duke} (3:10)

A5. Penthouse Serenade [When We're Alone] {Will Jason, Val Burton} (2:36)

A6. Land Of Dreams {Eddie Heywood} (4:13)

B1. Scotty {Eddie Davis} (3:44)

B2. On The Street Where You Live {Frederick Loewe, Alan Jay Lerner} (3:32)

B3. Dee Dee's Dance {Denzil Best} (2:58)

B4. Don't Get Around Much Any More {Duke Ellington, Bob Russell} (2:43)

B5. Everything I Have Is Yours {Harold Adamson, Burton Lane} (3:19)

B6. Don't Worry 'Bout Me {Ted Koehler, Rube Bloom} (4:06)

Black Jazz Spiritual

As a young DJ in the 70's, I was lucky enough to be the only guy at my station who was even interested in the music from this label - they always sent 2 of everything so I've had the majority of the output since it was new. This particular trip accentuates Spiritual Jazz side of the label - the albums I've omitted were by choice.

Black Jazz Spiritual by Kingcake on Mixcloud

30 Jazz Guitar Masters

One of the things one couldn't help but notice when examining my collection is that I have a whole mess of Jazz guitar; I mean seriously obsessive numbers of artists and recordings. These 30 guitar voices are my personal choices over the 2 days that I put the mix together - I have no doubt at all that if I did this again tomorrow, there would be a fair number of changes. The problem is, what do you cut?
The picture? A teenaged George Barnes outside the Chelsea Hotel in Chicago - he was first recorded on electric guitar at 16 and had a weekly radio appearance by age 17. He preceded both Les Paul and Charlie Christian in being recorded on the instrument.

30 Jazz Guitar Masters by Kingcake on Mixcloud

George later looked like this -

Don Patterson - These Are Soulful Days (1973) [re-rip]

On this 1973 date, organist Don Patterson and guitarist Pat Martino again show themselves to be equally at home with gritty, organ combo sounds and the more refined vocabulary of hard bop. Brothers Jimmy Heath (tenor sax) and Albert Heath (drums) round out the band. They are bop-oriented players who also have an affinity for the Patterson and Martino blend of brains and barbecue sauce. The quartet comes together nicely on all five tracks, beginning with the long, melodic line of Cal Massey's mid-tempo title track and winding up with the slow-cooking, 18-minute "Muse Blues." As for the group's cover of "Whistle While You Work," Patterson, Martino, and the Heaths transform the Disney ditty into a solid, straight-ahead, swinger, with intelligent solo work and without a speck of corn. Patterson's pianistic approach and sparing use of bass pedals creates lots of space for his bandmates. Martino, who is known for his fleet, single-note solo work spends considerable time playing behind the soloists on this set, demonstrating what a staggeringly accomplished accompanist he can be. Heath draws on his history with Dizzy Gillespie, Milt Jackson, and Art Farmer, and as a leader in his own right, to build tenor solos that have force, logic, and passion. These Are Soulful Days is easily recommendable to fans of classic organ, guitar, sax combos, as well as to listeners who simply enjoy the playing of top-flight jazz musicians who have a healthy respect for the music's blues roots. ~ by Jim Todd, Allmusic.com.

Muse Records, MR 5032, 1973

Recorded 17th September, 1973

Personnel:

Don Patterson - Organ

Pat Martino - Guitar

Jimmy Heath - Tenor Saxophone

Albert Heath - Drums

Track Listing:

A1. These Are Soulful Days {Cal Massey} (8:19)

A2. Whistle While You Work {Frank Churchill, Larry Morey} (7:33)

A3. Skylark {Hoagy Carmichael, Johnny Mercer} (9:13)

B1. Blue 'N' Boogie {Dizzy Gillespie, Frank Paparelli} (4:11)

B2. Muse Blues {Don Patterson} (17:54)

Credits:

Producer - Don Schlitten

Engineer - Paul Goodman

“These Are Soulful Days” is a very rewarding set; it catches Don Patterson at his very best. It features Don in a fine quartet which includes Jimmy Heath on tenor sax, Pat Martino on guitar and Albert Heath on drums. Right from the start the quartet presents an exhilarating interpretation of Cal Massey's and the album's title tune. This is followed by two standards ”Skylark” and an unusual but rewarding version of “Whistle While You Work”; and finally two blues compositions “Blue 'N' Boogie” by Dizzy Gillespie and Patterson's own lengthy “Muse Blues”. All players have opportunities to solo; Patterson in particular shows great sensitivity. Jimmy Heath excels on “Whistle While You Work” and “Blue 'N' Boogie” and indeed Pat Martino has no trouble blending seamlessly with Patterson on all tunes adding some amazing solos, especially heard on the slower tracks. However he really comes into his own and truly expresses his expertise on the faster numbers.

According to Douglas Payne this is Patterson’s ‘best recorded work and offers proof that this melodic bop organist is a neglected talent that, even a decade after his death, remains deserving of wider recognition.'

Hen Gates And His Gaters - Rock And Roll (1949-52) [vinyl>flac]

Two year ago I stumbled on this obscure album at Boogie Woody’s site. After downloading and listening to it a few times I was convinced that some of the tunes sounded very much like early Eddie “Lockjaw” Davis. Intrigued I delved deeper into the comments to find that the pseudonym “Hen Gates” was actually Freddie Mitchell and that this budget label amassed a number of tracks from his Derby releases.

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Boogie’s own research validated my identification of a number of Eddie Davis tracks producing this amendment:

A1. Stop is Pony Express, 1950/51, Derby 725

A4. Hold It is Hot Ice, 1951, Derby 777

A5. The Creep is Doby’s Boogie, 1949, Derby 713

B2. Rockin’ and Rollin’ Hop is Madera Hop, 1951, Derby 807

B3. Back Bone is Minton’s Madhouse {Eddie Davis}, 1947, Lenox 515

B4. Look And Listen is Leapin’ On Lenox {Eddie Davis}, 1947, Lenox 502

B5. Bunny Rock is Cold Heat, 1952, Derby 793

The other anomaly is that Look Out and Bear Walk sound like the same track After Hours Bounce released on Eddie ''Lockjaw'' Davis, Morris Lane - Kickin' And Wailin' (1962)

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Anyway as an avid ‘Lockjaw’ fan I was glad to have acquired this rarity; however the rip was in a sorry state, so I’ve done my best to re-encode and share here. The album is full of dynamic energy with some marvellous honky tonk / plinkity plonk piano, guitar passages and shrieking-shronking sax. The sound quality is variable, but still very entertaining, Enjoy!

Plymouth, P-12-144, 1956

Track Listing:

A1. Stop (2:53)

A2. Hand Clappin' (2:48)

A3. Look Out (2:25)

A4. Hold It (2:22)

A5. The Creep (2:57)

A6. T.N.T. (2:47)

B1. Jumpin' And Shoutin' (2:55)

B2. Rockin' And Rollin' Hop (2:29)

B3. Back Bone (2:19)

B4. Look And Listen (2:54)

B5. Bunny Rock (2:23)

B6. Bear Walk (2:15)

Total Time: 31:30

Tony Scott - I'll Remember

I thought it appropriate to post the companion to 'Golden Moments' here. I've re-upped KingCake's original post of sotise' rip and added full 300dpi scans from the LP.[grumpy]

Volume Two of this historic live recording - Once again the rip source is sotise, I parsed them to tracks [KingCake].

1 Stella by Starlight (Washington, Young)
2 I'll Remember April (DePaul, Johnston, Raye)
3 A Night in Tunisia (Gillespie, Paparelli)
4 Garrison's Raiders

"The follow-up to clarinetist Tony Scott's Golden Moments (both of which were released for the first time on Muse albums of the mid-1980s) uses the same group (a quartet with pianist Bill Evans, bassist Jimmy Garrison and drummer Pete LaRoca) and almost reaches the same heights. Scott was one of the finest clarinetists of the late 1950s before deciding to become a sketchily documented world traveler. This live date has lengthy versions of "Stella By Starlight," "I'll Remember April," "A Night In Tunisia" and the blues "Garrison's Raiders." The boppish music hints at future developments and both this album and Golden Moments (which gets the edge) are highly recommended. [I'll Remember was reissued as part of 32 Jazz's double-disc set, At Last, in 1999.]"

Tony Scott - Golden Moments

The original rip comes courtesy of our old friend Sotise - this Muse release was a reissue of a little known 1959 session featuring some serious heavyweights.

"Tony Scott was one of the major jazz clarinetists of the 1950s, but his decision to become a world traveler in 1960 has resulted in him becoming rather obscure. This valuable Muse release features the clarinetist in top form on an original blues and four standards (including 12-minute versions of "Walkin'" and "Melancholy Baby") in a quartet that also includes the up-and-coming pianist Bill Evans (who had just left Miles Davis' sextet), bassist Jimmy Garrison, and drummer Pete LaRoca. The bop-oriented improvisations hold one's interest and make one wish that Scott had stayed in New York throughout the '60s; he had much more to say. [Golden Moments was reissued as part of 32 Jazz's double-disc set, At Last, in 1999.]" Yanow, AMG

Xanadu Dreams 2

Xanadu Dreams 2 by Kingcake on Mixcloud

Jackie Paris - The Song Is Paris (1962)

As requested. This is not my rip but is posted in honour of the original uploader who passed away a while ago and is sadly missed by many in jazz blogland - The Jazzman.
This is a copy of his original post:

I found a great article about JP that I thought you would enjoy.

The Village Voice January 17, 1995 Vol. XL No.3
Article by Will Friedwald

Fifteen years after Lenny Bruce's death, his equally legendary mother Sally Marr, came across an unmailed letter amongst her late son's effects. Upon opening the envelope, she found a three page testimonial to the talent's of Jackie Paris, the jazz singer who'd shared a bill with Bruce for several months in 1959.

The comic was writing to implore his agent to sign Paris to a long term contract. "(My last gig in) New York was a gas, and the biggest thrill was working with Jackie Paris," Bruce wrote. "You know how much I dug him before... well, I find out he tap dances great, and plays 'the end' guitar... He is cute as a button and the audience loves him and he gets laughs. Tooo muccchhh!"

"I know he could be a star," Bruce continued, "I've never seen a singer that could talk and command the audience attention like this kid, except Sinatra or Dean Martin, and they talk about booze and broads. This kid [actually Bruce and Paris were both 33 at the time] is a hip Pat Boone."

Bruce was convinced that Paris was going to become the next "big" singer. Little did he suspect that there was no room in this particular American musical moment for a new star who only appealed to the hip and grown-up, and who wasn't part of the youth directed pop explosion. To make matters worse, Paris wasn't even your average pop singer with jazz influences. Rather he was and is an uncompromising jazz singer who happens to have an enormous --albeit unrealized -- pop appeal.

If stardom could be attained as easily as the acclaim of counter-culture landmarks like Lenny Bruce, then Paris would have long since been a jazz circuit headliner. He was also the favorite singer of Charles Mingus, who worked with him in Lionel Hampton's band circa 1949, and three years later wrote several compositions expressly for the singer, which they recorded together on Mingus's own Debut label. Further, Paris was the only singer to tour with the Charlie Parker Quintet (with Miles Davis and Max Roach). Paris was also the vocalist selected by producer Leonard Feather, Thelonious Monk (presumedly), and posterity to introduce the now standard lyrics to "Round Midnight."

It's easy to hear what Bruce, Mingus and Parker found so appealing in Paris's singing. Here is a musician saturated with the virtues of modern jazz--the harmonic sophistication, the cool attitude, the bright clean tone--who never sounds like he's doing anything way-out or complex. His grounding in the blues leads him back to the fundamentals. On a familiar piece like "Wrap Your Troubles In Your Dreams", Paris can come up with the oddest harmony lines exactly where we expect to hear the "straight" melody-as-written. Yet nothing he ever sings strikes us as weird.

Undoubtedly, it was his gift for clarity that led Mingus to concoct some of his most conventionally singable melodies and lyrics specifically for Paris. Mingus could devise as much formless abstraction as he liked--for example the entrancingly meandering "Portrait"--knowing that Paris could "sell " the number as convincingly as Sinatra could put over a Cole Porter showtune. Likewise " Paris In Blue" (included, along with "Portrait" on Charles Mingus: The Complete Debut Recordings) veers off into all kinds of odd directions. Yet Paris effectively anchors all narrative and melodic motion to the blues framework that the piece begins and ends with.

Twenty-two odd years after the 1952 sessions that produced these tracks, Mingus recruited Paris to introduce what became one of the bassist's anthems "Duke Ellington's Sound Of Love" (on Changes Two). Paris also worked steadily with Mingus's Jazz Workshop group for several months during the 60's. One night at the Village Vanguard, he recalls, he witnessed the vitriolic Mingus's temper in full force. "He chased everybody off the stand except (drummer) Paul Motian and me," Paris said in a recent interview in his Park Avenue South apartment. "The three of us just wailed on the blues for about an hour and a half before he called the other cats back."

Paris, who was born in Nutley, New Jersey, was dancing and singing from the time he was three years old. He tapped on the vaudeville circuit around New Jersey and at one point shared the stage with the legendary Bill "Bojangles" Robinson, who told him, "Son, you sure got rhythm for a white boy." It would not be the only instance of racial blur in his career. When singing with the Hampton band, the leader's wife and manager, Gladys Hampton, insisted Paris wear a chalk-white suit while the rest of the band sported what Paris remembered as "horrible orange tuxedos." Once on the road a couple racist small -town cops started harassing the Hamptonians, and Paris in particular. When they asked, "Hey, what are you?"- meaning black or white - he answered,"I'm one of the guys."

Paris first began singing jazz on 52nd street around 1947, with his piano, bass, and guitar trio, The King Cole- style trio enjoyed one of the longest gigs in the history of that center of activity. Paris also made his first singles for MGM around this time. Both Charlie Parker and Lionel Hampton first heard him in 52nd street clubs and invited him to join their groups from there.

The singer considers it a point of honor that he doesn't drastically alter a songwriter's words or music. Most of his repertoire consists of very familiar standards that he totally personalizes, not only through rhythm and phrasing, but also by using harmonies to paraphrase each line. More intimate than, say, Sarah Vaughan's very cerebral inventions, Paris's lines remain close enough to the original's tune to recognize it even without benefit of the words. This kind of respect for the songwriter's original intentions garnered him praise from his collaborators. Hoagy Carmichael, for example, once told a TV talk show host that "a kid by the name of Jackie Paris sings the hell out of 'Skylark'."

Paris came closest to a hit in 1953, when another composer, Redd Evans, presented him with the elemental, folkish ballad, "If Love Is Good To Me." "He gave me an exclusive, but I didn't get a contract or anything," Paris said. "I introduced that song [on Brunswick] and my record had just started to sell. The next thing I know, Redd told me, 'Listen Nat Cole wants to do the song and I can't turn him down.'" Cole had already made hits out of a half dozen Evans songs. "So, Nat recorded it, and though Cashbox picked mine over his. Nat's record became the biggest record in the country."

Paris claims not to be bitter about the cover, especially since Cole had long been one of his favorites. However he delights in how a friend of his who worked for Cole would stroke the singer-pianist's guilty conscience. " 'I love your record, Nat,' he'd say to him, 'but you really like Jackie's version, don't you?'" Paris solidified his relationship with "If Love Is Good To Me" by re-recording it in 1962 for his Impulse! album The Song Is Paris; Evan's tune remains perfect for Paris's sweet yet achingly soulful sound. The sensual way that he bends the coda makes clear what Sarah Vaughan meant when she described Paris as a "kissy" singer.

Paris has made guest appearances on albums by jazz instrumental greats from Mingus to Terry Gibbs to Coleman Hawkins to Donald Byrd. He's also released 10 albums of his own, four in the last dozen years, for the American indie Audiophile (Jackie Paris and Nobody Else But me) and the Japanese major Emarcy (Lucky To Be Me and Love Songs). All four concentrate on Paris's specialty--the luxuriously slow ballad. He still sings remarkably even if his voice isn't as rich and juicy as it was in the 50s and 60s (the effects of aging come through, oddly enough, on up-tempo numbers). All four new sets contain outstanding balladry: "More Than You Know", with its anguished forlorn and particularly compelling treatment of the verse, which through rubato, he invests with as much melody as the central refrain, makes for as classic a Paris perennial as "Skylark."

Strangely Paris's best contemporary album is a 1987 orchestral date that balances exciting if typically busy "up" charts by Michael Abene with haunting and sensitive string arrangements by the late Bobby Scott, including a loving treatment of Jules Styne's "Small World" that'll tear your guts out. Paris is still seeking a home for these tracks. Between gigs, which don't come as frequently as he likes or deserves, he teaches both guitar and voice as part of the New School's Jazz program.

Although his talent vastly outweighs the amount of success he's enjoyed, it's impossible to feel sorry for Jackie Paris - not only because he has the apartment of every New Yorker's dreams, but because both the singer and his music are so upbeat. He still possesses so much voice and charisma that it's easy to believe "it" could still happen for him.

Now, at 68, Paris remains one of the strongest survivors of jazz singing's glory decades, " I never gave in," he says, " 'cause I love it, man. What am I gonna do, get bitter and hate the world and kill myself? For what? I had a lot of fun. I loved every minute of it."

*

by Jason Ankeny
The Song Is Paris pairs Jackie Paris with arranger Bobby Scott, whose simple but effective treatments prove well-matched to the singer's uncommonly direct approach. Because he was never a showy or self-indulgent vocalist, Paris never received the acclaim he deserved, and the subtlety of a record like The Song Is Paris further underlines just how deceptive his music can be -- the album shifts so effortlessly between moods and tempos that its broad range threatens to pass by virtually unnoticed. Paris' nuanced, succinct approach to the material likewise eschews technical acrobatics in favor of sincerity and poignancy -- slowly but surely, the songs work their way deep under your skin. ~ Jason Ankeny, All Music Guide

Tracks

* A1) Duke's Place
* A2) If Love Is Good To Me
* A3) Jenny
* A4) My Very Good Friend In The Looking Glass
* A5) 'Tis Autumn
* A6) Nobody Loses All The Time
* B1) Everybody Needs Love
* B2) Cherry
* B3) Thad's Blues
* B4) Tonight (From West Side Story)
* B5) Cinderella (Stay In My Arms)

Jackie Paris, who died last month at the age of 79, was a favorite of Charles Mingus, Charlie Parker, and Lenny Bruce, but he remained in semi-obscurity for most of his career. He recorded the first-ever vocal version of Thelonious Monk’s “Round Midnight” in 1949, collaborated several times with Mingus, and made LPs for Brunswick (Skylark) and Impulse (The Song Is Paris) that became collector’s items in subsequent decades. (From 2004)

Complete Edmond Hall - James P. Johnson - Sidney De Paris - Vic Dickenson Blue Note Sessions

To say that this limited-edition six-LP Mosaic box is overflowing with classics is an understatement. Included are a variety of small-group sessions (with overlapping personnel) from the early days of Blue Note. The Edmond Hall Celeste Quartet has five songs that are the only existing examples of Charlie Christian playing acoustic guitar; clarinetist Hall, Meade Lux Lewis (on celeste), and bassist Israel Crosby complete the unique group. The king of stride piano, James P. Johnson, is heard on eight solos; other combos are led by Johnson, Hall (who heads four groups in all), trumpeter Sidney DeParis, and trombonist Vic Dickenson (heard in a 1952 quartet with organist Bill Doggett). Among the other key soloists are vibraphonist Red Norvo, pianist Teddy Wilson, tenor great Ben Webster, baritonist Harry Carney, clarinetist Omer Simeon, and trombonist Benny Morton. But more important than the all-star personnel is the fact that the musicians are consistently inspired, and that the performances (ranging from Dixieland to advanced swing) are well-planned yet spontaneous.   Yanow. AMG

This rip is from the 4 CD version

Sonny Stitt - Primitivo Soul (1963) [vinyl>flac 24/48]

A rarity - I can find no evidence of a CD issue?

Side A
1. Slave Maidens
2. Baion Baby
3. Estrellita
Side B
1. Blue Blood Ritual
2. Island Shout
3. Barefoot Ball

Sonny Stitt (alto,tenor saxophone) Ronnie Mathews (piano) Leonard Gaskin (bass) Herbie Lovelle (drums) Marcelino Valdez (congas) Osvaldo "Chihuahau" Martinez (bongos)
Rudy Van Gelder Studio, Englewood Cliffs, NJ, December 31, 1963

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