Don Patterson - Movin' Up! (1977) [re-rip]

This re-rip is for those newer visitors, but especially for KingCake, because I know how much he loves these grooves.

This date was produced much more by Richie Cole than me, but I learned a lot during the session. Mostly, it was firsthand experience with the darker side of the jazz life. But I loved the almost pop quirks of Don’s song selection when he gave a wonderful reading of the obscure theme song to the almost forgotten movie of the novel The World of Suzie Wong. ~ Fred Seibert.

This record is smoking hot. The personnel are all on point but the real draw here for me is the incredible synergy between Patterson on the B-3 and Cole on sax in tunes like; Trenton Makes The World Takes and The World of Susie Wong. Most tunes on the record feature Patterson and Cole jamming on one another with Juris adding ambiance on the guitar, though Juris features more prominently on The Good Life and in several excellent solos elsewhere. Billy James plays some tight drums with a great groove throughout the record. All in all another top deck release for Muse; if you are a fan of jazz-funk and soul-jazz, this is one to get. ~ S. Caron.

Muse Records, MR 5121, 1977

Recorded 31^st January, 1977 At CI Recording, New York City

Personnel:

Don Patterson - Organ, Arp Synthesizer

Richie Cole - Alto Saxophone

Vic Juris - Electric Guitar

Billy James - Drums

Tracks:

A1. Room 608 {Horace Silver} (5:49)

A2. Bossa de Leon {Richie Cole} (9:37)

A3. Trenton Makes The World Takes {Richie Cole} (6:02)

B1. [The World Of] Susie Wong {George Dunning, Sammy Cahn} (11:05)

B2. The Good Life {Sacha Distel, Jack Reardon} (9:09)

B3. Harold's House Of Jazz {Rex Cadwallader} (4:30)

Credits:

Producers - Fred Seibert & Richie Cole

Engineers - Chuck Irwin & Fred Seibert

Cover Design & Photo - Hal Wilson

Liner Notes - Bill Bennett (Radio Free Jazz)

Art Blakey & The All Star Messengers (1982/83) [vinyl]

Re-up as requested, new links in comments.

Review by Scott Yanow:
Drummer Art Blakey could have formed quite a few all-star groups drawn exclusively from the alumni of his Jazz Messengers. One of his few one-shot bands of that nature sounds fine on this LP featuring trumpeter Freddie Hubbard, trombonist Curtis Fuller, Benny Golson's tenor, pianist Cedar Walton and bassist Buster Williams. In addition to newer Golson tunes, this unit clearly enjoys themselves playing such classics as "Moanin," "Blues March," "A Night in Tunisia" and "I Remember Clifford." Few surprises occur, but the music should satisfy Blakey's many fans.

Art Blakey And The All Star Jazz Messengers (RCA (F) PL 45365)
Freddie Hubbard (tp, flh) Curtis Fuller (tb) Benny Golson (ts) Cedar Walton (p) Buster Williams (b) Art Blakey (d)
NYC, April 11, 1982
Moanin'
City Bound
Blues March
A Night In Tunisia
I Remember Clifford
Briell Samba

Art Blakey The All Star Jazz Messengers - Caravan (Baystate (J) RJL 8071)
Freddie Hubbard (tp, flh) Curtis Fuller (tb) Benny Golson (ts) Walter Davis Jr. (p) Buster Williams (b) Art Blakey (d)
NYC, April 13 & 14, 1983
Dana's Dance
A La Mode
Stella By Starlight
Caravan
Just By Myself
Uranus

Blue Note 1957, pt 1

As promised -- the same year thru the Blue Note lens.

Blue Note 1957, pt 1 by Kingcake on Mixcloud

The John Coltrane Memorial Conert

You may know this music from the Elvin Jones LP "Live at the Town Hall", but this is the first CD issue that I've seen. The music is dense, intense modal jazz played at a high level throughout. Foster and Farrell were a dynamite front line pairing and then of course there is Elvin - Nuff Said!

James Drew - Barrio Frances [24/48 vinyl rip]

A re-rip and re-post from the old Krypt.

Now here is one you absolutely will not find anywhere else since I doubt that more than 50 were ever pressed. James Drew may be known to some of you as an obscure Classical composer and pianist, but in the late 70's, early 80's he spent some time here in New Orleans teaching and playing jazz. Prior to that he also recorded in New York with big names like Elvin Jones. He made this one album here under the auspices of The Louisiana State Arts Council. Given the high quality of the music played here one could wish for a higher recording quality (it was actually engineered by Steve Masakowski and it may be his only effort in that vein) but it is what it is.

Drew's band mates for the date are Jim Singleton (Astral Project, etc.), Rick Margitza (who spent a lot of time here in the 80's due to his association with Masakowski) and Jeff Boudreaux (who would soon relocate to Europe where he shows up on Adrian Mears' New Orleans Hard Bop recording). The music is all fascinating James Drew originals, well worth the time to investigate; there are elements of his playing that remind me of Mike Nock, if you need a reference.

All in all this is a lovely, ultra rare recording that I recommend highly despite the deficiencies in the sound engineering. Thanks again go to my friend 'guitar scott' who has one of the very few copies of this that remain anywhere since Katrina devastated so many New Orleans vinyl collections.

The Prestige All Stars - Roots 1957 [24/48 Vinyl Rip]

 While doing my Prestige comps, I came upon this relatively obscure album with a pair of baritone forward sessions. I had never heard it and there didn't seem to be any evidence of it on blogs or torrents, so when I saw a reasonable copy on Discogs, I grabbed it. The copy wasn't quite as good as advertised, but some repeated cleaning and help from Isoptope RX yielded a decent rip.

Side one is a 27 minute jam featuring Pepper Adams, Bill Evans, Idrees Sulieman, and little known trombonist Frank Rehack. The tune has it's high points and some lows as well, but overall it is well worth the time.

Side two is only half as long and features Cecil Payne, Tommy Flanagan, Jimmy Cleveland and Sulieman. These two tracks benefit from being more tightly arranged and more focused solos. Both are Gospel adaptions that make one wish that they were part of a fully realized project; they will come in handy when doing a jazz gospel compilation!

David "Fathead" Newman - Fathead Comes On (1962) [vinyl>flac]

David "Fathead" Newman recorded this album for Atlantic during his stint with Ray Charles' band (which lasted from 1954-1964). Personnel on the album include Hank Crawford, Edgar Willis and Bruno Carr. ~ Oldies.com

 

This 1962 David "Fathead" Newman album picks up where 1961's STRAIGHT AHEAD left off. However, this release is slightly less bebop-oriented. Instead, Newman blends together hard bop with his own R&B roots. (He was a key member of Ray Charles's band for many years.)

FATHEAD COMES ON is a very bluesy album, but also contains its share of tricky melodies and ambitious arrangements. Highlights include "Unchain My Heart," which is the funkiest tune on the disc, and "Cellar-Groove," which begins with a clever train rhythm; here the locomotive sound is simulated by the repetitive hi-hat work of Charlie Persip and the boogie-woogie playing of pianist Norris Austin. The disc ends with "Lady Day," a tribute to Billie Holiday, which is, not surprisingly, a somber ballad. Hard-bop records from this era typically lean on the influence of Art Blakey and the Jazz Messengers, but FATHEAD COMES ON is a statement unto itself, and therefore, a very compelling listen. ~ AMG.

Atlantic Records, SD 1399, 1962

Recorded 3^rd (#A2,A4,B3) & 9^th (#A1,A3,B1,B2) May, 1961 in New York City

Personnel:

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

Marcus Belgrave - Trumpet (#A2,A4,B3)

Hank Crawford - Piano (#A1,A3,B1,B2)

Norris Austin - Piano (#A2,A4,B3)

Edgar Willis - Bass (#A1,A3,B1,B2)

Jimmy Jefferson - Bass (#A2,A4,B3)

Bruno Carr - Drums (#A1,A3,B1,B2)

Charlie Persip - Drums (#A2,A4,B3)

Track Listing:

A1. Unchain My Heart {Agnes Jones, Freddy James} (3:06)

A2. Cellar Groove {Norris Austin} (5:38)

A3. Alto Sauce {David "Fathead" Newman} (3:40)

A4. Hello There {David "Fathead" Newman} (4:28)

B1. Scufflin' {David "Fathead" Newman} (5:14)

B2. Esther's Melody {David "Fathead" Newman} (4:02)

B3. Lady Day {Leroy Johnson} (6:37)

Credits:

Supervisor - Nesuhi Ertegün

Recording Engineer - Phil Iehle, Phil Ramone

Design [Cover] - Loring Eutemey

Photography [Cover] - Lee Friedlander

Liner Notes - Mort Fega

Art Blakey - Jazz Messengers '70 [vinyl>flac]

Originally posted at the old Crypt.

This was Blakey's first studio recording for four years, thank Heavens for the Japanese!
Many of the old warhorses surface here, what makes them special is the presence of Carlos Garnett, sadly his only recording with Blakey, and Joanne Brackeen, both virtually unknown at the time.
I've heard rumours that this had a CD reissue in Japan but I think you'd be lucky to find a copy!

"When I had Joanne Brackeen in the band, we were playing down South. This was in Georgia or somewhere. This guy came up and said, 'Hey, there, Mr. Blakey. You know you got a white gal in the band!' I said, 'No shit, I have to check it out. I thought I had a piano player!'"
- Art Blakey, Jazz Magazine, Winter 1979.

01 - Moanin'
02 - Blues March
03 - Whisper Not
04 - It's Only A Paper Moon
05 - What The World Needs Now Is Peace And Love
06 - Politely
07 - A Night In Tunisia

Bill Hardman (tp) Carlos Garnett (ts) Joanne Brackeen (p) Jan Arnet (b) Art Blakey (d)
Tokyo, Japan, February 19, 1970

Riverside 1957

After three mixes showing views of 1957 thru Prestige windows, I thought it might be fun now to look at the same year through a Riverside window. There is only one mix this time because Riverside was a much smaller label at this particular point in time.

Riverside 1957 by Kingcake on Mixcloud

Nathan Davis - Jazz Concert in a Bennedictine Monastery

This is certainly one of the rarest of birds and after years of trying to clean a muddy cassette tape copy from an old pal J.D., (it was better than nothing for sure), I have finally pieced together a much cleaner, clearer copy from multiple sources and in mp3. Still not perfect, but MUCH better than what we've had around here to date. The music itself is well worth the trouble, Davis is at his peak as is Waldron, and the Woode/Taylor rhythm connection is a powerful one. Great Stuff!

Billy Taylor - Billy Taylor Introduces Ira Sullivan 1956 (LP-24-48-flac)

 
A great early session from Chicago trumpeter Ira Sullivan – a very strong player who came out strongly in the late 50s as one of the big jazz hopefuls from the Windy City. This set has Ira backed by the Billy Taylor Trio – presented by Billy on ABC, where the Taylor trio was recording at the time. Tracks have a nice open-ended feel, and a lot more drive than Billy's own work at the time, and the best numbers feel like they were recorded for a Prestige blowing session. Titles include "Strolling", "Leslie's Gauge", "You Don't Know What Love Is", and "So In Love".  (dustygroove.com)
 
Tracks...

  1. So In Love
  2. Imagination
  3. Strolling
  4. They Can't Take That Away From Me
  5. Leslie's Gauge
  6. In A Mellow Tone
  7. You Don't Know What Love Is

Personnel...

Billy Taylor - Piano
Ed Thigpen - Drums
Earl May - Bass
Ira Sullivan - Trumpet

My LP > flac 24/48 > Complete 600 DPI Scans > 491MB

Leo Wright - Suddenly The Blues (1962) [vinyl>flac]

A first-rate bop-oriented alto saxophonist, Wright was also one of the finest flutists jazz has known. He studied saxophone under the tutelage of his father. His first recording was made in 1958 with vibist Dave Pike; the next year, he played the Newport Festival with bassist Charles Mingus' group. Wright joined Dizzy Gillespie's band in 1959, remaining until 1962. In addition to his sideman work, Wright established himself as a leader in the early '60s, leading New York-based bands that included the likes of bassist Ron Carter, pianist Junior Mance, drummer Charlie Persip, and guitarist Kenny Burrell, among others. In 1960, he recorded the record for which he is perhaps best-known -- Blues Shout for the Atlantic label -- with a group consisting of himself, Mance, Persip, bassist Art Davis, and trumpeter Richard Williams. After leaving Gillespie's band, Wright went on to play and record with pianist/composer Lalo Schifrin and organist Jack McDuff ; with the latter he recorded Screamin' for the Prestige label. He also worked with composer Antonio Carlos Jobim, trumpeter Johnny Coles, and singer Jimmy Witherspoon before moving to Europe later in the decade. There he worked with pianist/composer George Gruntz and he also played with saxophonist Lee Konitz in an all-star group called Alto Summit and with trumpeter Carmell Jones. Wright eventually moved to Berlin, where he played in a studio band and worked freelance. In May 1978, Wright co-led a studio session in New York City with pianist Red Garland for Muse Records. He essentially retired from music around 1979, before re-emerging in the mid-'80s. In 1986, Wright played gigs with the Paris Reunion Band, which also included trombonist Grachan Moncur III, cornetist Nat Adderley, and pianist Kenny Drew Sr. In the years before his death, Wright worked and recorded with his wife, singer Elly Wright. His autobiography, God Is My Booking Agent, was published posthumously by Bayou Press in the fall of 1991. His last recording was made with his wife on her CD Listen to My Plea. ~ Chris Kelsey, AMG.

Atlantic Records, 1393, 1962

Atlantic Jazz LP, 29 [Japan], AMJY-1393, 1992

Recorded 23^rd April, 1962 in New York City

Personnel:

Leo Wright - Alto Sax (#A1,A3,A5,B2,B4), Flute (#A2,A4-B1,B3)

Kenny Burrell - Guitar

Ron Carter - Bass

Rudy Collins - Drums

Track Listing:

A1. A Felicidad {Antonio Jobim} (2:36)

A2. Greensleeves {Traditional} (2:45)

A3. Gensel's Message {Leo Wright} (4:10)

A4. The Wiggler {Leo Wright} (2:54)

A5. Tali {Tommy McIntosh} (4:43)

B1. Dionysos {Lalo Schiffrin} (3:09)

B2. Sassy Lady {Tommy McIntosh} (4:25)

B3. Willow Weep For Me {Ann Ronell} (4:23)

B4. Suddenly The Blues {Leo Wright} (5:05)

Credits:

Supervisor - Nesuhi Ertegun

Recording Engineer - Phil Iehle, Tom Dowd

Cover Design - Haig Adishian

Cover Photo - Jim Marshall

Liner Notes - Gary Kramer

Prestige 1957, pt. 1, 2 & 3

Part 3 added, this finishes the Prestige 1957 sessions. What a difference a year makes! In 1957 there are easily twice as many recording sessions and albums as 1956 and 3 times the 1955 output. The 16 albums represented here only take us to about mid-April! Interestingly enough, this boom in output corresponds with the loss of major stars like Miles Davis, Sonny Rollins, Milt Jackson and Modern Jazz Quartet. The variety and different colors of post be-bop jazz are in full flower and you hear hints of things to come. For one thing, the vacuum left by those guys is filled by John Coltrane, Jackie McLean and Red Garland - all of them are going to the studio nearly every week that they are in New York.

Prestige 1957, pt 1 by Kingcake on Mixcloud

Prestige 1957, pt 2 by Kingcake on Mixcloud

Prestige 1957, pt. 3 by Kingcake on Mixcloud

Archie Shepp, Lars Gullin Quartet - The House I Live In (1963)

This is a fascinating release. Tenor-saxophonist Archie Shepp would not burst upon the U.S. avant-garde scene until 1964-65 but here he is featured at a Danish concert with the great coolbop baritonist Lars Gullin and a top-notch straightahead rhythm section (pianist Tete Montoliu, bassist Niels Pedersen and drummer Alex Riel). The quintet stretches out on four lengthy standards (including "Sweet Georgia Brown" and a 19-minute rendition of "You Stepped out of a Dream") and it is particularly interesting to hear the reactions of the other musicians to Shepp's rather free flights; at a couple of points Gullin tries to copy him; an important historical release. ~ by Scott Yanow, AMG.

Nearly four decades have passed since this nightclub date in Copenhagen was recorded, and I still haven’t caught up with Archie Shepp. Perhaps I never will. Shepp, who never met a squeak, squawk, grunt or growl he didn’t like, is paired with Sweden’s Lars Gullin, one of the most restrained and lyrical baritone saxophonists of his era. How they ever got together is a mystery to me. Talk about your odd couples! On the one hand we have Gullin, struggling to stay somewhere in the neighborhood of a recognizable theme; on the other, Shepp, as determined to abandon any such constraints in favor of his own free–thinking approach to improvising. While it’s obvious that Shepp has extraordinary technique, his solos are (in my opinion) full of sound and fury but signifying very little. As with most “free Jazz,” I find listening to his dissonant and, yes, repetitious ad–libs a rather painful experience (but not as painful as I once did, which could be a step forward or backward; I’ve not yet resolved that). It’s said that Shepp incorporates elements of many players into his unorthodox style, from Webster, Hawkins and Lucky Thompson on through to his contemporaries. If what we hear on this recording is the result of that fusion, give me Zoot Sims or Stan Getz any day. Even Gullin (who performs with Shepp on only the first and last of the four extended numbers) is drawn into Shepp’s vortex, playing more stridently than is his custom and even screeching a few times, almost as if he were trying to earn Shepp’s stamp of approval. We admired him more when he was easygoing and ultra–cool. Lars has the first solo on “You Stepped Out of a Dream” and is featured all the way on “I Should Care,” as is Shepp on “The House I Live In” before the two are reunited for the finale, “Sweet Georgia Brown.” The topnotch rhythm section is composed of the late Catalonian pianist Tete Montoliu and a pair of “young lions,” Swedish drummer Alex Riel and Danish bassist Niels–Henning Ørsted Pedersen, seventeen years old when the recording was made. Montoliu’s swinging; straight–on solos are a breath of fresh air. In an interview with Coda magazine shortly before this concert in November ’63, the usually articulate Shepp makes a sweeping statement about Jazz that is not only totally unsupported but reveals far more about his personal agenda than the music itself. Jazz, he says, is “the one music that has not been mastered by white people.” Sorry, Archie; I can’t buy that, nor can most of the white people who have been mastering Jazz since its earliest days and continue doing so today. Like any music, Jazz has nothing to do with color and everything to do with artistry, which isn’t limited to any race or creed. Now that I’ve gotten that off my chest, back to the album. As its running time is only 49:44, there seems no excuse for the fadeout on “Sweet Georgia Brown” unless the engineer simply ran out of tape. That’s only an observation, not a complaint, as there’s nothing here that would have caused me to look forward to hearing more. ~ by Jack Bowers, 1st June, 2001, allaboutjazz.com

SteepleChase Records, SCCD 36013, 1993

Recorded 21^st November, 1963 'Live' at Montmatre Jazzhus, Copenhagen, Denmark

Personnel:

Archie Shepp - Tenor Saxophone

Lars Gullin - Baritone Saxophone

Tete Montoliu - Piano   

Niels-Henning Ørsted Pedersen - Bass

Alex Riel - Drums

Track Listing:

1. You Stepped Out Of A Dream {Nacio Herb Brown, Gus Kahn} (18:50)

2. I Should Care {Sammy Cahn, Axel Stordahl, Paul Weston} (8:50)

3. The House I Live In {Earl Robinson} (9:01)

4. Sweet Georgia Brown {Ben Bernie, Kenneth Casey, Maceo Pinkard} (11:19)

Credits:

Producer, Mixing - Nils Winther

Artwork - Per Grunnet

Photography - Jan Persson

Note:

These tracks are from previously unissued recordings by the Danish radio. The quality of the captured tracks suffered from a discreet hum throughout and a couple of minor glitches. Also as the reviewer complains the last track is inadvertently faded out. The hum was sensitively filtered along with the removal of unnecessary extended applause and futile announcements, leaving the listener to enjoy the essence of the music.

Sambrasa Trio - Em Som Maior 1965

A piano trio 'super group' on a par with ANY American example of that genre. These guys were just scary good and it almost painful that this is the only record that they ever made. Until I heard this, I had no idea that Hermeto was such a brilliant pianist on top of his embarrassment of other talents. This is a man 'made of music', much in the way that Kirk was!

"Sambrasa Trio is Hermeto Pascoal (piano and flute), Humberto Clayber (bass and harmonica) and Airto Moreira (drums). The group started to play in 1965, recording only one, though seminal record in the same year, ”Em Som Maior”.

A fundamental masterpiece and perfect example and influence of the so-called brazilian jazz, “Em Som Maior” is created among explosive grooves squeezing the virtuosis out of their instruments, all gathered and mixed with avantgarde recreations of traditional brazilian themes and bossa nova songs together with blistering, neat samba-jazz. The album was praised by critics and helped launch each musician own solo careers.

After the demise of the group, its three members never played together again. However, in pairs, they composed for other bands, after and before Sambrasa Trio, such as Sambalanço Trio, with Clayber and Airto, and Quarteto Novo, with Hermeto and Airto.

All three members follow a solo career and inumerous collaborations with musicians such as Miles Davis, Wayne Shorter, Santana, Chick Corea, Duke Pearson, Opa, Egberto Gismonti, among many others." Last FM

Freddie Hubbard - High Energy (1974) [vinyl>flac]

One of Freddie Hubbard's few decent efforts during his very commercial period with Columbia, this LP found his quintet (with tenor-saxophonist Junior Cook and keyboardist George Cables) joined by a small orchestra and a string section on a set of potentially dismal material. Fortunately these six performances (particularly "Crisis," "Ebony Moonbeams" and Stevie Wonder's "Too High") are given fairly creative treatment. The leader/trumpeter is in good form and there is solo space given to Ernie Watts (on bass flute, soprano and flute) and tenorman Pete Christlieb in addition to the quintet members. ~ Scott Yanow, All Music Guide.

Columbia Records, KC 33048, 1974

Recorded 29^th April-2^nd May, 1974 Live at Sunset Sound Recorders, Hollywood, California

Personnel:

Freddie Hubbard - Trumpet, Flugelhorn

George Bohanon - Trombone

Dick Hyde - Trombone (#B1)

Ernie Watts - Tenor Sax, Bass Flute (#A1), Soprano Sax (#B2), Flute (#B3)

Junior Cook - Tenor Saxophone (#B3), Flute

Pete Christleib - Bass Clarinet (#B2), Tenor Sax (#B3)

George Cables - Electric Piano

Ian Underwood - Synthesizer [Arp]

Joe Sample - Clavinet, Organ

Dean Parks - Guitar

Kent Brinkley - Bass

Ralph Penland - Drums

Harvey Mason - Drums (#A2,B1)

Victor Feldman - Percussion

Carmello Garcia - Timbales

King Errisson - Congas

Jules Chaikin - Contractor [Strings]

Track Listing:

A1. Camel Rise {George Cables} (6:22)

A2. Black Maybe {Stevie Wonder} (4:54)

A3. Baraka Sasa {Freddie Hubbard} (10:26)

B1. Crisis {Freddie Hubbard} (5:42)

B2. Ebony Moonbeams {George Cables} (6:59)

B3. Too High {Stevie Wonder} (6:36)

Credits:

Producer - Paul A. Rothchild

Producer [Assistant] - Mike Levy

Engineer [Recording and Mixing] - Jack Haeny

Engineer [Assistant] - Kent Nebergall

Conductor, Arranger - Dale Oehler

Artwork [Hand-Lettering] - Andy Engel

Design [Cover] - Anne Garner, Ron Coro

Photography - Fred Valentine

Charlie Ventura Plays Hi Fi Jazz

Hey gang!!  I have been sitting on this completed transfer for a few weeks now.  I actually opted to not share it, mostly because the transfer quality isn't where I would like it to be, and the music is easily found on remastered CD.  That said, after several listenings I realized I am my own worst critic - the music is more important than my ego.

This post is really focused on those cats who haven't had the chance to hear Ventura in a small group.  There isn't anything revolutionary happening on this Tops record, but the playing and the vibes are all excellent.  Our main man plays a different sax on each track, including bass!!  Laid back feel in his playing, even on the up tempo numbers and overall there's a wonderful bluesy logic.

The band hold it down as only the best can do.  Billy Bean is heard on a few tracks with his gorgeous soloing.  McKenna also gets mention for some terrific comping.  Overall this one's a winner, especially if you enjoy that mainstream/swing sound.  I cleaned up the record as best I could, without hurting the music itself.  There's no doubt about the source, but if you're a vinyl fan I think you will find it less interruptive and more "atmospheric".  Yes, that's what we'll call it.  Ripped at 24/48 wav and transferred to 24/48 FLAC, this album is sure to get your weekend started right... enjoy!!!

By 1956 tenor-saxophonist Charlie Ventura no longer had a regular band and was drifting into semi-retirement. In fact, other than an album for King the following year and a set for Famous Door in 1977, this Lp was his final recording. Teamed with the then-unknown pianist Dave McKenna, guitarist Billy Bean, bassist Richard Davis (at the beginning of his career) and drummer Mousey Alexander,Ventura switches between tenor, alto, baritone and bass saxophones. The repertoire is filled with swing and dixieland standards including such unlikely songs as "When The Saints Go Marching In," "Bill Bailey" and "Sweet Sue" (in addition to a remake of Ventura's old hit with Gene Krupa "Dark Eyes") but the interpretations are full of spirit and swing. Although it may not look too promising, this budget Lp (which is long out of print but may be found at a cheap price) is actually well worth picking up. - Scott Yanow

1957 Tops Records ‎– L1528

Jef Gilson Nonet - New Call From France (1966) [vinyl>flac, re-rip]

Here we have a wonderful example of the mastery of the French pianist, composer and arranger Jef Gilson in a powerful Nonet setting. The music although arising out of the sixties still packs a unique punch. All the tunes sweep the listener along on an exhilarating musical journey. Starting with the “Suite Pour San Remo” and ending with “Chromatisme”. Accompanying him are some of the other well-known French musicians of the day, namely François Jeanneau, Jean-Baptiste Mira and Jean-Louis Chautemps. All players are judiciously thrown together to execute some of Gilson’s excellent compositions. So take the opportunity to hear how jazz can be orchestrated. This album is one that grows on you. Enjoy!

SABA Records, SB 15 081 ST, 1967

Recorded 18th and 19th April, 1966 at Saba Tonstudio, Villingen, Germany

Personnel:

Jef Gilson - Piano

Jean-Baptiste Mira - Trumpet

Jean-Louis Chautemps - Tenor & Alto Saxophones

François Jeanneau - Tenor & Soprano Saxophones

Pierre Caron - Tenor Saxophone

Claude Lenissois - Bass Clarinet

Bernard Lubat - Vibraphone, Percussion

Gilbert "Bibi" Rovère - Bass

Gaëtan Hervé Dupenher - Drums

Track Listing:

Suite Pour San Remo (16:21)

==================================

A1. Overture {Jef Gilson} (4:25)

A2. Amadeo {Jef Gilson} (3:26)

A3. Adriano {Jef Gilson} (4:11)

A4. Arrigo {Jef Gilson} (4:19)

==================================

B1. I.A.M. {Claude Lenissois} (3:13)

B2. 120 À La Noire {Jef Gilson} (2:52)

B3. A Free Call {Jef Gilson} (5:24)

B4. Chromatisme {Jef Gilson} (5:15)

Credits:

Conductor - Jef Gilson

Recording Supervisor/Director - Willi Fruth

Recording Engineer - Rolf Donner

Photography - Jean-Pierre Leloir

Artwork [Painting] - Emil Kiess

Liner Notes - André Poulain

Grachan Moncur III Octet - Exploration

"Trombonist Grachan Moncur III, who was a member of the Jazztet in the early 1960s, gained his greatest fame for his two Blue Note albums (Evolution and Some Other Stuff) which were quite adventurous. He also worked with Archie Shepp, became involved in free jazz and spent much of the 1970s and '80s as a music educator. Dental problems resulted in Moncur only playing once in a great while in the 1990s. He had been in obscurity for quite awhile when he was contacted by arranger Mark Masters for the Exploration project. Fortunately Moncur's playing proved to still be in his prime. Masters wrote sympathetic charts for many of the trombonist's finest pieces, utilizing an all-star nonet that could really dig into the inside/outside music. "Excursion," a very coherent three-minute free improvisation, is a change-of-pace and precedes the closing blues "Sonny's Back," a 1962 piece originally played by the Jazztet. This CD overall is very rewarding, a dream project for those who have long admired the underrated Grachan Moncur. The musicians have their solos, there are both written and improvised ensembles and Moncur plays wonderfully throughout. This set, which sums up Grachan Moncur's career definitively, is a gem." Yanow

Tenorio Jr. - Embalo 1964

On one of my earlier Brazilian posts, an old and loyal friend of this blog, Cvllos, made a lovely contribution of this album. All of us here enjoy it when you guys and gals give back to the blog, but it often takes me, anyway, a little bit to actually listen and pass it to the front. Sorry it took so long, because this one is all killer!

If you enjoyed Turma da Gafieira and Os Cobras, you will certainly love this as many of the same giants are involved. A magnificent jewel from the birth of Bossa Nova.

"Fantastic! This is one of the all-time Brazilian jazz classics of the 60s – and one of the most sought after bossa albums ever! Pianist Tenorio Jr leads a crack ensemble through some fantastic tracks – as warm and soulful as they are tight and angular, a perfect summation of the bossa jazz idiom at its truest expression! The writing is fantastic throughout – and the album includes loads of great numbers – including the famous "Nebulosa", instantly recognizable from a sample used by United Future Organization, and the tracks "Clouds", "Nectar", "Embalo", and "Estou Nessa Agora". A delight through and through – and one we never tire of!"  © 1996-2015, Dusty Groove, Inc.

Thanks Cvllos!

Linc Chamberland - A Place Within (1976) [re-rip]

An attempt to get Linc to talk about his music drew a dismissive wave. "It speaks for itself," he said and indeed it does. I can only call attention to some highlights: Liebman's possessed soprano on Lyn Christie's "Place Within." Christie's tense, brooding Arco bass on Chamberland's "1957" and Leonard's sensitive accompaniment on the trio feature "What's New." Chamberland's guitar holds it all together with rhythm playing that offers firm footing and solos that just don't stop. The music offers no compromise and holds back nothing.

Dave Liebman tracked down in Wethersfield, Connecticut: "He's a great musician and a fine human being." further elaboration is unnecessary. Listen to the record.

Excerpt from Liner Notes: Jim Motavalli, "Jazz Challenge", WPKN-FM

A guitarist’s guitarist, a musician’s musician, Linc Chamberland was a well kept secret, cherished by those who knew the secret (like Felix Cavaliere, who recruited him for the jazzy era Rascals). This LP was the first of his two solo jazz dates, both for Muse, and was one of my first professional recordings. ~ Fred Seibert.

Linc Chamberland was a talented jazz guitar player. Before he died of leukemia he released only two albums, both on vinyl.

Muse Records, MR 5064, 1977

Recorded 16th & 17th June, 1976 at Dimensional Sound, New York City

Personnel:

Linc Chamberland - Electric Guitar

Dave Liebman - Tenor (#A1-A3), Soprano (#B1,B2)

Lyn Christie - Bass, Arco Bass (#B2)

Bob Leonard - Drums

Track Listing:

A1. Indeed {Linc Chamberland} (3:57)

A2. Stella By Starlight {Victor Young, Ned Washington} (9:02)

A3. Mahjong {Wayne Shorter} (8:10)

A4. What's New {Bob Haggart, Johnny Burke} (2:13)

B1. A Place Within {Lyn Christie} (8:10)

B2. 1957 {Linc Chamberland} (7:51)

B3. Three Thing {Eric Bolvin} (3:49)

Credits:

Producer - Fred Seibert

Engineer - Skip Juried

Art Direction, Design, Photography - Hal Wilson

Tribute Page:

http://www.rickblechta.com/Pages/Linc.html

Notes:

Dave Liebman Courtesy of A&M/Horizon Records

"He's a great musician and a fine human being." further elaboration is unnecessary. Listen to the record. ~ Dave Liebman

Henry Threadgill - The About Time Albums [24/48 vinyl rips]

This trio of albums are dedicated to our old friend Uri.

I sheepishly admit that I still find this music a bit of a struggle to listen to. The fact is I am pretty limited in my ability to absorb and enjoy free jazz and the fact that someone like Threadgill, who is considered to be one of the more accessible of free artists, is still a struggle for me says I haven't made much progress in opening my ears.

For a long time these three albums, which are considered by many to be a peak time in Threadgills' career, went without a cd reissue. That was briefly addressed in 2001 when they were issued on cd, but those issues were small and the cd's are now even harder to find than the LP's. That explains why I've ended up ripping these for my friend Cliff. The albums were very nice copies, the rips sound good - if you look up any of these three at All Music you will find rave reviews.

It's not them, it's me.

Spiritual Muse Modes

Spiritual Muse Modes by Kingcake on Mixcloud

Brazil, Roots, Samba (vinyl/flac)

 My rip, a truly lovely album...

Nelson Sargento

"Real Rio samba sounds like this: fine small groups, seemingly a bunch of friends in a corner bar, mostly with the little cavaquinho guitar well to the fore, as well as (of course) the usual jubilant percussion. Some of the bands heard on Brazil -- Roots -- Samba sound professional, some semi-professional, but they're all pretty close to the street. Ten minutes of this stuff would be preferable to an hour of the trendies anytime." AMG Review by John Storm Roberts

Wilson Moreira

Whew, as useful as they are, sometimes AMG can stagger you with what they don't know or even bother to look up. The first sentence is fine, the last sentence is fine, but oh that middle one! Far from being semi-professional the tracks on this album come from some of the greatest samba masters the world has ever known!

Velha Guarda da Portela

Nelson Sargento, Wilson Moreira, and the group Velha Guarda da Portela are far from obscure street performers as you can see by clicking the links behind these names. In fact had Mr. Roberts even bothered to check the data base that he was contributing to he would have acquired a fairly good idea that he was, in fact, listening to an astonishing compilation of the founding fathers of Samba, all giants! What I find even more confusing is the lack of any other reviews of this glorious album except for the raves of every Amazon customer who had the good sense to buy it. This is a very appropriately named record, you get exactly what's advertized!

Altamiro Carrilho, Zé Bodega, Raul de Souza , Jorge Mari - Turma da Gafieira

"Turma da Gafieira was a highly original all-star band which released only two albums, both in 1957. The cast is not entirely verified, but the debut album Turma da Gafieira presumably features João Leal Brito ‘Britinho’ and Paulinho (Paulo Lima de Jesus?) on piano, Zé Bodega on tenor saxophone, Raul de Barros on trombone, Maurílio Santos on trumpet, Altamiro Carrilho on flute, Sivuca on accordion, Nestor Campos on guitar, Jorge Marinho on bass and Édison Machado on drums. The successor Samba em Hi-Hi supposedly features João Leal Brito ‘Britinho’ and/or Paulinho (Paulo Lima de Jesus?) on piano, Zé Bodega and Cipó on tenor saxophone, Raul de Souza on trombone, Altamiro Carrilho on flute, Sivuca on accordion, Baden Powell on guitar, an unidentified bass and Édison Machado on drums. While the debut featured compositions by Altamiro Carrilho only, the second album was a mix of sambas and popular songs like Conceição, Cauby Peixoto‘s no. 1 hit of 1956. The groups final release in 1962, Melodia… Ritmo… Alegria… Turma da Gafieira, was a compilation of the two original albums.
As members of Turma da Gafieira, Édison Machado introduced his ‘samba no pratos’, the samba rhythm using cymbals, and Sivuca played his scats on the accordion for the first time. Both techniques, although annoying some purists at first, became acclaimed characteristics of these musicians.
Turma da Gafieira’s historical value for Brazil’s popular music is of great importance, since for the first time improvised jazz was recorded to genuine samba rhythms. When bolero, samba-canção, fossa and tango were the dominating styles for ballads, and samba in its many varieties for up-tempo songs, the mixing of jazz improvisations with Brazilian rhythms was way ahead of time. Bossa nova was yet to come, not to mention the subsequent forms of samba-jazz and hard bossa." Brazilliance

Erskine Hawkins - The Hawk Blows At Midnight

Maaaaaaaaaaan oh man...

I don't even know where to start with this one - this happens when I am excited to share.  This album was Erskine's first small group recording, being legendary in the big band dept., and it proved to be a real gem.  Not knowing what to expect, I assumed it would be a solid mainstream affair.  It certainly is, but, there is alot of colour all around to make it not quite so typical.

Hawkin's choice of songs and sidemen produce an album with clear blues and R&B influences.  I mean, Bobby Smith and Shep Sheperd!?!?!  Fuh'geddaboudit... These guys make every single tune interesting and upbeat, even tackling a ska approach on the main lick in Someone's Rocking My Dreamboat.  They infuse a similar approach into a couple other tunes, such as Things Ain't What They Used To Be, but only as a quick bridge.

I guess it's fair to say that this album surprised the hell out of me.  It's a fun, swingin and colourful set of tunes which also happened to be recorded really well.  The transfer you are getting is a stereo version - and it's solid gold.  Wonderful fidelity with great balance and diplomacy between all the instruments.  That said, the horns have an incredible immediacy about them so that when the solos come in, they hit real, real hard.  Of course this was ripped in 24/48 wav and converted to 24/48 FLAC.  The wax is quite clean and you'll find there's little analog distraction.  I spent some extra time with this one to guarantee that it's a special event... enjoy!!!

Decca DL-74081
1961

Erskine Hawkins - trumpet;  Bobby Smith - sax;  Leroy Kirkland - guitar;  Ernest Hayes - piano;
Lloyd Trotman - bass;  Shep Sheperd - drums.

George Benson - Body Talk (1973)

With an eye and ear on what was happening on the soul charts -- James Brown in particular -- Benson made a decided swerve toward R&B on this release. Indeed the JB's Pee Wee Ellis turns up as a big band arranger on three tracks, and he no doubt had a direct influence on the distinct JB groove of one of the non-big-band tunes, "Dance." It should come as no surprise by now that this formidable guitarist has no problem handling any kind of groove, although the mixed rhythm section of Jack DeJohnette, Ron Carter, electric pianist Harold Mabern, and percussionist Mobutu sometimes sends mixed messages. Earl Klugh has a few tasty moments on his own, and there are some reconnaissance flights back to the jazz side of George, which he handles with his usual confident aplomb. ~ by Richard S. Ginell, AMG.

CTI Records, CTI 6033, 1973

Recorded 17^th (Side B) & 18^th (Side A) July 1973 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

George Benson - Guitar

Frank Foster - Tenor Saxophone (#A3-B2)

Waymon Reed - Flugelhorn, Trumpet (#A3-B2)

John Gatchell - Flugelhorn, Trumpet (#A3-B2)

Jon Faddis - Flugelhorn, Trumpet (#A3-B2)

Dick Griffin - Trombone (#A3-B2)

Gerald Chamberlain - Trombone (#A3-B2)

Harold Mabern - Electric Piano

Earl Klugh - Guitar

Gary King - Electric Bass

Ron Carter - Bass

Jack DeJohnette - Drums

Mobutu - Percussion

Track Listing:

A1. Dance {Alfred Ellis, George Benson} (10:30)

A2. When Love Has Grown {Donny Hathaway, Gene McDaniel} (5:01)

A3. Plum {George Benson} (5:28)

B1. Body Talk {George Benson} (8:21)

B2. Top Of The World {George Benson} (9:56)

Credits:

Producer - Creed Taylor

Arranger, Conductor - Pee Wee Ellis

Recording Engineer - Rudy van Gelder

Design - Bob Ciano

Cover Photograph - Pete Turner

Hicks/Williams/Hayes - On The Wings Of An Eagle

Power trio time! I've been doing a lot of Russian torrents lately and upgrading a whole mess of albums by my favorite artists. I used to favor mp3s for reasons I can no longer explain and so many, many things I had and sold or lost have needed replacement. In the course of looking for some Buster Williams titles, I came across this beauty. A really beautiful album and recording, thanks to the original sharer.

"The passing of pianist John Hicks in 2006 marks the loss of one of the quintessential New York pianists. And this, perhaps his last recording, is a stunning example of a fully developed bebop piano trio in flight.

Hicks gained the spotlight working with Art Blakey, Betty Carter and Woody Herman in the 1960s and '70s. He then migrated to avant-garde saxophonists Pharoah Sanders and David Murray before returning to the hard bop sounds of his Keystone Trio (with George Mraz and Idris Muhammad) and Power Trio (with Elvin Jones and Cecil McBee). In the 1990s he could also be found at the keyboard for the weekly gig of the Mingus Big Band. He recorded a string of CDs, dedicated to the likes of Mary Lou Williams, Sonny Clark, Errol Garner, Billy Strayhorn, and Earl Hines. None of these tribute discs would be mistaken for the honored player, as Hicks (to his credit) could never play with anything but his beautiful sound.

The recording On The Wings Of An Eagle is part of Chesky Records' ongoing New York Sessions series of single-point recordings that employ no overdubs, no signal path compression, no multi-tracking and no mixing desk. These audiophile discs playable on a regular CD player and, as an SACD, are the type of discs you take to a stereo component shop to test new speakers for reproduction of the seemingly live experience.

Paired with veterans Buster Williams and Louis Hayes, Hicks kicks off with the jaunty Gigi Gryce track "Minority, taken at near breakneck speed. The ease with which Hicks could maneuver his way around a keyboard is evident throughout and Buster Williams plays with his ever-present stoicism. Bebop flies its flag high on Dexter Gordon's "Cheese Cake and "As Birds Fly. The only track written by Hicks, "As Birds Fly is his dedication to Cedar Walton, his contemporary in swing and piano demeanor.

Two ballads penned by Williams, "Christina and "Stiver's Jewels are both meditative narratives with the bassist alternatively bending notes and walking us through some deeply felt moments. Sammy Cahn's "Dedicated To You showcases Hicks' ability to play just a handful of notes yet express a loving tribute to this classic song.

The choice of the seldom heard Thelonious Monk tune "Balues-Bolivar-Balues-Are is a chance for all three musicians to shine. After they state the theme, Williams propels a walking line over Hick's mimicking Monk-like jabbed strokes and Louis Hayes drops some smart bombs.

The pianist will be sorely missed, but he does leave us with a lengthy catalog of fine sessions to remember him by." Michael Corroto, AAJ

Jim Pepper - Comin' And Goin' [flac]

Review by Michael G. Nastos

Of the limited discography offered to us by Jim Pepper, this is his finest contemporary recording, done with the pianist Kenny Werner's trio and several special guests. A fine representation of this Native American's work especially as a collaborator, check out the vibrant "Lakota Song," the title track, and especially "Malinyea" in tandem with pocket trumpeter Don Cherry. A reflection of his time in Woodstock at the Creative Music Studio, Pepper creates world jazz fusion with a twist relating to his heritage, something that perhaps nobody else has done, or is capable of. Of course his magnum opus "Witchi-Tai-To" is included in this inspired and inspirational set, which is highly recommended.