Various Artists - Dixieland Main Stem New Orleans

Wait!!!  Don't scroll yet!!!

I know it says "Dixieland" and you are probably uninterested, but there's more than meets the eye here.  This is a recording of a live show at the Savoy Cafe in Boston, 1949.  The music is essentially mainstream, but more of a hot jazz/Chicago style, and the tunes are far from typical Dixie fare.  The Dixieland in the title would have been more for marketing than representation.

That said, this album is a really fun romp which maintains a jam feel throughout.  Side 2 plays like a medley, right up to Limehouse Blues which is infact a superb drum solo by Crawford.  Crawford's solo is a real banger too, something to behold.  Everybody gets a ton of shine, including Braff who is described as "new to the jazz scene" in the notes.  

The crooked cover is due to the application of the stickered sleeve, which was done at the factory.  Like most live recordings from this era (originally on 78), the sound quality is far from perfect.  However I think it's more than listenable.  I won't share anything which doesn't meet a certain standard.  The music is super fantastic and enjoyable as such.  This was ripped at 24/48 wav and transferred to 24/48 FLAC for your convenience.  I have it tagged under Edmond Hall.  As you probably assumed, it's in glorious mono... enjoy!!!

Regent MG 6076

"Savoy Cafe", Boston, MA, 1949

Ruby Braff (trumpet) Vic Dickenson (trombone) Ed Hall (clarinet) Kenny Kersey (piano) John Field (bass) Jimmy Crawford (drums)

Careless love
Please don't talk about me when I'm gone.
Bugle call rag.
Black and blue.
When a woman loves a man.
You made me love you.
My ideal.
Limehouse blues.

Dexter Gordon - Wee Dot (1965)

Recorded live in 1965, Wee Dot is one of saxophonist Dexter Gordon's many European dates, recorded in Stockholm, with a rhythm section comprised of the hottest cats on the Swede scene at the time. The program is standard swinging bop that opens with a particularly fiery rendition of "Take the 'A' Train." Gordon introduces each tune with his gracious, hipster vernacular and trademark dry elegance. There are only four tunes on the set, but they are all extended workouts. The closer, an updated, finger-popping redo of "Second Balcony Jump" (recorded by the saxophonist during his Blue Note years) is surely the finest moment of an already excellent set. by Thom Jurek, AMG.

SteepleChase Records, SCCD 36031, 2003

Recorded 10^th June, 1965 "Live" at Montmartre Jazzhus, Copenhagen, Denmark

Musicians:

Dexter Gordon - Tenor Saxophone

Atli Bjørn - Piano

Benny Nielsen - Bass

Finn Frederiksen - Drums

Track Listing:

1. Take The "A" Train {Billy Strayhorn} (9:24)

2. Introduction By Dexter Gordon (0:33)

3. My Melancholy Baby {Ernie Burnett, George Norton} (8:30)

4. Introduction By Dexter Gordon (0:32)

5. What's New? {Bob Haggart, Johnny Burke} (11:05)

6. Introduction By Dexter Gordon (0:34)

7. Wee Dot {Jay Jay Johnson} (14:33)

8. Introduction By Dexter Gordon (0:40)

9. Second Balcony Jump {Billy Eckstine, Gerald Valentine} (1:44)

Credits:

Recording - Danmarks Radio

Producer, Restoration - Nils Winther

Photography - Kirsten Malone

Liner Notes - Mark Gardner

Dexter Gordon Quintet - Ladybird (1965)

The latest offering from the seemingly bottomless Danmarks Radio Archive, this disc presents another air shot of Gordon’s lengthy mid-1960s Cafe Montmarte stint. Dex’s sizable cachet as an expatriate jazz icon prompted a nightly spooling of the tape machines. The resulting cache, so far doled out one set at a time, documents a particularly fertile time for the saxophonist. Shortly after arriving on European shores he teamed with pianist Kenny Drew and a topflight pair of locals in the persons of Pedersen and Riel, set up shop and enjoyed a more relaxed lifestyle than the scuffling of his earlier Big Apple years. This package is a bit different from the previous ones in that it presents trumpeter Donald Byrd, a fellow NYC emigre, sitting in with the working group.

The top-heavy program revolves around extended readings of two standards: the Tad Dameron-penned title track and a blue-chip modal number from the best-selling jazz album of all-time. After a brief ensemble stroll through theme Gordon essays a hungry, if slightly boilerplate solo that swallows up a healthy string of choruses. Byrd follows, cooler in cast and surfing across Riel’s frothy snare and cymbal-driven fills with a succession of slightly smeared runs. Pithy Drew and Pedersen statements follow. Riel lends steady hi-hat and sharp, textured brushwork to the latter’s deft pizzicato exposition and the two wear their advanced postbop pedigrees proudly. The piece winds up with a short spate of robust exchanges between Riel and the rest. These closing minutes are marred by a recurring and intrusive tape warble that ends up sounding oddly like a third remedial horn.

“So What” receives a comparably elongated reading with Pedersen paying homage to and capaciously expanding on Paul Chambers’ original epochal role. After the familiar bass invocation and riffing theme Gordon breaks away and spools out a sultry solo flanked briefly by just Pedersen and Riel at a brisk, but effervescent tempo. As on the previous cut, Drew delivers deft complementary chords that push the action without prodding it. Byrd’s improvisation unfolds in the leader’s wake, displaying a bit of the gelid clarity that was the composer’s calling card. Pedersen brings up the rear with another compact colloquium on killer contrabass technique. The horns wisely abstain from reentry and let it stand as the denouement.

Byrd sits out on a luxurious “Who Can I Turn To?”, but the band returns to full-size for the closer, another Miles Davis’ tune, “Blues By Five.” The trumpeter’s presence and the high degree of rapport shared by the rhythm section make this date one of note. Coupled with a tune choice that strays dexterously in more challenging directions than the band’s usual diet of bop standards it’s a welcome program that finds Gordon in a limber and exploratory mode. Foibles in fidelity aside, Dex aficionados will be sold on the disc’s face value. But casual listeners will probably also be pleasingly surprised by the caliber of this classic conclave. ~ Bagatellen.com

SteepleChase Records, SCCD 36035, 2005

Recorded 19th August, 1965 Live at "Jazzhus Montmartre", Copenhagen, Denmark

Personnel:

Dexter Gordon - Tenor Saxophone

Donald Byrd - Trumpet (#1,2,4)

Kenny Drew - Piano

Niels-Henning Ørsted Pedersen- Bass

Alex Riel - Drums

Track Listing:

1. Ladybird {Tadd Dameron} (19:59)

2. So What? {Miles Davis} (18:00)

3. Who Can I Turn To [When Nobody Needs Me] {Leslie Bricusse, Anthony Newley} (5:25)

4. Blues By Five [Inc.] {Miles Davis} (4:12)

Credits:

Producer, Restoration - Nils Winther

Photography - Kirsten Malone

Blue Note 1959

1959 is an interesting year at Blue Note. Not a huge number of releases compared to 1957 or 1960, but quality stuff. With the passing of Sonny Clark, the 'house trio' duties are eventually taken up by Horace Parlan's trio the following year, but on these sessions the core changes constantly.

Blue Note 1959 by Kingcake on Mixcloud

Al Haig,Jamil Nasser - Interplay 1976 (aka Milestones) 24/48 vinyl rip

Okay folks...here we go with a genuine LP rip of this one!

Review by Ron Wynn

"Fine duets featuring pianist Al Haig during a busy period in the mid-'70s. He'd overcome personal problems and was cranking out albums left and right for both domestic and foreign labels. These were cut for Interplay, a small West Coast firm, but then were mostly issued in Japan. They are mostly excellent examples of Haig's surging bop style."

Not as good a copy as it appeared to be on visual inspection. Even after repeated cleaning you will hear the occasional noise that I didn't choose to pursue more aggressively for sound considerations. This was recorded in 32/9600 using IsotopeRX3, Cleaned using IsotopeRX3, Re-sampled and Dithered to 24/4800 using IsotopeRX3, smoothed, separated and exported to FLAC via Audacity and FLAC front-end.

Earl Hines Quintet - "Fatha" Blows Best

Hey gang.  This is a re-up from three years ago at the "old" Crypt.  Been spinning it recently and thought that perhaps some of you missed the original post.  You will notice that three out of four members of the JPJ Quartet appear on this album together.

Next up is the curiously titled "Fatha" Blows Best. Since we all know that Earl Hines was a pianist, I am not exactly sure what he blows...I will leave that up for you guys to figure out.

Title aside, this is another hard swingin winner. The group are all veterans of jazz, and it shows on the album. This quintet doesn't rush much of anything as they cook their way through ballads and mid tempo numbers.

Thinking Of You raises the fever, but only for a couple minutes. Infact most of the tunes don't exceed 3 minutes with the exception of Shine On Harvest Moon. On that tune, the group must have really been feelin it as it almost triples any other song on the album in length.

Hines mostly comps for his front line although he does throw in a pinch of hot pepper every now and again. Budd Johnson is excellent here, and fans will want to hear him tear through these numbers on both tenor and soprano. Infact his soprano work is excellent and it adds a nice dimension to the recording, expanding the realm of possibility and keeping things interesting. Buck Clayton was also having a fine day and compliments his partner well. Pemberton and Jackson mostly just keep things swingin for the group, which is fine by me.

This session could easily have appeared as a Swingville or Moodville side. The overall vibe gives me a visual of a hot southern day. This group had been together for some time, with the exception of Clayton, and clearly knew how to use their rapport to paint a picture.

This minty LP was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC. A wonderfully swingin album...enjoy!!

Decca (DL75048) Mar. 8/11, 1968 NYC

Earl "Fatha" Hines - piano and vocal; Budd Johnson - soprano/tenor sax; Buck Clayton - trumpet; Bill Pemberton - bass; Oliver Jackson - drums

Don Patterson with Booker Ervin - Hip Cake Walk (1964) [vinyl>flac]

A massive pairing of the tenor of Booker Ervin and Hammond of Don Patterson – a record that's got a very famous cover image, and which marks for one of the greatest meetings of soul and modernism at mid-60s Prestige Records! There's no bass at all on the set – just lots of quick, tight rhythm lines from Patterson on the pedals of the Hammond – mixed with drums from Billy James, and served up with plenty of space for Ervin to open up on tenor – blowing with more soul than on some of his modernist sides of the time! The title cut – "Hip Cake Walk" – is a 16 minute groover, and other tracks include "Rosetta", "Sister Ruth", and "Donald Duck". Very cool cover, too! © Dusty Groove, Inc.

Organist Don Patterson went through a richly productive period in the 1960s, fashioning a fortress of funky organ jazz hi-fi on the Prestige label. Various brave knights marched forth through the massive gates which can be imagined as fronting this real estate, their identity at times key to decisions made by fussy collectors regarding which Don Patterson album to own, which to stroll on by. Hip Cake Walk can also get the nod based on album title coolness, a set of standards promoted by individuals who absorb this kind of information as if blotting up anaesthetic. Meanwhile the aforementioned scouts have identified brave knight Booker Ervin, a favourite of tenor saxophone fans one and all, the man who plays a beat as if winning the penalty kick, whose horn was once used to cook fish soup for Pancho Villa. The presence of one solid Patterson original after the other, from the title tune through the holistic introduction of 'Sister Ruth' and the webbed-foot swing of 'Donald Duck', trumps any previously stated reason for this album's special status. 'Hip Cake Walk' is sliced and strolled with for more than a quarter-of-an-hour, alto saxophonist Leonard Houston jousting, knocking burning candles off drummer Billy James' head which he then replaces with icing dripped off his sticks. Cover material is also nicely selected, an Earl Hines classic given a clever updating and 'Under The Boardwalk' allowed to conclude the program with an enduring vision of the Drifters drifting out to sea, clinging to the keys of Patterson's organ, a lifesaver indeed. ~ Eugene Chadbourne, All Music Guide.

Prestige Records, PR 7349, 1965

Recorded 12^th May (#B1) 10^th July (#A1-A3,B2), 1964 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Booker Ervin - Tenor Saxophone (#A1-A3)

Leonard Houston - Alto Saxophone (#B1)

Billy James - Drums

Track Listing:

A1. Sister Ruth {Don Patterson} (4:56)

A2. Donald Duck {Don Patterson} (5:48)

A3. Rosetta {Earl Hines, Henri Woode} (8:02)

B1. Hip Cake Walk {Don Patterson} (16:30)

B2. Under The Boardwalk {Arthur Resnick, Kenny Young} (3:02)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Walter Catt (Oct. 1964)

Taft Jordan - The Moods Of Taft Jordan

Hello everybody!!!  Hope you've all had a great summer, I sure have.  Aside from summertime fun, my computer had some issues - both of which conspired to keep me away from blogging.  Well, I'm back and with a nice gem of an album on offer.

The only issue with "Moods" is that its too short.  If you enjoyed the Erskine Hawkins album, then you will enjoy this.  Overall I find it has that carefree and fun vibe to it.  The tunes cover a range of tempos, feels and styles.  That said, I wouldn't describe Jordan as an adventurous player.  He plays with lots of feeling and makes his notes count.  So yes, when I likened this to the Hawkins sides, I was referring to the soulful approach.

The supporting players don't display much in the way of fireworks (save a couple tunes), but the band is tight, tight, tight.  They show creativity in subtle ways that often help Jordan to sound better.  Lots of harmonizing and tons of fantastic rhythm.  If you're looking for something light, fun & swingin - then this is an album for you.  I captured this glorious, near-mint mono LP in 24/48 wav and then transferred it to 24/48 FLAC.  I hope it helps to kick up your weekend... enjoy!!!

Mercury MG-20249
1959

1. When Your Lover Has Gone 1:37
2. Night Boat 4:55
3. My Man (Cha Cha) 3:06
4. Do Anything 2:43
5. September Song 3:17
6. It's The Talk Of The Town 3:20
7. Smoky 4:55
8. Mariquita 3:47
9.Second Balcony Jump 3:55

Taft Jordan (tp), Dave Martin (p), Everett Barksdale (g), Joe Benjamin (b), Chick Martin (ds)

Buddy Tate featuring Milt Buckner - Love and Slows Vol.1 (1976) [vinyl 24/48]

Originally issued on the Dutch Riff label as 'A Soft Summer Night'.

Idris Muhammad - House Of The Rising Sun (1976) [vinyl>flac]

Idris Muhammad's House of the Rising Sun is a legendary soul-jazz album, and for good reason. First there's the fact that, Grady Tate notwithstanding, Idris Muhammad is easily the greatest of all soul-jazz drummers. Next, it is revealed that label boss and producer Creed Taylor was at his most inspired here, and wasn't afraid to err on the rhythm and blues side of the jazz equation. The material is top-notch, and David Matthews, who orchestrated and arranged this date with the exception of one track -- "Sudan" was written by Muhammad and Tom Harrell, and Harrell arranged it -- was on fire. As a bandleader, Muhammad is shockingly effective. Not because one could ever doubt his ability, but because of his reputation as one of the great studio drummers in jazz. Finally, this is the single greatest lineup in Kudu's history, and features the talents of Don Grolnick, Eric Gale, Will Lee, Roland Hanna, Joe Beck, David Sanborn, Michael Brecker, Hugh McCracken, Bob Berg, Fred Wesley, Patti Austin, and a dozen others playing their asses off. From the title track which opens the album, with Austin reaching the breaking point in her delivery, to the stunningly funky groove in Ashford and Simpson's "Hard to Face the Music," to the minor key funk of the Chopin-adapted theme in "Theme for New York City," to "Sudan"'s triple-timed drums and killer Eastern-tinged hooks, and a read of the Meters' "Hey Pocky A-Way," with Eric Gale's dirty finger poppin' bass atop McCracken's bluesed-out slide work, this is a steaming, no let-up album. Add to this a gorgeous version of the Ary Barroso Brazilian jazz classic "Bahia," and you have the set for a classic jazz album. But the complete disregard for the political correctness of "Jazz" itself, in order to get the deeply funky and soulful grooves across, is what makes this set so damn special and even spiritual in its inspiration. Jazz purists lost all credibility when they slagged this one off, caught as they were in tainted, even racist views of the past that made no allowances for jazz musicians to actually follow their time-honored tradition of mining the pop music of the day to extend the breadth and reach of jazz itself. Anybody who wants to believe that George Gershwin is somehow more important than George Porter Jr. is already lost in his own cultural fascism. Muhammad, who understands this better than anyone, pulled out all the stops here and blasted out one amazingly tough, funky slab. Brilliant. ~ Thom Jurek, AMG.

Kudu Records, KUDU 27, KU-27S1, 1976
Recorded 18th-27th June; 23rd September-8th October, 1975
at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:
Idris Muhammad - Drums, Percussion [Log Drum] (#A1)
Tom Harrell - Trumpet
Fred Wesley - Trombone
Barry Rogers - Trombone (#B1)
David Sanborn - Alto Saxophone
Ronnie Cuber - Baritone Saxophone
George Young - Tenor Saxophone (#A2)
Mike Brecker - Tenor Saxophone (#A2)
Bob Berg - Tenor Saxophone (#B1)
Leon Pendarvis - Piano (#A1)
Don Grolnick - Piano (#A2,A3,B2)
Roland Hanna - Piano (#B1,A4)
Eric Gale - Bass (#A3,B2), Guitar (#B2)
Hugh McCracken - Guitar (#B2)
Joe Beck - Guitar (#A3)
Will Lee - Bass (#A1)
Wilbur Bascomb - Bass (#A2,A4,B1)
Alan Shulman, Charles McCracken, Seymour Barab - Cello
George Devens - Percussion
Charles Libove, David Nadien, Emanuel Green, Harold Kohon, Harry Cykman, Joe Malin, Max Ellen, Paul Gershman - Violin
Frank Loyd - Vocals (#A1,B2)
Debbie McDuffie, Hilda Harris, Patti Austin - Vocals (#A2)

Track Listing:
A1. House Of The Rising Sun {Traditional} (4:45)
A2. Baia [Boogie Bump] {Ary Barroso, Ray Gilbert} (4:40)
A3. Hard To Face The Music {Valerie Simpson, Nickolas Ashford} (4:52)
A4. Theme For New York City [Based On Prelude No. 4] {Frederic Chopin} (3:29)
B1. Sudan {Idris Muhammad, Tom Harrell} (10:54)
B2. Hey Pocky A-Way {Ziggy Modeliste, Art Neville, Leo Nocenteli, George Porter, Jr.} (6:07)

Credits:
Producer - Creed Taylor
Arranger - David Matthews, Tom Harrell (#B1)
Recording Engineer - Rudy Van Gelder
Design - Rene Schumacher
Photography - Alen Mac Weeney

Dexter Gordon - Stella By Starlight (1966)

Historically speaking, radio’s been both friend and foe to jazz listener sensibilities. Broadcasts from innumerable venues brought the music into countless homes and establishments. A large chunk of archival recordings are sourced from these classic concert documents. Where a complication lies is in the vagaries of the production customs that sometimes governed these broadcasts. Announcers intrude with regularity over the music (the insufferable Symphony Sid, anyone?). Station breaks edit solos and sets into commercial-friendly morsels. Coupled with the technological limitations of reel-to-reel tape the results can be checkered and sometimes downright vexing when it comes to what’s omitted or lost.

Witness the recent release of Coltrane’s Half Note Recordings from the spring of ’65. What’s there is incredible. But a pang of regret is practically inevitable when the purchaser realizes that nearly 35 minutes of the monumental title cut went unrecorded and the version of “Afro Blue” only survived in fragmentary form (a gaff repeated on Live in Seattle from months later, what’s with the reverse-kismet when it comes to Coltrane’s readings of Mongo Santamaria’s most famous tune?). The same sort of situation colors the music on Stella By Starlight, the latest and purportedly final installment in Steeplechase’s series of vintage Dexter Gordon broadcasts made by Danmarks Radio from the Montmarte Jazzhus, Copenhagen.

This sixth entry differs from the previous ones in a few notable respects. Firstly, there’s the presence of altoist Pony Poindexter in a second horn slot. Poindexter was on European tour at the start of 1966 and found time to sit in with Gordon’s working combo. Neither man was a stranger to two horn team-ups, Gordon locking congenial saxes with the likes of Wardell Gray, Gene Ammons and James Moody among a host of others over the course of his career. Mark Gardner’s exceptionally readable liners also make mention of an earlier meeting between the two in ’62 that included Billy Mitchell, Phil Woods, Gene Quill and Pepper Adams. Man, sign me up for a copy that one!

The program here focuses on three loquacious readings of standards. Solos are routinely lengthy and there are lots of them. Pianist Kenny Drew and bassist Niels-Henning Ørsted Pedersen, Gordon’s regular Montmarte confreres make up the rhythm section along with guest drummer Makaya Ntshoko, pinch hitting for Alex Riel who apparently had the night off. The title track commences in media res with the front men finishing the tail end of the theme statement. Gordon takes the floor early, holding forth with a robust extended foray as Drew comps somewhat reticently beneath him. Poindexter’s solo suffers from a somewhat shrill tonality in spots. But he surprises with a lively scat-sung rejoinder as follow-up. Drew and Pedersen have their respective says in succession next as Ntshoko keeps competent, if garden-variety time. A string of loose sax exchanges and final return to theme predictably signs the action off.

Occupying just over a third of an hour “Satin Doll” follows the same general template with minor deviations and includes another priceless Pedersen improvisation. “Round About Midnight” finds the band starting to gel in earnest and contains the finest playing by Poindexter of the date as he adjusts to the smoky ballad tempo of the piece. The tempered work of the rest of the band is gorgeously on target too, Ntshoko whose minimalist brushes add just the right amount of diaphanous texture. Gordon’s sensuous baritone inaugurates all but the title number with sultry spoken prefaces to further seduce the crowd. “Sonnymoon For Two” is present only as a maddeningly abbreviated half-minute taste, those misguided Danmarks engineers possibly fading out for what might have been station identification. Then again, beggars can’t be choosers as they say. And when it comes to recorded work Gordon’s certainly falls under the header “Finite Supply”. ~ Derek Taylor.

SteepleChase Records, SCCD 36036, 2005
Recorded 6th January, 1966 Live at "Montmartre Jazzhus", Copenhagen, Denmark

Personnel:
Dexter Gordon - Tenor & Soprano Saxophones
Pony Poindexter - Alto Saxophone, Vocals
Kenny Drew - Piano
Niels-Henning Ørsted Pedersen - Bass
Makaya Ntshoko - Drums

Tracks:
1. Stella By Starlight {Victor Young} (16:51)
2. Introduction (0:10)
3. Satin Doll {Duke Ellington} (20:05)
4. Introduction (0:15)
5. 'Round About Midnight {Thelonious Monk} (10:23)
6. Introduction (0:16)
7. Sonnymoon For Two [Fade-out] {Sonny Rollins} (0:30)

Credits:
Recording - Danmarks Radio
Sound Restoration - Nils Winther
Liner Notes - Mark Gardner
Producer - Nils Winther

Prestige 1958 sessions

I've got to admit that I'm pretty pleased with this one!

Prestigeous 1958 sessions by Kingcake on Mixcloud

Xanadu At Montreux Volume 4 [24/48 vinyl Rip]

"This four-LP series put out by Xanadu fully documents a marathon concert put on by the label (and featuring ten of its artists) at the 1978 Montreux Jazz Festival. The final volume has all ten of the players popping up in different situations (including an over-24-minute multi-tempoed blues "Royal Madness"). Everyone plays well and they all deserve mention: trumpeter Sam Noto, baritonist Ronnie Cuber, the tenors of Billy Mitchell and Al Cohn, guitarist Ted Dunbar, flutist Sam Most, pianists Barry Harris and Dolo Coker, bassist Sam Jones and drummer Frank Butler. Each of the sets are recommended to straightahead jazz fans with the second volume geting the edge." AMG

Xanadu At Montreux Volume Three [24/48 vinyl rip]

 A LONG overdue re-rip of the albums sent to me by Bluenote97 some 4 years ago.

"The third of four LPs to result from an all-star concert put on by the Xanadu label in 1978 has three features for the underrated but very significant flutist Sam Most ("This Masquerade," "I Thought About You" and "Star Eyes"), a showcase on "Half Nelson" for guitarist Ted Dunbar and a 15-minute version of "Strollin'" that features a full octet including Most, Dunbar, the tenors of Al Cohn and Billy Mitchell, baritonist Ronnie Cuber and pianist Barry Harris. Jazz fans should be aware of Xanadu, one of the very few record companies to be documenting bop in the 1970s; this particular four-volume series has plenty of strong moments." AMG

Xanadu At Montreux Volume Two

This one was provided some 4 or 5 years ago at Kublah's Crib by Kneigh. I figured that since I had re-ripped the other 3 of the set, it was only fair to supply this one too. I don't remember if he had any rip info but thanks to Kneigh.

Primarily a straight quintet session with Al Cohn and Billy Mitchell manning the front line, although Barry Harris, Sam Jones and Frank Butler open and close the set with trio pieces.

Chet Baker - Comin' On & Cool Burnin'

As promised here is the rest of the output of this brief spark in the Chet Baker story. The seven tracks of "Comin' On" and the first 3 of "Cool Burnin'" complete the full sessions. Tracks 4-7 of Cool Burnin' are repeated on the "On A Misty Night" disc.

I wonder what the rest of the story was behind these sessions, beyond Baker's trumpet being 'stolen' (pawned?) and the sessions being played on flugelhorn. His sessions for a year preceding these were on Limelight, those that follow are at World Pacific. This abrupt and short-lived appearance on Prestige (3 days), given what we know about the way business was done at Prestige, sounds like a cash grab for dope or debts. Chet's later complaint sounds suspiciously like those of a junkie who has forgotten he chose cash on the barrel-head.

Blue Note 1958 Sessions

Blue Note 1958 Sessions by Kingcake on Mixcloud

Shirley Scott - Soul Song (1969) [vinyl.flac,24b/48k]

A nice late 60s effort by Shirley - and one that's been pretty hard to find over the years! Soul Song actually has a bit more of a funk groove than earlier work, and a little bit more of a soul jazz sound than some of her Prestige albums. The record features Eric Gale playing some nice guitar, plus Stanley Turrentine blowing tenor on a number of cuts, and Shirley on organ, and even singing on one track. The tracks are a bit longer than usual, too - and titles include a cover of "Think", plus "Soul Song", "Mr. Businessman", "When A Man Loves A Woman", and "Like A Lover". ~ Dusty Groove, Inc.

Atlantic Records, SD 1515, 1969

Recorded 9^th (#B2) & 10^th (#A2) September at Atlantic Studios, New York City;

6^th (#A3,B1) & 7^th (#A1,B3) November, 1968 at RCA Studios, New York City

Musicians:

Shirley Scott - Organ, Vocals (#B3)

Stanley Turrentine - Tenor Saxophone (#A1-B2)

Eric Gale - Guitar (#A1,A2,B2,B3)

Bob Cranshaw - Fender Bass (#A3,B1)

Roland Martinez - Fender Bass (#A2,B2)

Bernard Purdie - Drums (#A2,B2)

Ray Lucas - Drums (#A3,B1)

Specs Powell - Drums (#A1,B3)

Track Listing:

A1. Think {Lowman Pauling} (7:57)

A2. When A Man Loves A Woman {Calvin Lewis, Andrew Wright} (6:51)

A3. Mr. Businessman {Ray Stevens} (3:08)

B1. Blowin' In The Wind {Bob Dylan} (6:17)

B2. Soul Song {Shirley Scott} (5:24)

B3. Like A Lover {Alan & M. Bergman, Danilo Caymmi, Nelson Motta} (4:00)

Credits:

Producer - Joel Dorn

Recording Engineers - Adrian Barber, Paul Goodman

Cover Illustration & Design - Stanislaw Zagorski

Liner Notes - Bernard Drayton

Xanadu At Montreux Volume One [24/48 vinyl]

A fresh 24/48 rip from my copy of the LP.

Xanadu At Montreux, Vol. 1 : During one night at the 1978 Montreux Jazz Festival, enough music was performed and recorded by Xanadu's artists to result in four LPs. The first volume has features for trumpeter Sam Noto ("Get Happy"), baritonist Ronnie Cuber ("Vamping") and drummer Frank Butler, who takes an extensive drum solo on a 20-minute version of "So What." In the supporting cast are flutist Sam Most, guitarist Ted Dunbar, pianist Dolo Coker and bassist Sam Jones. All four of these sets (which have different and overlapping personnel) are worth picking up. ~ Scott Yanow, Rovi

Tracks:

1. Vampin'
2. Afternoon in Paris
3. But Not for Me
4. Get Happy
5. So What

Sam Noto (tp) Sam Most (fl)Ronnie Cuber (bar) Dolo Coker (p) Ted Dunbar (g) Sam Jones (b) Frank Butler (d)

Coleman Hawkins and his friends at a Famous Jazz Party Vol 1 (1958) [vinyl

From the danair vinyl collection. I posted Vol2 recently.

First Session - Side 1 tracks 1-4:

1. Indian Summer -C.Hawkins
2. I Can´t Get Started -Ch.Shavers & ens.parts
3. *Mean To Me -L.Young
4. *Jumpin´ With Symphony Sid -full group

25 Sept. 1958: Charlie Shavers (t) J.C.Higginbotham (tb) Pee WeeRussell (cl) Coleman Hawkins (ts) Lester Young (*ts) Willie"The Lion"Smith (p) Harry Shepherd (vib) Dick
Thompson (g) Vinnie Burke (b) Sonny Greer (d) Mae Barnes (v)

Second Session - Side1 track5 and side 2:

16 October 1958 Cootie Williams (t) Nat Adderley (cnt) Kai Winding (tb) Rolf Kuhn (cl) Julian Cannonball Adderley (as) Coleman Hawkins (ts) Harry Sheppard (vib) Billy Taylor (p) Roy
Gaines (elg) Vinnie Burke (b) Bert Dahlander (d)
Possibly Earl May (b) & Ed Thigpen (d) replace Burke & Dahlander on some items.
Lil Greenwood (v)

Fine And Dandy
Body And Soul -Hawkins Feature
Cootie's Blues (Cootie'´S Big Time Blues) -Williams Feature
I Got It Bad And That Ain't Good -vLG With Williams & Rhythm Only
Airmail Special
Bugle Call Rag

Roy Eldridge At Jerry Newman's (1940) [vinyl]

From the danair vinyl collection.

Side A
1. Sweet And Brown....................3:49
2. Body And Soul*......................3:42
3. Lemon House........................3:10
4. Jazz Rose*...........................3:48
5. Sweet Lorraine.......................3:34
6. I Can't Give You Anything But Love . .. 3:15

Side B
1. I Surrender Dear (Take 1)...............5:16
2. I Surrender Dear (Take 2)...............4:24
3. The Way You Look Tonight (Take 1).....3:39
4. The Way You Look Tonight (Take 2).....3:16
5. The Way You Look Tonight (Take 3).....2:56
6. Rags (Take 1)..........................3:37
7. Rags (Take 2)..........................3:37


Roy Eldridge, Trumpet; Willie Smith, Alto Sax; Herbie Fields, Tenor Sax; Tony D'amore, Piano; Buddy Weed, Piano*;
Mike Bryan, Guitar; Tony D'amore, Drums*; George T. Simon, Drums; Margie Harris, Vocal

(Recorded November 19,1940)