Ray Bryant - Golden Earrings (1988) [vinyl>flac]

Pianist Ray Bryant's records of the 1980's are consistently enjoyable but sometimes the repertoire could be fresher. Virtually every song on this EmArcy release was recorded earlier by Bryant except possibly "I'm A Fool To Want You." Bryant, bassist Rufus Reid and drummer Freddie Waits explore such numbers as "'Round Midnight," "Misty," Duke Ellington's "What Am I Here For" and Bryant's "Lullabye," but the lack of surprises makes this a rather predictable effort. ~ Scott Yanow, AMG.

EmArcy/Mercury Records, 836 368-1, 1988

Recorded 23^rd, 24^th January & 26^th June, 1988 Power Station, New York, N.Y.

Musicians:

Ray Bryant - Piano

Rufus Reid - Bass

Freddie Waits - Drums

Tracks:

A1. Golden Earrings {Jay Livingston, Ray Evans, Victor Young} (7:18)

A2. I'm A Fool To Want You {Frank Sinatra, Jack Wolf, Joel Herron} (5:32)

A3. 'Round Midnight {Bernie Hanighen, Cootie Williams, Thelonious Monk} (8:03)

A4. I Remember Clifford {Benny Golson} (5:40)

B1. Speak Low {Kurt Weill, Ogden Nash} (8:51)

B2. Misty {Erroll Garner} (6:15)

B3. What Am I Here For {Duke Ellington} (8:20)

B4. Lullabye {Ray Bryant} (2:53)

Credits:

Producer - Kiyoshi Koyama

Recording Engineer - Tom Lazarus

Design - Marlyn Rennie-Bryant

Photography - Daniels & Glionna

Liner Notes - Alain Gerber

FRANK WESS - with KENNY BURRELL - STEAMIN' - 1963 - WAVE

1963

Prestige PR 7278

MY Vinyl Rip

Front & Back Covers

WAVE

One of Frank Wess' strongest albums from the time – a harder-than-usual burner recorded with Kenny Burrell on guitar, plus Thad Jones trumpet, Mal Waldron piano, and rhythm by Paul Chambers and Art Taylor. Tracks are long and very jamming – almost in the mode of the Prestige blowing sessions of a few years hence, especially when Wess is playing tenor. Titles include "Count One", "Empty Street", "Steamin", and "Blue Jelly".

01 Steamin'

02 Blue Jelly

03 Count One

04 Empty Street

David Newman - Mr. Fathead (1976) [vinyl>flac]

A pretty sweet set from reedman David Newman - a record that has him working with larger instrumental backdrops, in a mode that's almost like the sound going on with Stanley Turrentine over at CTI! William S. Fischer handled all the arrangements - so although things are tight, there's still a cool creative undercurrent too - way more than just standard orchestrations behind Newman's sweet solo lines on alto, tenor, and soprano sax. A few cuts have backing vocals - used in ways you might hear on a Hank Crawford album - and titles include "Shiki", "Promise Me Your Love", "Ebo Man", "Groovin To The Music", "I Love Music", and "Mashooganah". © Dusty Groove, Inc.

David "Fathead" Newman plays alto sax, tenor sax & flute backed by Ron Carter, Anthony Jackson, Dom Um Romão, Jimmy Johnson, Pat Rebillot, Andy Newmark, Jerry Friedman, David Carey, Bill Salter, Ralph MacDonald, Keith Loving, Jimmie Young, Dave Valentin (playing percussion!) et al, plus brass section (featuring Burt Collins, Joe Shepley, Jim Bossy & Richard Peck), strings (feat. Selwart Clarke on viola) and backing vocals (including Patti Austin). My personal favorite tracks: "You Got Style" (a lush arrangement of the Ralph MacDonald/Bill Salter tune previously recorded by Phil Upchurch & Tennyson Stephens on Kudu), "Groovin' To The Music," "Ebo Man," "Promise Me Your Love" and "I Love Music". ~ Arnaldo Desouteiro.

Warner Bros. Records, BS 2917, 1976

Recorded At Regent Sound Studios, New York City

Personnel:

David Newman - Alto, Soprano & Tenor Saxophones, Flute

Jim Bossy, Burt Collins, Joseph Shepley - Trumpet

Buddy Morrow - Trombone

Jonathan Dorn - Tuba

Billy Slapin - Clarinet, Piccolo Flute

Richard Landry - Tenor Saxophone

Arthur Jenkins - Keyboards

Bill Fischer - Electric Piano, Synthesizer

Arthur Jenkins - Piano

Jose Cruz - Electric Piano

Pat Rebillot - Clavinet

Luis Cruz, Jerry Friedman, Keith Loving - Guitar

Bill Salter - Bass

Anthony Jackson - Bass Guitar

Ron Carter - Bass

Jimmy Johnson - Drums

Jimmie Young - Drums

Andy Newmark - Drums

John Rodrieguez, Ralph MacDonald - Percussion

David Valentin - Percussion

Dom Um Romão - Percussion

and others [See Info file]

Tracks:

A1. Dance With Me {John & Johanna Hall} (3:55)

A2. Groovin' To The Music {G. P. Coverdale, D. Cameron, D. McGriff} (5:51)

A3. You Got Style {Ralph MacDonald, William Salter} (4:32)

A4. Ebo Man {David Newman, Arthur Jenkins} (5:29)

B1. Shiki {Bill Fischer} (3:59)

B2. Promise Me Your Love {Ralph MacDonald, William Salter} (4:30)

B3. I Love Music {Leon Huff, Kenny Gamble} (6:12)

B4. Mashooganah {David Newman} (5:08)

Credits:

Producer - Joel Dorn, Jonathan Dorn

Arranger - William S. Fischer (#A1-A3,B1,B3,B4)

Engineer [Recording & Mixing] - Robert Liftin

Engineer [Mastering] - Vince McGarry

Art Direction - Ed Thrasher

Design - Brian Hagiwara, Rod Dyer Inc.

Photography [Front Cover] - H. E. Edgerton

Photography [Liner] - David Gahr

Liner Notes - Vernon Gibbs

Notes:

Mixed and Mastered At Regent Sound Studios, New York City

JOHNNY HODGES - CREAMY - 1955 - WAVE

1955
Norgran MGN-1045 (Mono)
Verve 70-5706
My Vinyl Rip
Front & Back Covers
WAVE
DR Value 11

 Johnny Hodges' small group dates for various Norman Granz-owned labels (Norgran, Clef, and Verve) pleased fans of Duke Ellington, due in part to the frequent presence of fellow sideman from the band. The 1955 Creamy session is no exception, with Clark Terry (trumpet and flügelhorn), baritone saxophonist Harry Carney, clarinetist Jimmy Hamilton (who doubles on tenor sax), and trombonist Lawrence Brown joining Hodges in the front line. The rhythm section consists of Billy Strayhorn, bassist Jimmy Woode, and drummer Sonny Greer. In addition to a long ballad medley with individual features for each player (except for Greer), the remainder of the date is devoted to originals by Hodges or Strayhorn, along with "Scufflin'," an impromptu-sounding swinger credited to the alto saxophonist's wife, Cue Hodges. While there are no real surprises anywhere on this record, it is well worth acquiring...AllMusic Review by Ken Dryden

01 The Ballad Medley:  Whispering, Tenderly, Don't Take Your Love From Me, But Not For Me, Prelude To A Kiss, Polka Dots And Moonbeams, Passion Flower / 02 Scufflin' / 03 Honey Bunny / 04 Passion / 05 Pretty Little Girl / 06 No Use Kicking

CHARLIE SHAVERS - GIRL OF MY DREAMS - 1960 - 24/48 FLAC

1960
Everest SDBR 1070
My Vinyl Rip
Front & Back Covers
DR Value 12

The focus is almost entirely on Shavers' horn, for he is in the spotlight throughout while backed by pianist Ray Bryant (who is very much in a supportive role), bassist Aaron Bell, and drummer Roy Burns.  Although the performances are mostly very concise (nearly all of the selections are under three-minutes long), the trumpeter makes every note count during the consistently exciting program. There definitely isn't much in the way of improvisational jams going on here, but if you like your jazz short and sweet, you'll enjoy getting close with Shavers. Reviewed by Scott Yanow & Michael Brad Richman

01 Girl Of My Dreams /  02 September In The Rain /  03 What Can I Say After I Say I'm Sorry / 04 Lover / 05 I'll Get By / 06 Out Of Nowhere / 07 Dream / 

08 Bye Bye Blackbird / 09 Pennies From Heaven / 10 Frenesi / 

11 Green Eyes / 12 Let's Fall In Love

WOODY SHAW - LOVE DANCE - 1975 - 24/48

Muse  MR-5074
My Vinyl Rip
Front & Back Covers
FLAC
DR Value 13

Love Dance is the fourth album led by trumpeter Woody Shaw which was recorded in 1975 and released on the Muse label.  Love Dance was reissued by Mosaic Records as part of Woody Shaw: The Complete Muse Sessions in 2013.   Shaw gives us a polished performance as he shows his versatility throughout the session.  I like the title track Love Dance as the highlight.  At over twelve minutes in length, it's a showcases of wonderful solos by all the players.    

01 Love Dance / 02 Obsequious / 03 Sunbath / 04 Zoltan /
05 Soulfully I Love You (Black Spiritual of Love)

Woody Shaw - trumpet;  Steve Turre - trombone, bass trombone;  René McLean - alto saxophone, soprano saxophone;
Billy Harper - tenor saxophone;  Joe Bonner - piano, electric piano;  Cecil McBee - bass;  Victor Lewis - drums:
Guilherme Franco - percussion;  Tony Waters - congas

Sam Noto - Entrance!

For those of you who may not know, there is an amazing blog called Kubla's Crib (here).  It's part of our amazing network.  The sole purpose was to gather the entire Xanadu discography in FLAC format.  That goal was for the most part achieved - save a few albums which may remain in mp3.  However as time wore on, the links began to expire or disappear from failed server sites.

Entrance! was originally shared by legendary Crypt brother Alpax.  A couple years later it resurfaced in FLAC by none other than Kingcake himself.

So last week, during the same day, I was discussing Xanadu with my good friend Billy Batts, & also chatting about pianist Barry Harris with another friend, jgannon.  I decided that the time would be right for a re-rip of this great album.  And it truly is a great album.  The trumpet led quartet is not an easy gig for even the best of horn players.  Even with excellent support, the amount of creativity and physicality required is beyond the typical layman.  Not only does Noto deliver on those fronts, but also on the emotive aspect which is so important for making an album palpable.

Entrance! maintains a wonderful mood that has an upbeat feel.  Of course, the rhythm section lay it down and give Noto the creative juice needed to jump off each chorus.  I think something else worth mentioning is the incredible production.  The seperation always has a natural sound which keeps the band connected between channels.  It also serves to bring Noto into the forefront, accenting his glorious tone.  Between the music and the production, there's no doubt that Schlitten and his Xanadu imprint were at the forefront of the "tradition" during the 70's.

The cover for this album is well loved and as such has a lot of ring wear.  I used an image from the internet instead.  The back cover however, is from my sleeve.  It did it's job protecting the record, which is minty clean.  This album was ripped at 24/48 wav and transferred to 24/48 FLAC for your convenience.  Enjoy!!!

__________________________________________________

Xanadu 103

Gene Ammons In Sweden

This is a re-up for Malaspina, originally posted at the "old" Crypt in 2012.

I hope everybody will have a look through our archive of Ammons - uploaded by our very own Chris!! http://kccryptredux.blogspot.ca/search/label/Gene%20Ammons

I am not a huge Ammons fan.  What I mean by that is, he's not an artist whom I have explored deeply.  I have several key sides like Boss Tenor and Happy Blues, but so do most self respecting jazz fans.

This LP takes us a bit deeper, of course because it's live, but also due to a certain charm.  We get a nice dose of Jugs on the mic, introducing songs and interacting with the crowd.  But it's his playing, well actually the whole band's playing, which grabs me unlike many of his other sides.  "Je ne sais quoi..."

The group is really relaxed and give each other all kinds of space.  The vibe really comes through as these guys stretch out on the uptempo numbers.  That would be reserved for side one, side two brings in the balladry and things get down right sublime.  Horace Parlan shows his gifts again and again, he really is a joy to listen to.  As for Ammons, he seems to know exactly what to bring...and how to bring it!  Overall we get a nice dose of his bag of tricks.

ENJA released this in 1981, but the date took place on July 14th, 1973.  There is almost a bootleg feel to this LP, both in presentation on the sleeve and in sound quality.  Sure, it's no Van Gelder, but far from unenjoyable.  I tend to over obsess about audio quality and I have no issues with this side.  It was released as part of a "two-fer", along with a Ben Webster live date, on CD but is OOP.

This album is a minty ENJA stereo LP, ripped at 24/44.1 wav and dithered to 16/44.1 FLAC.  It should be noted that there are infact 5 tracks on this album, but you are only receiving 4.  Polka Dots And Moonbeams has a seamless segueway into Lover Man, so I merged the two tracks and left them intact.  Taking liberties yes, but once you hear it I think you'll understand why.  A great way to end a gorgeous weekend, but it's always sunny at the Crypt no?  Enjoy!!

ENJA 3093
Produced by Inge Dahl
Recorded and Mixed by Berndt Berndtson
Recorded live at the Ahus Jazz Fest on July 14th, 1973 in Sweden

Gene Ammons (ts);  Horace Parlan (p);  Red Mitchell (b);  Ed Jones (d)

Cat Anderson - Old Folks

Hey gang!!!  It's been a while, but I have a treat for you.  I'm not sure if it's Cat's final album, but it was recorded only a couple years before his passing.  In 70's Europe, his music and presence was in demand and as such, he recorded in Paris.  Most notable were his Black & Blue sides, but this All Life Records LP is just as excellent - in all ways.

Firstly, when you hear how great Anderson sounds, you will realize that he was infact taken too soon.  Even at the age of 62 he had much to say, and the physicality to execute.  On Old Folks, you will get everything you love about this Ellingtonian.  Playful plunger mutes, soulful balladry and even his infamous power in the freak register.

The backing band is of course made up of notable French players, and perform much beyond their "duty".  We hear a bit from Arvanitas while Michelot & Collier keep the groove locked and interesting.  The song selection makes for a really varied and fun album.  Even standards like Caravan come out sounding fresh, but who else could do that classic better justice than an Ellington man himself?!?!

In any case, Old Folks is a fun and enjoyable mainstream album.  A must have for Anderson/Ellingtonia fans, and definitely a nice jewel for any mainstream fan.  I have ripped this minty LP at 24/48 wav & transferred to 24/48 FLAC for your convenience.  A gorgeous recording which hopefully will help you to ring in the new year!!!  See you in 2017... enjoy!

__________________________________________________________

All Life Records AL-004
1980

Recorded April 17th, 1979 and mixed July 26th, 1979
at Studio des Champs-Elysées, Paris.
Bass – Pierre Michelot
Drums – George Collier
Piano – Georges Arvanitas
Trumpet – Cat Anderson

A1   Do You Know What It Means 4:56
A2   Buddy Bolden Blues 4:04
A3   Pennies From Heaven 3:48
A4   I'm Beginning To See The Light 5:50
B1   Old Folks 4:24
B2   Caravan 4:02
B3   Eye For You 5:51
B4   How Deep Is The Ocean 4:28

Willis Jackson - Blue Gator (1959,60) [vinyl]

Blue Gator is the third album led by saxophonist Willis Jackson featuring organist Jack McDuff and guitarist Bill Jennings which was recorded in 1959 and 1960 and released on the Prestige label. ~ Wikipedia.

Seminal early work from Willis Jackson. Blue Gator is a massive early Prestige set from tenorist Willis - and just the kind of record that set him firmly in the soul jazz camp for the 60s! By the time of the set, Jackson had already won plenty of fame for his R&B-tinged work - but here, he stretches out a bit more, and really gets creative on his solos - working with a very hip group that includes Jack McDuff on organ and Wild Bill Jennings on guitar - both players making a similar shift in their music at the time. The tracks are lively, recorded with a bold, loud tone, and have lots of those great open-mouthed tones from Jackson - quite possibly a good reason for his "Gator" nickname! Tracks include "Blue Gator", "East Breeze", "The Gator Jumps", and "Try A Little Tenderness". ~ Extract from Dusty Groove Inc.

Prestige Records, PRST 7850, 1972 [Reissue]

Recorded 25^th May (#A3,B3), 1959 at Van Gelder Studio, Hackensack, New Jersey;

9^th November (#B2), 1959; 25^th February (#B1) & 16^th August (#A1,A2), 1960

at Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Jack McDuff - Organ

Bill Jennings - Guitar

Wendell Marshall - Bass (#A1,A2,B2)

Tommy Potter - Bass (#A3,B3)

Milt Hinton - Bass (#B1)

Bill Elliot - Drums (#A1,A2)

Alvin Johnson - Drums (#A3-B3)

Buck Clarke - Congas (#B1)

Tracks:

A1. Blue Gator {Willis Jackson} (9:13)

A2. Try A Little Tenderness {Jimmy Campbell, Reg Connelly, Harry Woods} (5:59)

A3. The Gator Jumps {Willis Jackson} (3:40)

B1. This Nearly Was Mine {Oscar Hammerstein II, Richard Rodgers} (4:32)

B2. East Breeze {Esmond Edwards} (10:02)

B3. She's Funny That Way {Neil Moret, Richard Whiting} (5:12)

Credits:

Supervisor - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Tom Curry (January 1971)

Mose Allison - Ever Since The World Ended

When I stop and think about it, Mose Allison records were rarely something that I consciously pursued...they just kind of showed up on my shelves in all kinds of ways not normal for a collector; found in closets, left by roommates, random garage sale purchases, equally random gifts...you get it. Each one became a 'certain niche' favorite. I always felt just a little hipper when I'd finished listening to something from my Mose stash. The funny thing is...I snatched this one the moment I saw it, the only Mose thing I ever did that with. For whatever the reason, I knew it was meant for my ears...What's your movie?

Ted Curson & Co. - Ode To Booker Ervin (1970) [vinyl>flac]

A rare Finnish album from the great trumpeter Ted Curson - and easily one of his greatest albums ever! The Ted heard here is a bit like the Curson of the famous early 70s Paris sessions - soulful, soaring, and still every bit as modern as his initial moments in the 60s - yet somehow a bit more focused too - able to really hit a groove when he wanted to, but all without ever losing his edge! The lineup here features some excellent reeds from Eero Koivistoinen - who plays tenor, alto, and soprano sax in the lead - almost with an edge as sharp as Curson's frequent partner Bill Barron. The group also has some heavy Fender Rhodes from Pentti Hietanen, plus sharp rhythms from Pekka Sarmanto on bass and Reino Laine on drums - on titles that include "Ode To Booker Ervin", "LSD Takes Holiday", "Airi's Tune", "Montreux", "Festival Blue", and "Typical Ted". © Dusty Groove, Inc.

Ode to Booker Ervin is an album by American trumpeter Ted Curson which was recorded in Helsinki and first released on the Finnish EMI Columbia label in 1970. The album features Curson with a band composed of local Finnish jazz musicians. All compositions by Ted Curson except "Montreux" and "Festival Blue" are penned by Finnish pianist Pentti Hietanen. ~ Extract Wikipedia

With Finnish sidemen, Curson eulogizes Booker Ervin. ~ by Ron Wynn, AMG.

Columbia Records, 5E 062-34201, 1970

Recorded 3^rd September, 1970 at Finnvox Studio, Helsinki, Finland

Musicians:

Ted Curson - Trumpet, Piccolo Trumpet

Pentti Hietanen - Piano, Fender Jazz Piano

Eero Koivistoinen - Tenor, Alto & Soprano Saxophones

Pekka Sarmanto - Bass

Reino Laine - Drums

Tracks:

A1. Ode To Booker Ervin {Ted Curson} (2:07)

A2. LSD Takes Holiday {Ted Curson} (5:43)

A3. Airi’s Tune {Ted Curson} (7:42)

A4. Montreux {Pentti Hietanen} (6:39)

B1. Festival Blue {Pentti Hietanen} (6:44)

B2. Typical Ted {Ted Curson} (7:06)

B3. The Leopard {Ted Curson} (8:33)

Credits:

Engineer - Antti Joki

Photo - Seppo Kosting, Sakari Parkkinen

Hank Marr - Sounds From The Marr-Ket Place 1964 (LP-24-48-flac)

For those that like the Hammond B3 and artists like Jimmy McGriff, Jack McDuff, Jimmy Smith, Richard 'Groove' Holmes, Bill Doggett etc. you will like this album by Hank Marr. Plus, this marks the recording debut of future avant-gardists George Adams and James 'Blood' Ulmer. Soul Jazz at it's finest.

****There is some question about this being Rusty Bryant and not George Adams on tenor. From what I have read the consensus is that it is Adams. I do not particularly like avant-garde or free jazz or Adams later work so I cannot tell by listening, although avant-garde is not what he is playing here as this is his earliest work. Perhaps there may be a George Adams fan who reads this and DL's the music who may be able to shed some light on this question.

Hank Marr - Organ
George Adams - Tenor Sax
James Ulmer - Guitar
Taylor Orr - Drums

A1 - The Marr-Ket Place
A2 - Soup Spoon
A3 - Smothered Soul
A4 - I Remember Acapulco
A5 - Greens A-Go-Go
B1 - Down In The Bottom
B2 - My Dream Just Passed
B3 - Home Fries
B4 - Come And Get It
B5 - Get On Down

My LP > 24/48 flac > Full 600 dpi Scans > Properly Tagged Files > 4% Recovery Record = 449 MB

Mose Allison - Your Mind is on Vacation

Dedicated to our new Potus and Vice-Potus elect. I don't believe any explanation is needed.

AllMusic Review by Scott Yanow

"It seems strange to realize that this was Mose Allison's only recording during the 1973-1981 period. In addition to his trio with bassist Jack Hannah and drummer Jerry Granelli, such guests as altoist David Sanborn, Al Cohn, and Joe Farrell on tenors and trumpeter Al Porcino pop up on a few selections. However, Mose Allison is easily the main star, performing ten of his originals (including a remake of the famous title cut, "What Do You Do After You Ruin Your Life," and "Swingin' Machine") plus renditions of the standards "Foolin' Myself" and "I Can't See for Lookin'."

I just noticed while listening that there is a lovely Monkish bounce to this Mississippi Be-Bop!

Carmen McRae - Carmen For Cool Ones (1957) [vinyl>flac]

Hip early work from Carmen McCrae - with jazzy arrangements by Fred Katz, featuring mostly west coast players running through some off-kilter backings that give Carmen a different sound than usual. The album's definitely got the "cool" in the title, but Carmen's sophisticated phrasing of the songs brings a lot of warmth to the tracks - in a kind of counterpoint that works really well with the music. Titles include "I Remember Clifford", "What's New", "Weak For The Man", "A Shoulder To Cry On", "Any Old Time", "Without A Word Of Warning", and "The Night We Called It A Day". © Dusty Groove, Inc.

Decca Records, DL 8738, 1958

Recorded 1957

Personnel:

Carmen McRae - Vocals

Pete Candoli - Trumpet (#A6)

Ray Lion - Trumpet (#A6)

Milt Bernhart - Trombone (#A6)

Bob Enevoldsen - Trombone (#A6)

Tommy Johnson - Tuba (#A6)

Buddy Collette - Flute, Alto Saxophone (#A2,A4,B4,B6)

George W. Smith - Clarinet (#A1,A2,A4,B1,B3,B4,B6)

Justin Gordon - Bass Clarinet (#A1,A2,A4,B1,B3,B4,B6)

Mahlon Clark - Bass Clarinet (#A1,B1,B3)

Bill Green - Flute (#A1,B1,B3)

Harry Klee - Flute [Solo] (#A1,B1,B3)

Warren Webb - Oboe (#A2,A4,B4,B6)

Larry Bunker - Vibraphone (#A3,A5,B2,B5), Drums (#A6)

Frank Emilio Flynn - Vibraphone, Marimba (#A3,A5,B2,B5)

John T. Williams - Piano (#A3,A5,B2,B5)

Joe Marino - Piano (#A2,A4,B4,B6), Celeste (#A3,A5,B2,B5)

Calvin Jackson - Piano (#A6)

Joseph R. Gibbons - Guitar (#A2,A4,B4,B6)

Billy Bean - Guitar (#A6)

Fred Katz - Cello (#B5)

Ike Isaacs - Bass (#A1-A5,B1-B6)

Red Mitchell - Bass (#A6)

Specs Wright - Drums (#A1-A5,B1-B6)

Tracks:

A1. All The Things You Are {Jerome Kern, Oscar Hammerstein II} (2:25)

A2. A Shoulder To Cry On {Chuck Darwin, Paulette Girard} (3:52)

A3. Any Old Time {Artie Shaw} (3:09)

A4. Weak For The Man {Jeanne Burns} (4:08)

A5. What's New {Bob Haggart, Johnny Burke} (2:29)

A6. I Get A Kick Out Of You {Cole Porter} (2:14)

B1. [What Can I Say] After I Say {Walter Donaldson, Abe Lyman} (1:46)

B2. Without A Word Of Warning (Mack Gordon, Harry Revel} (3:19)

B3. You Are Mine {Frank Loesser} (3:26)

B4. If I Were A Bell {Ted Snyder, Sam Lewis, Joe Young} (1:54)

B5. The Night We Called It A Day {Matt Dennis, Tom Adair} (4:28)

B6. I Remember Clifford {Benny Golson, Jon Hendricks} (3:00)

Orchestra Director, Arranger - Fred Katz

Liner Notes - Burt Korall

Mose Allison - I Love The Life I Live (1960) [vinyl, mono>flac]

Here’s my tribute to a great musician, singer & composer.

Recorded In the mid-1960, this Mose's second album with Columbia Records, captures the artist and his trio as he develops as a pianist, vocalist and composer. With signature passion and prowess, Mose Allison has created another ripe with personality. Known for his work on the trumpet as well as the piano Mose has played with the likes of Stan Getz and Zoot Sims among others as he has spread his own version of blues inflected jazz across the land. Sticking to the piano on this outing Mose sings and plays a few of his own compositions and a nice selection of other works. His piano presence is light and tasty and the blend of the trio sounds just right ever changing directions from song to song as Mose follows his muse.

When this album was recorded in 1960, this laconic Mississippian wasn't the brilliant lyricist he would later become. But he had great taste. The title track, written by Willie Dixon, sure sounds like a Mose song; "Fool's Paradise" is another gem. Mose's four tunes are instrumentals. The production by Teo Macero makes it feel like you're perched on one end of the piano bench. ~ by Mark Allan, AMG.

Columbia Records, CL 1565 [Mono], 1960

Recorded 28^th June, 1960 - 9^th September, 1960

Personnel:

Mose Allison - Piano, Vocals

Henry Grimes - Bass (#A1,A2,B4)

Addison Farmer - Bass (#A3,A4,B1,B3)

Bill Crow - Bass (#A5,B5,B6)

Paul Motian - Drums (#A1,A2,B4)

Jerry Segal - Drums (#A3,A4,B1,B3)

Gus Johnson - Drums (#A5,B5,B6)

Tracks:

A1. I Love The Life I Live, I Live The Life I Love {Willie Dixon} (2:29)

A2. News {Mose Allison} (3:21)

A3. Fool's Paradise {Jerry Fuller, Robert Geddins, Dan Rosenbaum} (3:39)

A4. You Turned The Tables On Me {Louis Alter, Sidney Mitchell} (4:01)

A5. Isobel {Al Cohn} (4:09)

A6. You're A Sweetheart {Harold Adamson, Jimmy McHugh} (2:18)

B1. Night Ride {Mose Allison} (3:16)

B2. Path {Mose Allison} (3:37)

B3. Mad With You {Lightnin' Hopkins} (2:12)

B4. Hittin' On One {Mose Allison} (3:36)

B5. I Ain't Got Nobody {Roger Graham, Don Peyton, Spencer Williams} (1:53)

B6. Can't We Be Friends {Paul James, Kay Swift} (4:31)

Credits:

Producer - Teo Macero

Cover Photo - Bernie Friedman (Columbia Records Studio)

Liner Notes - Mose Allison