JIMMY MC GRIFF - I'VE GOT A WOMAN (1962) VINYL 24~48 WAVE

1962
Sue 1012
My Vinyl Rip
DR Value 11
Front & Back Covers
WAVE 441mb

 McGriff's first album is great. The title cut was in the top 20 in 1962. Also on the same album is "M.G. Blues" and "All About My Girl." This session McGriff, Richard Easley on drums and Walter Miller on guitar. Hi-impact early McGriff is the still the best, and this is the album that started it all, on the Sue label.....AllMusic Review by Michael Erlewine

01 I've Got A Woman / 02 On The Street Where You Live / 03 Satin Doll / 04 'Round Midnight / 05 All About My Girl / 06 M.G. Blues / 07 That's The Way I Feel / 08 After Hours / 09 Flying Home / 10 Sermon

             

Ray Bryant - Slow Freight (1966) [re-rip]

A killer album by soul jazz pianist Ray Bryant! The title track, "Slow Freight", is an amazing 10 minute groover that moves at a very slow pace (just like a freight train), and which features some very cool ad-lib talking by Paul Serrano - a pretty groovy touch that really adds a lot to the track! Ray's piano is in the lead, with a sinister soulful groove – and he's backed by his patented two-trumpet rhythm sound, played here by Art Farmer and Snookie Young - blasting away with a tightly vamping approach that's really in the groove. The rest of the record's great too - and other tracks include "The Fox Stalker" and "Return Of The Prodigal Son". One of Ray's best ever! © Dusty Groove, Inc.

Ray Bryant always surrounds himself with pros; he's one and he wants nothing but the finest with him. The end product justifies the means. This is an excellent album. ~ Extract from Liner Notes by E. Herbert.

Cadet Records, LPS 781, 1967

Recorded 8th December, 1966 at RCA Studios in New York City

Personnel:

Ray Bryant - Piano

Art Farmer - Trumpet, Flugelhorn

Snookie Young - Trumpet, Flugelhorn

Richard Davis - Bass

Freddie Waits - Drums

Paul Serrano - Cool Talking (#A1)

Track Listing:

A1. Slow Freight {Ray Bryant, Esmond Edwards} (9:19)

A2. Amen {Traditional} (4:59)

A3. Satin Doll {Duke Ellington, Johnny Mercer, Billy Strayhorn} (6:52)

B1. If You Go Away {Jacques Brel, Rod McKuen} (4:49)

B2. Ah, The Apple Tree {Johnny Mercer, M. Philippe-Gerard, Angele Vannier} (3:34)

B3. The Return Of The Prodigal Son {Harold Ousley} (5:04)

B4. The Fox Stalker {Ray Bryant} (3:35)

Credits:

Producer, Supervisor - Esmond Edwards

Recording Engineer - Ray Hall

Photography, Design - Esmond Edwards

Liner Notes - E. Herbert

Ray Bryant - Up Above The Rock (1968) [re-rip]

The drum break that opens the title track is absolutely killer. With all due respect to Mr. Bryant, drummer Grady Tate is truly the star of this show. Brilliant arranger Richard Evans recorded the drums so loudly; they almost occupy a whole speaker in stereo. Listen to the oddly hyperactive drumming on the nearly five-minute cover of "I Say a Little Prayer". Drums haven't been that aggressive on a Bacharach tune since Love's "My Little Red Book". The majority of the album is solid soul-jazz with the minor-keyed titled track being the clear standout, although similarly minor-keyed sleeper "Five, Six and Seven" is quite excellent as well. I never understand period liner notes on the backs of my records. Invariably, the author is completely oblivious to what the standout tracks are on the album. The author on the back of "Up Above the Rock" informs you that the cover of "Mrs. Robinson" will really blow your mind or some sort of nonsense. Really? Have you even listened to the title track? How do those drums not smack you in the face as soon as you start the record? ~ mag1c_hands

It seems like there’s been a lot of funky and soulful jazz stuff on Cadet around lately. This has been a longtime want as well. Of course, Up Above The Rock starts with some funky drumming by Grady Tate, but the whole song is just a jam even without that opening. Tate gets busy on here a couple of other times and I like the tone of his drums in the mix. Ron Carter can also be found on bass here. The record tends to be blues influenced up beat jazz like Quizas, Quizas, Quizas. Overall, this is a pretty nice jazz album. ~ Soulstrut

Cadet Records, LPS 818, 1968

Recorded September, 1968 at RCA Studios, New York City

Personnel:

Ray Bryant - Piano

Ron Carter - Bass

Grady Tate - Drums

Dobbie Hiques - Flugelhorn, Trumpet

Snookie Young - Flugelhorn, Trumpet (#A1,A3,A4,B3-B5)

Danny Moore - Flugelhorn, Trumpet (#A2,A5,B1,B2)

Track Listing:

A1. Up Above The Rock {Ray Bryant} (3:03)

A2. Dag Nab It {Buddy Johnson} (3:36)

A3. Quizas, Quizas, Quizas {Joe Davis, Osvaldo Farres} (3:21)

A4. If I Were A Carpenter {Tim Hardin} (2:51)

A5. Little Green Apples {Bobby Russell} (3:23)

B1. I Say A Little Prayer {Burt Bacharach, Hal David} (4:52)

B2. After Hours {Avery Parrish, Erskine Hawkins} (3:50)

B3. Where The Wind Blows {Bob James} (4:36)

B4. Five, Six And Seven {Ray Bryant} (3:23)

B5. Mrs. Robinson {Paul Simon} (2:56)

Credits:

Producer - Richard Evans

Supervision - Dick LaPalm

Arranger - Ray Bryant

Engineer - Ray Hall

Hadley Caliman - Hadley Caliman & Iapetus (Mainstream 318 & 342)

I can't recall ever seeing either of these albums in a lossless rip...somebody want to prove me wrong?

Hadley didn't get too many chances to record as a leader...these were the first two and they are hard to find. I have always liked these albums: it is the sound of KJAZ radio when I was a young man.

You will find a rather detailed bio of Hadley in the text doc in the first file.

Blue Mitchell - Many Shades Of Blue (1974) [Mainstream: vinyl 24/48]

I acquired a sealed copy of this, Mitchell's final recording for Mainstream. It finds him well advanced down the jazz-funk road, though it's good of its kind and there are still glimmers of Mitchell the trumpeter who graced those Riverside and Blue Note albums of the 50s and 60s.
With one glowing exception*, the remaining recordings, under his own name, for RCA and Impulse were to be even more faceless.

However I am well aware that many do not share my reservations of this genre and for those I'll leave the last word with Cheeba, who posted his mp3 vinyl rip over at his Soundalogical blog back back in 2009:

I'm the biggest sucker for Blue Mitchell's 70s Mainstream sides. They were a major component of my initiation into the realm of jazzfunk and the first three are etched in my mind forever so, thanks the psychological process of imprinting, his sides are among the sine qua non of the milieu for me.

As usual, Blue has a stellar line up behind him here since it seems Mitchell and Sarah Vaughan were the only artists on whom Shad actually spent proper money. The two are also tied as the most voluminously released artists on MRL (both providing 7 albums of new material for Shad in a few short years) so their stature, productivity and faithfulness were probably big factors in that equation. Not counting the split with Roy Haynes when Shad was in scavenger mode, this is the last LP Mitchell released on the label before it shuttered, after which he moved on to a series of labels.
Among these were RCA (Stratosonic Nuances, Funktion Junction) and ABC (African Violet, Summer Soft) where he would be slathered in strings and discofied to such a degree that on occasion he might as well have been just another one of the session musicians. Never again* would he regain the raw funkiness and full-on souljazz feeling that typifies his Mainstream output. Mitchell would die before he had a chance to do so, passing away prior to the end of the decade at the relatively early age of 49.

01 - Where It's At
02 - Harmony Of The Underworld
03 - Funky Walk
04 - Blue Funk
05 - Golden Feathered Bid
06 - Beens And Taters
07 - Funny Bone
08 - Hot Stuff

James Bossy, Jon Faddis, Irwin "Marky" Markowitz, Blue Mitchell (trumpet) Frank Vicari (tenor sax) Joe Farrell (tenor sax, flute) Seldon Powell (tenor, baritone sax) Joe Beck, Sam T. Brown, John Tropea (guitar) Wilbur Bascomb Jr., Michael Moore (Fender bass) James Madison (drums)
NYC, 1974

*[Cheeba was obviously unaware of his 1977 recording Stablemates]

Blue Mitchell - Vital Blue [new 24/48 vinyl rip]

This one is for grumpy....I find it a little curious that at the time I posted my first rip of this album it was nowhere to be found on the internet, but now it is offered in mp3 form in multiple places. Hmmm - Oh Well, here is a new and final rip in 24/48 flac, sampled down from the original 24/96 wave subsequent to cleaning through Isotope RX.
 
"One of the rarest Blue Mitchell albums for Mainstream – and one of the most beautiful! Unlike the other sessions, most of which are electric funk outings, this one has a more spiritual side, and the kind of soulful approach you'd expect from Strata East. The group features Ernie Watts on tenor, Joe Henderson on flute, and tenor, Walter Bishop on piano, and Susaye Greene singing wordless vocals on a few cuts. Highlights include the odd "Unseen Sounds", which has some great weird flute work from Henderson, plus "Booty Shakin", "Vital Blue", and "Herman's Helmet". Dusty Groove

Willis Jackson - Neapolitan Nights (1962) [vinyl]

Naples (or, if you will, Napoli) is one of the world's most scenic cities, and also the home of the pizza pie. Like all the great cities of Italy, it is full of music; among other accomplishments, Naples gave the world Enrico Caruso. Here it serves as the starting point of a musical tour of Italy, guided by the potent tenor saxophone of Willis Jackson at the helm of a swinging rhythm-section. Some of the tunes are old, others are new, and one (Verdi's Vonce) is the blues - though not very blue. All are melodic and have that special romantic flavor long associated with the popular songs of the homeland of grand opera and bel canto. Willis Jackson handles this material with appropriate gusto and warmth. His big, ripe tone is admirably suited to bring out the flavor of a singable melody, and his jazz conception and innate swing stand him in good stead where the avoidance of excessive sentimentality and bathos is concerned. This is not a schmaltzy album, though Mama - one of the best-loved tearjerkers in the Mediterranean repertoire - is handled with the proper traditional feeling. ~ Excerpt from the Liner Notes by Dan Morgenstern

On this album Jackson is joined with a number of other heavyweights. Gildo Mahones for one sets up some wonderful backing including space to showcase some brilliant piano solos. Equally, Bucky Pizzarelli lays down some marvellous sections of guitar. In essence the rest of the group also command much praise, bassist George Tucker holds things together while drummer Bobby Donaldson and conga expert Montego Joe add their special touches to this broad selection of Italian derived tunes. I have to admit whilst perfecting this rip from a very old well-loved vinyl I have grown much love for this LP. Hopefully you too can share in my delight of this relatively hard to find side from the "Gator".

Prestige Records, PR 7264, 1963

Recorded 19^th December, 1962 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Gildo Mahones - Piano

Bucky Pizzarelli - Guitar

George Tucker - Bass

Bobby Donaldson - Drums

Montego Joe - Congas

Tracks:

A1. Neapolitan Nights {Traditional} (6:58)

A2. Arrivederci Roma {Renato Rascel, Pietro Garinei, Sandro Giovannini} (5:42)

A3. Mama {Cesare Andrea Bixio} (5:14)

B1. Volare {Franco Migliacci, Domenico Modugno} (5:32)

B2. Al Di Là {Carlo Donida, Mogol} (4:38)

B3. Verdi's Vonce {Willis "Gator" Jackson} (7:05)

Credits:

Producer - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Liner Notes - Dan Morgenstern

Jimmy Raney - Two Jims and Zoot (Mainstream 6013)

AllMusic Review by Scott Yanow

The slightly unusual date Two Jims and a Zoot features tenor saxophonist Zoot Sims interacting with two guitarists (Jimmy Raney and Jim Hall) while given subtle support by bassist Steve Swallow and drummer Osie Johnson. Although the eight selections (none of which caught on as standards) had all been written recently and sometimes display the influence of bossa nova, the quiet performances could pass for 1954 rather than 1964. The cool-toned improvisations and boppish playing have a timeless quality about them although for the time period aspects of this music already sounded a bit old-fashioned.

Fun on the Frets - Early Jazz Guitar

I wouldn't normally do this here as it is only in mp3, but it is really fun stuff and the clean-up came out well.

Sometime ago I dl'd this (I believe from Twilight Zone) and while the rip had good sound, it was full record noise that I knew I could fix. I don't usually like to mess with cleaning mp3's for fear of losing more than you gain, but in this case it came out quite well.

With respect and thanks to the original ripper, here is the cleaned copy.

JOHNNY HODGES - PREVIOUSLY UNRELEASED RECORDINGS - 1963 - WAVE

1963

Verve V6-8834

My Vinyl Rip + Front and Back Covers

DR value 13

WAVE

I ripped this back in 2012 and posted it at The Lair.  This is a NEW RIP and NEW LINKS

Johnny Hodges enjoyed his greatest success as one of the most important solo stars of the Duke Ellington Orchestra.  It’s hard to believe none of these tracks found their way on to vinyl while Hodges was still alive.  Over the years, record companies have always managed to discover unreleased, lost, or hidden sessions for post mortem profit releases.   These tracks however are a real treasure, and well worth the short wait.  The audio quality is excellent and Hodges’ tone is brilliant.  The album was produced by Creed Taylor and features the piano work of Lalo Schifrin, who wrote and contributed two of the more memorable tracks.  And what a nice surprise to find Dave “One Foot In The Gutter” Bailey on drums.  It’s tough to select the best tracks. Hodges’ fan or not, all of them deserve attention.

1.  Mama Knows

2.  I'm In Another World

3.  Dreary Days

4.  I Can't Believe That You're In Love With Me

5.  B. A. Blues

6.  Wanderlust

7.  All Too Soon

8.  Somebody Loves Me

Johnny Hodges, sax;  Lalo Schifrin, piano; Barry Galbraith, guitar;

George Duvivier, bass;  Dave Bailey, drums

NYC, March 26, 1963 Released 1973

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