Various Artists - Blues For Tomorrow (1957) [vinyl>flac]

The success of this project will make listeners wish jazz of this ilk had been more frequently released in nifty compilations such as this. It is like some kind of heat-and-serve DJ set, complete with a cover that looks like a hand-colored landscape shot from a '50s science fiction movie, perhaps "Invasion of the Bluesy Snatchers." A key part of the success of any compilation is to avoid the issue of quality through careful programming or some other inexplicable mojo. Since it is impossible for every track to have the same equal value, a compilation relies on charades, presenting an image of the epic and universal appeal of music as pure enjoyment, song to song, whether it is a genius leading the band or...well, Herbie Mann. It is surely no question of fame, since the latter artist was at least for a time the commercial equal if not the better of tenor saxophone genius Sonny Rollins, whose "Funky Hotel Blues" is the ultimate performance here. In terms of quality, comparing his improvisations with the flute wheezing of Mann is like comparing Chateaubriand with "hot 'em" burgers. Yet few listeners will probably bail out of the flutist's "A Sad Thing," possibly because there is a kind of intense happiness that comes from knowing it is the sole track by this Mann in the collection, but also because it is actually an effective, moody instrumental, and not the only one to be hampered not by the lack of a really good jazz soloist. Guitarist Mundell Lowe, who could always use some more recognition, becomes a champion by suggesting to his quintet "Let's Blow Some Blues." His playing is so strong that one imagines that if this performance had actually followed that of Rollins on a stage, nobody in the audience would have complained. There are many classic jazz players lurking in the wings as this collection of tracks unfolds. The first 13 and a half minutes would make a tremendous first act in a play, a loose jam on a tune by Gigi Gryce that is full of the marvelously happy spirit of hard bop. ~ by Eugene Chadbourne, AMG.

Riverside Records, RLP-12-243, 1957

Original Jazz Classics, OJC-030, 1982

Recorded (#A1,B1-B3) At Reeves Sound Studios, New York

(#A2) At Capitol Tower, Los Angeles, California in 1957

Tracklist:

A1. East Coast All-Stars - Blues For Tomorrow {Gigi Gryce} (13:32)

Ray Copeland - Trumpet

Gigi Gryce - Alto Saxophone

John Coltrane - Tenor Saxophone

Coleman Hawkins - Tenor Saxophone

Wilbur Ware - Bass

Art Blakey - Drums

A2. Herbie Mann's Californians - A Sad Thing {Herbie Mann} (5:04)

Herbie Mann - Bass Clarinet

Jack Sheldon - Trumpet

Jimmy Rowles - Piano

Buddy Clark - Bass

Mel Lewis - Drums

B1. Sonny Rollins Quartet - Funky Hotel Blues {Sonny Rollins} (6:00)

Sonny Rollins - Tenor Saxophone

Sonny Clark - Piano

Paul Chambers - Bass

Roy Haynes - Drums

B2. Mundell Lowe Quintet - Let's Blow Some Blues {Mundell Lowe} (7:53)

Mundell Lowe - Guitar

Gene Quill - Alto Saxophone

Billy Taylor - Piano

Les Grinage - Bass

Ed Thigpen - Drums

B3. Bobby Jaspar Quartet - The Fuzz {Bobby Jaspar} (6:13)

Bobby Jaspar - Tenor Saxophone

George Wallington - Piano

Wilbur Little - Bass

Elvin Jones - Drums

Credits:

Producer, Liner Notes - Orrin Keepnews

Recording Engineer - Jack Higgins

Design - Paul Bacon

Cover Photo - Rapho Guillumette Pictures

Wally Richardson - Soul Guru (1968) [vinyl>flac]

Wally Richardson came out of a rhythm and blues, soul jazz and pop experience. Because of this background and music reading ability, he was very active as an all-around studio guitarist in the late 50's/60's/70's. He recorded a good cult album of psychedelic jazz funk which is now a collector’s item. "Soul Guru" came out in 1969 on Prestige Records in New Jersey.

Guitar driven soul jazz album with a great variety of influences, soul, jazz, east, blues, rock, from sitar-like sounds on Soul Guru to twangy style Surf Side Shuffle, acoustic songs and jazz driven themes. ~ mekkipuur, RateYourMusic.

Prestige Records, PRST 7569, 1968

BGP Records, BGPD 1113, 1988

Recorded 5^th (#A1,A3,B1-B3) & 7^th (#A2,A4,B4) February, 1968

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Wally Richardson - Guitar

Zane Zacharoff - Bass Clarinet (#A1,A3,B1-B3)

Ernest Hayes - Piano (#A2,A4,B4)

Everett Barksdale - 12-String Guitar (#A1,A3,B1-B3)

Richard Davis - Bass (#A1,A3,B1-B3)

Jimmy Lewis - Bass (#A2,A4,B4)

Orville Mason - Fender Bass (#A1,A3,B1-B3)

Bobby Donaldson - Drums

Montego Joe - Percussion (#A1,A3,B1-B3)

Tracks:

A1. Senor Boogaloo {Wally Richardson} (4:11)

A2. Elbow Blues {Wally Richardson} (5:25)

A3. Monday Monday {John Phillips} (3:08)

A4. Surf Side Shuffle {Wally Richardson} (5:43)

B1. Soul Guru {Wally Richardson} (6:02)

B2. Lonely Rider {David Raksin} (2:44)

B3. Khyber Pass Boogaloo {Wally Richardson} (3:50)

B4. Square Heels, White Stockings {Wally Richardson} (4:53)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder

Design, Photography - Don Schlitten

Liner Notes - Chris Albertson (April, 1968)

David "Fathead" Newman - Keep The Dream Alive (1978)

An overlooked Jazz-Funk/Soul Jazz classic from the late seventies. As a profoundly versatile musician and composer “Fathead” showcases his agility on flute, alto, tenor and soprano. With the crafty arrangements of William Fischer, Newman turns an interesting mix of well-known pop compositions and other less exposed and challenging tunes into prodigious music. For this album Newman is joined by a sterling array of fine players. With the likes of George Cables, Hilton Ruiz, Lee Ritenour, Wilbur Bascomb Jr., Idris Muhammad the listener is in for an enthusiastic piece of entertainment that doesn’t falter, Enjoy!

Prestige Records, PR 10106, 1978

Recorded 23^rd May-July, 1977 at Fantasy Studios, Berkeley, California

Musicians:

David "Fathead" Newman - Flute (#A1,A3,B3), Alto Saxophone (#A1,B2,B3),
Tenor Saxophone (#A2-A4), Soprano Saxophone (#B1)

Jeff Davis, Larry Moses - Trumpets

Janice Robinson, Earl McIntyre - Trombones

Ed Xiques - Baritone Saxophone

Kenneth Harris - Flute

George Cables - Electric Rhodes (#A3,A2,B1), Clavinet (#A1,A2),

Acoustic Piano (#A4,B2) Electric Piano [Yamaha Grand] (#B3)

Hilton Ruiz - Electric Rhodes (#A1,B2,B3), Clavinet (#A4,B1), Acoustic Piano (#A2,A3)

Lee Ritenour - Guitar (#A3,B1-B3)

George Davis - Guitar

Wilbur Bascomb, Jr. - Electric Bass

Idris Muhammad - Drums

Bill Summers - Percussion (Except #B1)

Yvonne Fletcher - Vocals

Renee Manning - Vocals (Except #A2)

William Fischer - Conductor

Tracks:

A1. Keep The Dream Alive {David "Fathead" Newman} (5:37)

A2. Destiny {David Batteau, Richard Holland} (4:47)

A3. Silver Morning {Kenny & Yvonne Rankin} (3:30)

A4. Freaky Beat {David "Fathead" Newman, William Fischer} (5:37)

B1. I Am Singing {Stevie Wonder} (6:30)

B2. Clouds {Durval Ferreira, Maurício Einhorn} (5:57)

B3. As Good As You Are {William Fischer} (6:18)

Credits:

Producer - Orrin Keepnews

Producer, Arranger - William Fischer

Recording Engineer - Eddie Bill Harris

Recording & Remix Engineer - Steve Williams

Assistant & Remix Engineer - Dan Kopelson

Mastering Engineer - John Golden

Art Direction - Phil Carroll

Photography - Phil Bray

Design - Dennis Gassner

Carlos Garnett - Let This Melody Ring On (1975) [re-rip>re-post]

This is Carlos Garnett's 3rd album for Muse records. On "Let This Melody Ring On" Garnett puts together and producers his own compositions using a combination of both large groups and leanings towards bigger band ensembles with some added exhilarating strings and backing vocals. As a result the listener is presented with an enjoyable assortment of tunes which have been carefully crafted to deliver a nice spacey soul jazz feel. Garnett in his own right is a notable reed player; "Senior Trane" in particular showcases some very fiery sax playing. He is joined by other notable Free Jazz/Soul-Jazz musicians and there is room for some great soloing, especially for Olu Dara, Hubert Eaves, Reggie Lucas, Anthony Jackson and Howard King. This album is well worth a listen and like most Muse vinyls are pretty hard to find. Grab it and Enjoy!

Muse Records, MR 5079, 1975
Recorded 16th & 18th June, 1973 at Minot Sound Studios Inc., White Plains, New York

Musicians:
Carlos Garnett - Tenor & Baritone Saxophones, Ukulele (#A3), Vocals
Olu Dara - Trumpet
Kiane Zawadi - Trombone
Hubert Eaves - Keyboards
Reggie Lucas - Guitar
Carlos Jordan - Ukulele (#A3)
James Benjamin - Bass (#A1,B1)
Anthony Jackson - Bass (#A2,A3,B2,B3)
Howard King - Drums
Neil Clarke - Percussion
Charles Dalton, Diedre Murray, Howard Hall, Joe Singer, John Blake, Richard Locker - Strings
Prema - Vocals

Tracks:
A1. Good Shepherd (4:20)
A2. Panama Roots (9:24)
A3. Ghetto Jungle (4:34)
B1. Señor Trane (7:39)
B2. Samba Serenade (6:32)
B3. Let This Melody Ring On (6:44)

All Compositions by Carlos Garnett

Credits:
Producer - Carlos Garnett
Executive Producer - Joe Fields
Recording & Mixing Engineer - John Battiloro
Album Design & Photography - Ron Warwell

Carlos Garnett - Journey To Enlightenment (1974) [re-rip>re-post]

Here's the second of the series of Carlos Garnett's Muse output. This time the listener is treated to a beautiful record of spiritual jazz. Recorded a year after “Black Love,” it shows the same blending of world music and themes with soaring, bitingly spiritual solos over Afro-centric and sometimes-funky grooves.

This album is simply remarkable. Each of the 5 pieces of music are unique and range from deep and spacy spiritual jazz (10 minute plus title track) to Latin jazz-fusion (Chana) to jazz-funk ferocity (Let Us Go To Higher Heights). Carlos is a sax master who definitely deserves much more recognition than he's received over the years. This album also features some supreme piano playing from Hubert Eaves and some straight up bad ass guitar work from Reggie Lucas.  ~ http://rateyourmusic.com

Muse Records, MR 5057, 1974
Recorded 20th September, 1974 at Minot Sound Studios, White Plains, New York

Track Listing:
A1. Journey To Enlightenment (10:58)
A2. Love Flower (7:21)
B1. Chana (6:20)
B2. Caribbean Sun (6:22)
B3. Let Us Go [To Higher Heights] (6:14)

Personnel:
Carlos Garnett - Reeds, Ukulele, Vocals (#A1,B2,B3)
Reggie Lucas - Guitar
Hubert Eaves - Keyboards
Anthony Jackson - Bass
Howard King - Drums
Charles Pulliam - Congas
Neil Clarke - Percussion
Ayodele Jenkins - Vocals (#A1,A2,B3)

Credits:
Producer - Carlos Garnett
Co-Producer -  Joe Fields
Recording & Mixing - John Battiloro

George Adams/Don Pullen - Earth Beams (1980) [vinyl>flac]

Review by Chris Sheridan, Jazz Journal, May 1982:
Adams, Pullen and Richmond comprise one of the music's most potent partnerships and this — their fourth quartet LP — is perhaps their most compelling yet. Its honourable tradition began with a pair of albums for Horo, taped during a Mingus tour of Italy in 1975, and, in Flowers, shows a direct link with the late bassist's then Jazz Workshop, this title being a passionate reshaping of Flowers For A Lady ('Mingus Moves', Atlantic SD-1653).
But it celebrates the bassist's ideals in less obvious ways, too — through its championship of individual creativity and its inspired, but disciplined abandon. To this extent, Adams, Pullen and Richmond represent a more rewarding development of some aspects of Mingus's work than the comparatively pale 'Mingus Dynasty'. They produce music of sharp, often violent contrasts in texture, tempo, mood and attack. Seething figures melt into plumply lyrical interludes, only to snap into lines that swerve and dart among the strong rhythms set up by Brown and Richmond.
Some of the richest moments occur during Adams' duets — with Pullen on the pulsating Magnetic, and with Richmond in some percussive polyphony at the end of Earth Beams itself. These are powerful and vivid meshings of rhythm and melody. In contrast, there is the good-humoured soul of Alice — another lady who's changed with the times having initially appeared in more commercial guise as Pullen's Big Alice on the pianist's 'Tomorrow's Promises' (SD-1699), again with Adams. Dionysus is an appropriately Bacchanalian romp, opening deceptively as an elongated waltz before developing a complex rhythmic undertow.
However hectic the atmosphere or fervent the emotions, the sense of abandon is skilfully channelled, forging music of lasting value. This is strongly recommended, along with a second LP from these sessions, 'Life Line' (SJP 154). Those with finely-balanced budgets should aim for 'Earth Beams' first, though.

01 - Earth Beams
02 - Magnetic Love Field
03 - Dionysus
04 - Saturday Nite In The Cosmos
05 - More Flowers
06 - Sophisticated Alice

Adams (f/ts); Pullen (p); Cameron Brown (b); Dannie Richmond (d),
Loenen Aan De Vecht, Holland, August 3 & 5, 1980.

Willis Jackson - Thunderbird (1962) [flac]

A massive groover - and a set that rumbles as much as you might guess from the title! The album's got Willis Jackson blowing in a very open, loud tenor tone - working with an unusual group that features Freddie Roach on organ, and Wild Bill Jennings on guitar - the former a hip, smooth keyboardist, the latter a rougher, bluesier player - making for a really nice mix of modes! There's a deep soul jazz bottom throughout - and titles include "Thunderbird", "Lady Be Good", "Back & Forth", and "California Sun". © Dusty Groove, Inc.

Right from the title track opener, it's apparent that Jackson's heading straight for basic soul-jazz. Anchoring the composition around a basic R&B riff and Jackson's wailing tenor, it's the kind of song that could have been used just as well for teenage twisting as jazz bars, which is not to its detriment at all. While the cover of "California Sun" (which would be a number pop hit for the Rivieras in 1964) also seems like a stab at pop accessibility, there are detours into more inside jazz with the interpretations of "Body and Soul" and the Gershwins' "Oh Lady, Be Good." "A Penny Serenade," grounded by Ray Barretto's congas, ends the set on a lively and playful note. Freddie Roach fills the organ chair on this set, and guitarist Bill Jennings gets some tasteful licks in, particularly during "A Penny Serenade." ~ Extract by Richie Unterberger, AMG.

Prestige Records, PRST 7232, 1962

Recorded 31^st March, 1962 At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Freddie Roach - Organ

Bill Jennings - Guitar

Wendell Marshall - Bass

Frank Shea - Drums

Ray Barretto - Congas

Tracks:

A1. Thunderbird {Willis Jackson} (5:04)

A2. Oh, Lady Be Good {George Gershwin, Ira Gershwin} (5:25)

A3. Back & Forth {Willis Jackson, Bill Jennings} (9:15)

B1. California Sun {Henry Glover, Morris Levy} (3:50)

B2. Body & Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (7:52)

B3. A Penny Serenade {Darren Halifax, Melle Weersma} (7:45)

Credits:

Supervisor - Esmond Edwards

Recording Engineer - Rudy van Gelder

Cover Photo - Don Schlitten

Liner Notes - LeRoi Jones

Don Patterson - Oh Happy Day (1969) [re-rip]

Don's got a great group on here - featuring trumpeter Virgil Jones, plus a twin tenor lineup on most tracks that includes George Coleman and Houston Person. The album includes one very long, very nice groover called "Hip Trip" - and it also features a cover of Edwin Hawkins "Oh Happy Day", turned into a surprisingly nice solo vehicle, plus "Perdido", "Good Time Theme", and "Blue 'N Boogie". © Dusty Groove America, Inc.

Despite claims to the contrary, organist Don Patterson was very much of the Jimmy Smith School, a hard-driving player with fine improvising skills but lacking a distinctive sound of his own. This set features Patterson in prime form in a group that features trumpeter Virgil Jones and both George Coleman (who solos first on “Perdido” and second on his other appearances) and Houston Person on tenors. Although "Oh Happy Day" is a throwaway, Patterson's spirited renditions of the blues and standards make this a fairly definitive example of his talents. ~ by Scott Yanow, AMG. 

Not sure I really take to Scott’s appraisal; what is a 'throwaway' the album or the tune?

Prestige Records, PR 7640, 1969

Recorded 2^nd June, 1969 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Don Patterson - Organ

Virgil Jones - Trumpet

Houston Person - Tenor Saxophone

George Coleman - Tenor Saxophone (#A2,B1,B2)

Frankie Jones - Drums

Track Listing:

A1. Oh Happy Day {Edwin Hawkins} (7:19)

A2. Perdido {Ervin Drake, Hans Lengsfelder, Juan Tizol} (8:50)

A3. Good Time Theme {Oliver, Mike Douglas} (3:41)

B1. Hip Trip {Don Patterson} (13:41)

B2. Blue 'N Boogie {Dizzy Gillespie, Frank Paparelli} (4:44)

Credits:

Supervision - Bob Porter

Recording Engineer - Rudy van Gelder

Liner Notes - Yvonne Daniels (August, 1969)

Albert Ayler - Witches and Devils (1964) [vinyl>flac]

Review by Barry McRae, Jazz Journal, July, 1972:
Some records are recommended because they are historically significant, others because they are just downright enjoyable. This album has the advantage of being both. Ayler is one of the really important players and this was the first record to find him in the company of men of equal stature. Murray makes a really telling contribution, with a jagged line that manages to achieve the flowing quality normally associated with more legato drummers. The brilliant Grimes is on all but one track and he contributes his normal creative figures even when sharing the bass duties with Henderson. Howard is from Ayler's hometown, Cleveland, Ohio and they had worked together there from some time before this date and, although melodically less ambitious than Ayler, he plays well.
Ayler's work needs little introduction at this stage. Here he makes use of his usual exaggerated vibrato, plays with great relaxation and offers impressive inventive powers. His solos are developed from a thematic starting point and gradually developed rather than reconstructed. This is particularly true of Holy, Holy, recorded elsewhere as The Wizard, where he uses his own composition as a genuine inspiration. On Witches we are more conscious of his exploitation of tonal variation and he pays considerable attention to variations of timbre, while Saints shows his mastery of slow material. Spirits is not the tune of the same title found on Spiritual Unity, but showcases another talent of Ayler's, as he displays superb instrumental control while moving into the upper register without a hint of tenseness.
Ayler uses freedom only as much as it suited his style. On this record he does not move too far out and there are few moments when the original melodic idea is jettisoned. There is a shapeliness in his phrasing and logicality in his improvisations that give his work meaning as well as depth and this, allied to the emotional quality of his music, ensures an album that offers the best aspects of contemporary jazz.

I purchased this back in '79 for £0.50, without sleeve. I played it to a friend of mine, who covered her ears and left the room! She described it as akin to the sound of a fly trapped in a bottle. A different view from Mr McRae's and also of Max Harrison (an article included in the post), but Ayler tends to have that 'love him or hate him' impact. This is the only Ayler record I own, but it's one I shall always keep.

(a) Witches And Devils
(b) Spirits
(c) Holy Holy
(b) Saints

(a) Norman Howard (tpt): Albert Ayler (ten): Henry Grimes, Earle Henderson (bs); Sonny Murray (dm).
(b) as (a) but omit Henderson.
(c) as (a) but omit Grimes. NYC, 24/2/1964