Robin Kenyatta - Take The Heat Off Me (1979) [vinyl>flac]

A rare bit of jazz-funk from the superlative saxophonist Robin Kenyatta. Released on an obscure label Robin is joined by a diverse array of personnel including the likes of Lew Soloff, Cornell Dupree, Dom Salvador, David Eubanks with some beautifully crafted playing and arrangements by Pat Coil and Masao Nakajima. Included are some colourful vocalists and even a tap dancer doing his stuff in the background. Enjoy this hard to procure LP.

Jazz Dance Records, JD-01, 1979

Recorded 1979 At East Coast Studios & Quadrasonic Studio, New York City

Personnel:

Robin Kenyatta - Alto Sax, Soprano Sax, Flute, Vocals (#A2)

Pat Coil - Piano, Keyboards, Arranger

Lew Soloff - Trumpet

Ed Montiero - Accordion, Vocals (#B1)

Masao Nakajima - Piano, String Arranger (#A2)

Dom Salvadore, Peter Solomon - Piano, Keyboards

Cornell Dupree, Darryl Thompson, Marcus Fiorillo - Guitar

David Eubanks, John Lee, Sal Cuevas - Bass

Brian Janszen, John Susswell, Leroy Clouden - Drums

'Crusher' Bennett, Mike Pomier - Percussion

Chuck Hudson - Vocals (#A3)

Chuck Green - Tap Dance (#B3)

Tracks:

A1. Bad Boy {François Roland, Robin Kenyatta} (3:19)

A2. Sheik Of Araby {Sydney R. Smith} (3:15)

A3. Every Body's Talkin {Pat Coil, Robin Kenyatta} (4:37)

B1. Take The Heat Off Me {Pat Coil, Robin Kenyatta} (9:00)

B2. Inscrutable Miss' O' {Pat Coil, Robin Kenyatta} (5:31)

B3. Jazz Dance [Theme] {Pat Coil, Robin Kenyatta} (5:28)

Credits:

Producer - Robin Kenyatta

Engineer - Richie Corsella

Front Cover - Miquel Bejarano

Back Cover - Denny Tillman

Marion Brown - Soul Eyes (1979) [re-rip]

On this date Brown assembles an amazing quartet of similarly gifted musicians of which none need any introduction. This album eluded US sales by being released in Japan. Although a CD was released later, it still remains hard to obtain. The music presented is a well performed mixture of Brown, Waldron, Heyman, Sour, Eyton & Green Mingus and Monk compositions. Apart from Brown’s own tunes all players place their mark to great effect and cohesion to the other familiarised pieces. If you were to procure this album for just one track my choice would be the beautifully executed title track “Soul Eyes” {Mal Waldron}. Brown’s tone and deliverance is impeccable and alongside Barron’s clean piano lines the piece is a joy right throughout. In having praised the main soloists it would be criminal not to shower additional accolades on the rhythm section. McBee manages to really lock together these sets and of course without Jones’ driving percussive force there would have been ample opportunity for the tunes, especially Mingus’ and Monk’s to be trivialised. Overall this album is a must have if you are a Marion Brown aficionado or a newcomer to Modern-Avant-Garde Jazz.

Baystate Records, RVJ-6036, 1979

Recorded 14^th & 15^th November, 1978 at Sound Ideas Studios, New York City

Personnel:

Marion Brown - Alto Saxophone

Kenny Barron - Piano

Cecil McBee - Bass

Philly Joe Jones - Drums

Track Listing:

A1. Sunshine Road {Marion Brown} (9:13)

A2. Soul Eyes {Mal Waldron} (10:15)

A3. Body And Soul {Heyman, Sour, Eyton, Green} (7:14)

B1. Afrisa {Marion Brown} (5:18)

B2. Goodbye Pork Pie Hat {Charles Mingus} (8:40)

B3. Blue Monk {Thelonious Monk} (11:25)

Credits:

Producer - Yoshio Ozawa

Co-Producer - Fumimaru Kawashima

Recording & Mixing Engineer - Jim McCurdy

Assistant Engineer - Kathy Dennis

Mastering Engineer - Tohru Kotetsu

Photography - Shingo Satoh

Design - Katsuhiko Iida

Cannonball & Nat Adderley Sextet - Soul Zodiac (1972) [vinyl>flac]

ASTROLOGY, the study of the signs of the Zodiac. How does one rationalize a development with astrological significance? RICK HOLMES, the creator of the narrative indigenous to the artistic creativeness formed in this recording, is a person whose day-to-day behavioral continuity by his own concepts of the influence of the activities of astrological movement. Mr. Holmes, well known in the greater Los Angeles area, is a radio personality who is recognised by various people who have the privilege of being exposed to "RICK'S FAMILY AFFAIR" aired nightly on radio station KBCA-FM. (One of the most important outlets for Jazz and other musical expression, including sophisticated rhetoric, in Southern California.) Devoted listeners to Rick's program are well aware of his expertise with regards to astrology. This recording marks the first effort to broaden any interested audience or to enhance the awareness with regards to astrology or to enhance the awareness of people to whom the soulful exhortations of Rick have never been available. ~ Cannonball Adderley, Liner Notes.

Capitol Records, SVBB-11025, 1972

Recorded in 1972, Capitol Records Inc.

Personnel:

Rick Holmes - Voice [Narration], Writer

Cannonball Adderley - Alto Sax (#A2), Soprano Sax (#A3)

Nat Adderley - Cornet

Ernie Watts - Tenor Saxophone, Flute, Tambourine

Mike Deasy - Guitar

George Duke - Fender Electric Piano

Walter Booker - String Bass & Guitar

Roy Mac Curdy - Drums

Tracks:

A1. Introduction {Adderley, Holmes} (2:59)

A2. Aries {Adderley, Holmes} (4:51)

A3. Libra {Booker, Holmes} (3:17)

A4. Capricorn {Duke, Holmes} (6:04)

B1. Aquarius {Deasy, Holmes} (7:49)

B2. Pisces {Adderley, Holmes, Watts} (3:51)

B3. Sagittarius {Holmes, McCurdy} (5:14)

C1. Gemini {Adderley, Booker, Holmes, McCurdy} (3:37)

C2. Leo {Adderley, Holmes} (2:54)

C3. Virgo {Deasy, Duke, Holmes} (4:23)

C4. Scorpio {Holmes, Watts} (4:12)

D1. Cancer {Adderley, Booker, Holmes, McCurdy} (2:44)

D2. Taurus {Adderley, Holmes} (13:42)

Credits:

Producer - Cannonball Adderley, David Axelrod

Engineer - Howard Gale

Artwork [Direction] - John Holmes

Photography - Rick Rankin

Photography [Body Painting] - Abe Gurvin

Robin Kenyatta - Beggars And Stealers (1969+75) [vinyl>flac]

Robin Kenyatta is a versatile artist who has worked in a number of associations, playing with characters as varied as Archie Shepp, Barry Miles, Sonny Stitt and Mongo Santamaria. Kenyatta with his strong vibrato and earthy tone is quite at home playing styles ranging from Coleman Hawkins through to Charlie Parker. Apart from his musicianship, he clearly articulates an ability to craft astounding abstract musical concepts into his tunes. “Beggars And Stealers” documents a 1969 concert on which Kenyatta played tenor sax. This was the only time he ever used that instrument recorded on an album. An additional treat made available on this album is a magnificent duet with Muhal Richard Abrams on “Ruby My Dear”. Enjoy!

Muse Records, MR 5095, 1977

Recorded 8^th April, 1969 (#A1,A2,B1) Live at Columbia University, New York

And September, 1975 (#B2) at Generation Sound, New York

Musicians:

Robin Kenyatta - Tenor Sax (#A1-B1), Alto Sax (#B2)

Larry Willis - Piano (#A1-B1)

Muhal Richard Abrams - Piano (#B2)

Walter Booker - Bass

Alphonse Mouzon - Drums

Tracks:

A1. Nairobi Hot {Robin Kenyatta} (11:31)

A2. Dream Bug {Robin Kenyatta} (10:14)

B1. Beggars And Stealers {Robin Kenyatta} (12:30)

B2. Ruby My Dear {Thelonious Monk} (5:57)

Credits:

Producer - Robin Kenyatta

Producer, Liner Notes - Michael Cuscuna

Recording Engineer - Tony May (#B2)

Cover Design, Photography - Price Givens

Liner Design, Photography - Mark Larson, Charles Reilly

Also Released as:

Alphonse Mouson - Dream Bug (1977)

American Jazz & Blues History, Vol. 51

Tobacco Road [B/2551]

Germany

-------------------------

Happy Bird B/90085 (1977)

Germany

Robin Kenyatta - Nomusa (1975) [vinyl>flac]

When I interviewed him in 1974, Robin Kenyatta allowed that, for him, "jazz has always been about stomping your feet or clapping your hands; it's always been about being happy. I don't mean I just want to work in discotheques or play for dancers, but I want the feeling to be there. People should feel like dancing, feel like being happy. That's the feeling I always try to keep in my mind." Nomusa isn't a heavy, get-down dancing album. It's a light, pirouetting, on-your-toes-and-into-the-air dancing album. And feelings, happy feelings, are definitely what it's about. ~ Bob Palmer.

Muse Records, MR 5062, 1975

Recorded 28^th January, 1975 at Blue Rock Studios, New York

Musicians:

Robin Kenyatta - Alto Saxophone, Soprano & Alto Saxes (#A1)

Xaba Ndikho - Piano (#A1)

Dom Salvador - Piano, Organ (#A1)

Stafford James - Bass

Joe Chambers - Drums

Tracks:

A1. Nomusa {Xaba Ndikho} (9:33)

A2. Warm Valley {Duke Ellington} (7:35)

B1. Slow Boat To China {Frank Loesser} (6:29)

B2. Afternoon Outing {John Handy} (5:35)

B3. Prettyside Avenue {John Handy} (6:19)

Note:

#B1 is a duet between Robin Kenyatta and Dom Salvador with each musician overdubbing a second part.

Credits:

Producer - Michael Cuscuna

Recording Engineer - Eddie Korvin

Jacket Photo and Design - Leandro Katz

Liner Notes - Bob Palmer

Also Released as:

Robin Kenyatta - Warm Valley

American Jazz & Blues History, Vol. 56

Tobacco Road [B/2556]

Germany

------------------------

Happy Bird B/90091 (1975)

Germany

Willis Jackson - Nothing Butt... (1980) [vinyl>flac]

Tenor saxophonist Willis Jackson got into a routine on his Muse albums, but never lost his enthusiasm and creativity within the genre. This album features Jackson on a current hit ("Just the Way You Are"), a couple of ballads, and three romps ("Nothing Butt," "Hittin' and Missin'," and "Move"). Guitarist Pat Martino is heard in excellent form just before a serious illness; organist Charles Earland is up to his usual groovin' form, and drummer Grady Tate and percussionist Buddy Caldwell keep the music moving. An excellent effort full of enjoyable and fairly accessible music. ~ by Scott Yanow, AMG.

Here we have another exciting album by Willis Jackson. He is joined by a veteran team of musicians well versed in the “Soul Jazz” groove. Both Charles Earland and Pat Martino have worked alongside Jackson on previous outings and this adds to the dynamics. As usual Jackson chooses a diversity of tunes, mostly of his own doing that showcases effectively his skills and that of the other soloists. Pat Martino in particular takes the groove to greater heights. Similarly, Charles Earland’s organ licks undeniably meshes the tunes together. Willis’ strong tenor sound is at heart of all the compositions, especially on those penned by him. However, the listener is also presented with some wonderful interpretations of both newer and older ballad style compositions. In the end the album is definitely a keeper in that with continual playing it always delivers an enjoyable an uplifting mood. In some regards the title indicates “Nothing Butt…” the best from Jackson and his team.

Muse Records, MR 5294, 1983

Recorded 20^th June, 1980 at Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Willis Jackson - Tenor Saxophone

Pat Martino - Guitar

Charlie Earland - Organ

Grady Tate - Drums

Buddy Caldwell - Percussion

Tracks:

A1. Just The Way You Are {Billy Joel} (7:03)

A2. Nuages {Willis Jackson} (4:50)

A3. Nothing Butt {Willis Jackson} (4:43)

B1. Hittin' And Missin' {Willis Jackson} (7:55)

B2. Autumn Leaves {Joseph Kosma, Johnny Mercer, Jacques Prevert} (4:28)

B3. Move {Willis Jackson} (4:04)

Credits:

Producer - Bob Porter

Recording & Mastering Engineer - Rudy van Gelder

Art Direction - W. Dale Cramer

Cover Photo - Hugh Bell

Liner Notes - Cliff Tinder

Willis Jackson - 'Gator Tails (1964) [vinyl>flac]

A great range of tunes, some standards and two of his own, Willis is in fine form backed by an unidentified Orchestra that is beautiful arranged and conducted by Robert Banks or Claus Ogerman. His tone is vibrant and powerful, and some of the other players set up some wonderful solos. If you are Willis fan like me you’ll want to hear this, enjoy!

Verve Records, V6-8589, 1964

Recorded 18^th March (#A4,B4) & 23^rd June (#A1-A3,B1-B3) 1964

At A&R Studios, New York City

Personnel:

Willis Jackson - Tenor Saxophone

Unidentified Orchestra

Robert Banks or Claus Ogerman - Arranger, Conductor

Tracks:

A1. I Almost Lost My Mind {Ivory Joe Hunter} (2:50)

A2. The Crocodile {Robert Banks, Willis Jackson} (4:03)

A3. On Broadway {Barry Mann, Cynthia Weil, Jerry Lieber, Mike Stoller} (2:30)

A4. Swimmin' Home, Baby [Fruit Cake] {Ben Tucker} (2:19)

A5. The Skillet {Claus Ogerman} (2:54)

B1. Frankie And Johnny {Traditional} (4:26)

B2. Someone To Watch Over Me {George Gershwin, Ira Gershwin} (4:17)

B3. Lonesome Road {Nathaniel Shilkret, Gene Austin} (3:27)

B4. Early One Morning (Part 2) {Willis Jackson} (5:52)

Credits:

Producer - Creed Taylor

Recording Engineer - Phil Ramone

Director of Engineering - Val Valentin

Cover Photo - Chuck Stewart

Cover Design - Acy R. Lehman

Richard Davis - With Understanding (1975) [vinyl>flac]

Pure brilliance from the brief flowering of Richard Davis as a leader - that great time when he was stepping out of his role as a sideman in the 60s, and making some really wonderful 70s albums for Muse! This album's got a really well-crafted feel - a spiritual, somewhat mellow approach that's laidback, and nicely understated - drawing strongly on Richard's work with other great players over the years, yet never pushing its own presence too strongly. The group features Chick Corea on piano, Sam Brown on guitar, Sonny Brown on drums, Frankie Dunlop on percussion and Bill Lee as a second bassist. Corea's piano is nicely restrained, and he gives the set a good mellow edge, but the real highlight is the writing - as Bill Lee contributed an entire set of beautiful compositions that stand among his best work from the 70s. Tracks include "The Rabbi", "Oh My God", "Juan Valdez", "Baby Sweets", and "Monica". ~ Dusty Groove, Inc.

This album runs in a similar vein to that of "Dealin'" and "Harvest", whereby Davis continues to explore the use of bowing an arco bass across an assortment of compositions. According to one reviewer: "But the preponderance of arco bass makes the music a bit too bottom-heavy. The same can be said of the selections from “With Understanding”. The band is better, however. It includes Chick Corea, at a time when the pianist wasn't playing a great deal of acoustic music. Unfortunately, the piano is not recorded very well. Sam Brown's acoustic guitar adds a nice dimension, and Bill Lee again plays second bass but is utilized with more subtlety. Lee's three originals, "Monica," "The Rabbi," and "Baby Sweets," are varied and rewarding." ~ David R. Adler [cduniverse.com].

Muse Records, MR 5083, 1975

Recorded November, 1971, New York City

Musicians:

Richard Davis - Bass

Chick Corea - Piano

Sam Brown - Guitar

Bill Lee - Bass

Sonny Brown - Drums

Frankie Dunlop - Percussion

Tracks:

A1. Dear Old Stockholm {Traditional} (5:36)

A2. Monica {Bill Lee} (4:05)

A3. Oh My God {Nadi Koma} (9:31)

B1. The Rabbi {Bill Lee} (7:17)

B2. Baby Sweets {Bill Lee} (6:14)

B3. Juan Valdez {Bill Lee} (5:04)

Credits:

Producer - Larry Fallon

Executive Producer - Joe Fields

Engineer - B. Arthur

Liner Notes - Doug Ramsey

Art Direction, Photography -  Hal Wilson

Richard Davis - Dealin' (1974) [vinyl>flac]

This album was released on Muse in 1974. The first side is made up of a couple of funky jazz groovers while the second side is on a more mellow tip. The session is led by bassist Richard Davis, who also wrote the tunes. Marvin Peterson is on trumpet, Clifford Jordan on saxophone, Paul Griffin plays Piano, Rhodes, Organ and Clavinet, David Spinozza plays guitar and Freddie Waits is on drums.

“After Scott LaFaro, Richard Davis is the most important of the young bassists who helped extend the role of their instrument during the early Sixties. He influenced every important bassist of his generation. Like many brilliant sidemen, Davis doesn’t score so well as a leader. There is a general lack of focus that few of his LP’s have overcome.” ~ Steve Futterman. ~ Listening to this album years later brings a different perspective and in a lot ways the reviewer’s comment may seem a bit over stated.

Muse Records, MR 5027, 1974

Recorded 14^th September, 1973

Musicians:

Richard Davis - Bass, Vocals (#A3)

Marvin Peterson - Trumpet, Tambourine, Cow Bell

Clifford Jordan - Tenor Saxophone, Soprano Saxophone, Cow Bell

Paul Griffin - Piano, Organ, Rhodes Piano, Clavinet

David Spinozza - Guitar

Freddie Waits - Drums

Tracks:

A1. What'd You Say (6:17)

A2. Dealin' (5:59)

A3. Julie's Rag Doll (5:33)

B1. Sweet'n (3:49)

B2. Sorta (3:10)

B3. Blues For Now (10:50)

All Compositions by Richard Davis

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Paul Goodman [RCA]

Liner Notes - Dan Morgenstern

Willis Jackson - The Gator Horn (1977) [vinyl>flac]

Virtually all of tenor saxophonist Willis "Gator" Jackson's albums for Muse in the 1970s (and fortunately, there are many of them) are well worth picking up. Jackson's basic tenor always contained plenty of soul, the potential of exploding, and an attractive warm sound. For this fine set, Gator alternates between romps (some of which are funky) and ballads ("You've Changed" and "This Is Always"). Excellent support is contributed by organist Carl Wilson, guitarist Boogaloo Joe Jones, bassist Dud Bascomb, drummer Yusef Ali, and Buddy Caldwell on conga. ~ by Scott Yanow, AMG.

Muse Records, MR 5146, 1979

Recorded 8^th March, 1977 in Rosebud Studio, New York City

Musicians:

Willis Jackson - Tenor Saxophone (#A1-A3), Saxophone [Gator Horn] (#B1-B3)

Ivan 'Boogaloo' Joe Jones - Guitar

Carl Wilson - Organ

Dud Bascomb Jr. - Bass

Yusef Ali - Drums

Buddy Caldwell - Congas

Tracks:

A1. Ungawa {Willis Jackson} (8:32)

A2. You've Changed {Bill Carey, Carl Fischer} (4:44)

A3. Hello, Good Luck {Peter Griffin} (7:32)

B1. The Gator Horn {Willis Jackson} (5:05)

B2. This Is Always {Mack Gordon, Harry Warren} (5:29)

B3. Gooseneck {Willis Jackson} (8:15)

Credits:

Producer - Frederick Seibert

Engineer - Richard Alderson

Assistant Engineer - Eric Bowman

Album Design - Ron Warwell

Cover Photo - Hugh Bell

Liner Notes - Clifford Jay Safane

For about a decade (1968-78) the avant-garde in jazz sparked a fashion of solo recordings, particularly with not so obvious solo instruments like saxophones. Wanna be that I was, I loved it, and thought it would be cool for Willis to try it on our second session together. He thought I was crazy but figured if I was willing to take his warm up and do the work to edit it into something reasonable he’d get off the session a little early and still get paid. ~ Fred Seibert.

Willis Jackson - In The Alley (1977) [vinyl>flac]

Smooth and mellow 70s funk from Willis Jackson - a record that still has him working with funky stalwarts from earlier years, but which has a more 70s-influenced kind of groove! There's actually a nice dose of older soul jazz lurking underneath a few of the tracks - making for a record that skirts both sides of Willis' career at the time nicely - and tracks are all longish, with enough room for good tenor work. Players include Sonny Phillips, Carl Wilson, Jimmy Ponder, and Buddy Caldwell - and titles include "Niamani", "Gator's Groove", "More", and "In The Alley". © Dusty Groove America, Inc.

Muse Records, MR 5100, 1977

Recorded At Dimensional Sounds Studio, New York City

Musicians:

Willis Jackson - Tenor Saxophone

Sonny Phillips - Piano

Carl Wilson - Organ

Jimmy Ponder - Guitar

Jimmy Lewis - Bass

Yusef Ali - Drums

Buddy Caldwell - Congas, Percussion

Tracks:

A1. Niamani {Sonny Phillips} (7:22)

A2. Gator's Groove {Yusef Ali} (7:06)

A3. Blues, Blues, Blues {Willis Jackson} (5:07)

B1. Young Man With The Horn {Ray Anthony} (5:54)

B2. More {Riziero Ortolani, Nino Oliviero, Norman Newell, Marcello Ciorciolini} (7:39)

B3. In The Alley {Willis Jackson} (9:07)

Credits:

Producer - Fred Seibert

Engineers - Malcolm Addey and Fred Seibert

Art Direction, Design, Photography - Hal Wilson

Willis Jackson - Headed And Gutted (1974) [vinyl>flac]

Willis "Gator" Jackson's series of albums for Muse during the 1970s helped keep alive the soulful, tough tenor tradition of Illinois Jacquet, Gene Ammons, and (later on) Houston Person. For this particular set, the participation of guitarist Pat Martino made the date more notable than it might have been. With Mickey Tucker on keyboards, electric bassist Bob Cranshaw, drummer Freddie Waits, and Richard Landrum and Sonny Morgan on percussion, Jackson still sounds very much in his prime, particularly on the exciting "Gator Whale." The other selections tend to emphasize ballads "My One and Only Love" and funky jazz "The Way We Were". ~ Scott Yanow, AMG.

Headed And Gutted is basically a one-tracker. That comes in the form of the title track that is a real nice, mid-tempo funky Jazz piece. It has a driving rhythm and Jackson’s soloing over the top. The rest of the album is more straight-ahead Jazz splitting between the slow and mellow Blue Velvet and The Way We Were, and the more upbeat Miss Ann and Gator Whale. ~ Soulstrut.com.

Muse Records, MR 5048, 1974

Recorded 16^th May, 1974

Musicians:

Willis Jackson - Tenor Saxophone

Mickey Tucker - Piano, Electric Piano, Organ

Pat Martino - Guitar

Bob Cranshaw - Bass

Freddie Waits - Drums

Sonny Morgan - Percussion

Richard Landrum - Congas

Tracks:

A1. Headed And Gutted {Sonny Phillips} (5:21)

A2. Blue Velvet {Bernie Wayne, Lee Morris} (8:16)

A3. Miss Ann [Willis' Wife] {Willis Jackson} (6:28)

B1. The Way We Were {Marvin Hamlisch} (6:49)

B2. Gator Whale {Sonny Phillips} (6:06)

B3. My One And Only Love {Guy Wood, Robert Mellin} (5:44)

Credits:

Producer, Design, Photo - Don Schlitten

Recording Engineer - Paul Goodman [RCA]

Liner Notes - Ralph Berton

Neal Creque - Creque (1972) [vinyl]

Creque is the 3rd album I’ve bought from this keys player. Bassist Gene Taylor starts things off with a grooving open bass line leading into a bit of an off-kilter song called Rafiki. Sis Daisy is a light and upbeat soul-jazz number with some nice congas by Richard “Pablo” Landrum. What’cha Call It is a slow and bluesy number that would make a nice listen when you’re in the right mood. ~ Soulstrut.com.

Cobblestone Records, CST 9005, 1972

Muse Records, MR 5226, 1976

Recorded at RCA Recording Studio, New York City

Musicians:

Neal Creque - Piano, Electric Piano, Organ, Clavinet

Billy Butler - Guitar

Alfred Brown - Violin

Kermit Moore - Cello

Gene Taylor - Bass, Fender Bass

Steve Berrios - Drums, Tympani

Julian Barber - Drums

Richard Landrum - Conga, Bongos, African Oboe, Misc. Percussion

Selwart Clarke - Misc. Percussion

Jackie Soul & Johnny Gittens - Misc. Percussion

+

Strings

The Ikinen Singers (#A2)

Tracks:

A1. Rafiki (4:57)

A2. Years Of Regret (4:29)

A3. Sis Daisy (4:34)

A4. Nina (4:38)

B1. What'Cha Call It (5:02)

B2. Black Velvet Rose (4:28)

B3. Cease The Bombing (4:56)

B4. Before The Rain Came (5:41)

All Compositions by Neal Creque

Credits:

Producer, Design, Photography - Don Schlitten

A&R Coordinator, Liner Notes - Joe Fields

Recording Engineer - Paul Goodman

Note:

Released on Cobblestone Records, and reissued January, 1976 on Muse Records as "Black Velvet Rose".

Willis Jackson - Star Bag (1968) [re-rip]

Not for the alienated, compulsively cool generation that likes to hide its feelings, if any, behind oversize shades and make like it's very unhip to have a ball, is the tenor sax of Willis "Gator" Jackson, from Florida long ago, veteran of several thousands of wailing R&B sessions from here to eternity. Gator has that thing on the stove all the time, and never stops cooking. The ingredients are a big, fat, Black tone; roots, main; soul power; a time that relaxes right behind the beat, just enough to make you shut your eyes, rock your head, and pop your fingers, and murmur Oh yes, Gator, tell your story; a melodic thing that's as graceful as a Bird in flight; a chord sense that colors every tree a different hue; and always, that out-back tone. The cats (and one chick) Prestige gathered up to surround Willis on this date are all, as the album title clues you, stars in their own bag on the Soul Circuit: Trudy Pitts on organ, Wild Bill Jennings, the guitar man whose sound is as distinctive as his stance (he's lefthanded); Jimmy Lewis on Fender bass providing a solid underpinning to the chords; and swinging Bobby Donaldson on drums, abetted by Victor Allende on conga drums. ~ Excerpts from Liner Notes, Ralph Berton (June 1968).

Prestige Records, PRST 7571, 1968

Recorded 22^nd March, 1968 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Willis Jackson - Tenor Saxophone

Trudy Pitts - Organ [Hammond B-3]

“Wild” Bill Jennings - Guitar

Jimmy Lewis - Electric Bass

Bobby Donaldson - Drums

Victor Allende - Conga Drums

Track Listing:

A1. Star Bag {Willis Jackson} (7:14)

A2. The Girl From Ipanema {Antônio Carlos Jobim, Vinícius de Moraes, Norman Gimbel} (5:42)

A3. Good To The Damn Bone {Willis Jackson, Clarence Lewis, William Robinson} (5:16)

B1. More {Riz Ortolani, Nino Oliviero, Norman Newell} (7:07)

B2. Smoke Rings {Rudolf Friml, Otto Harbach} (5:51)

B3. Yellow Days {Willis Jackson} (5:35)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder
Design - Don Schlitten
Cover Art - Irving Riggs

Liner Notes - Ralph Burton (June 1968)

Kenny Barron & Ted Dunbar - In Tandem (1975) [vinyl]

Just Marvelous

This duo concert by pianist Kenny Barron and guitarist Ted Dunbar is excerpted from a 1975 concert at Rutgers University, where both of them were teaching at the time. Barron and Dunbar (who made a number of recordings, but very few as a leader or co-leader) mesh very well together, though the liner notes don't make clear whether they had worked together previously. The duo tracks are long but never run out of gas. In the two musicians' exploration of "Summertime," Barron provides a modal-type backing line (sounding a bit like McCoy Tyner at times) as Dunbar's blistering solo takes the initial spotlight; the pianist seems strangely buried in the mix during his solo, even though it matches his partner's intensity.

They jointly composed "Aruba," a piece that successfully blends elements of the Caribbean with adventurous post-bop, during which they are unable to resist the temptation to quote fellow jazzman Sonny Rollins' calypso hit, "St. Thomas." There are also solo features for each man. Barron's interpretation of "Here's That Rainy Day" has Tatum-like rapid-fire flourishes, running through a variety of piano styles in an impressive performance. Dunbar's surprising choice of "On the Trail" as his solo feature finds him making great use of space during his tour de force rendition.

Out of print since the end of the LP era, this 1980 record deserves to be reissued and is very highly recommended. A difficult find today but well worth the time and effort to acquire. ~ by Edward Abbott, Amazon.com.

Muse Records, MR 5140, 1980

Recorded 15^th February, 1975 Live on Campus, Rutgers University, New Jersey

Musicians:

Kenny Barron - Piano, [Solo] (#A2)

Ted Dunbar - Guitar, [Solo] (#B2)

Tracks:

A1. Summertime {George Gershwin, DuBose Heyward} (14:30)

A2. Here's That Rainy Day {James Van Heusen, Johnny Burke} (9:50)

B1. Aruba {Kenny Barron, Ted Dunbar} (17:43)

B2. On The Trail {Ferde Grofé} (6:37)

Note:

All applause edited out.

Credits:

Recording Producer - Kenny Barron, Ted Dunbar

Album Producer - Michael Cuscuna

Mixing Engineer - Kurt Monkasel (Big Apple Studio, NYC)

Cover Design and Illustration - Ron Warwell

Liner Notes - Clifford Jay Safane

Willis Jackson with Von Freeman - Lockin’ Horns (1981) [re-rip]

This started out as Willis Jackson's spot on the 1978 Laren International Jazz Festival stage. He invited fellow tenorman Von Freeman aboard as a "guest" and Muse Records turned it into the double billed Lockin' Horns. Good for them, and good for Muse for giving us another chance to discover this gem.

On the surface, there couldn't be two more disparate players than Jackson and Freeman. Willis Jackson moved from the R&B circuit to the organ combos of the soul jazz circuit, which in the eyes of some is hardly a move at all. He possessed a huge, honking tenor sound, and was given to making the horn growl, wheeze, roar, and roll over at will. Freeman, on the other hand, is an almost pure bopper with one of the most distinctive, and at times delicate, sounds in the business. For many years, he was rarely heard away from his Chicago home, but in Chicago he was a member of one of the city's best known jazz dynasties, including his brothers George (guitar) and Buzz (drums), and his son, the illustrious Chico.

The disc opens with "Pow!"--a showcase for Jackson and his band, Carl Wilson (organ), Joe "Boogaloo" Jones (guitar), and Yusef Ali (drums). Together they were one of the most talented--and most under-rated--groups in the soul jazz genre, but they were all more than that. They could play in a variety of styles, and the promise of having the hard-bopping Freeman on board seemed to drive the band to another level. They push toward that level through the next two numbers, and when Freeman steps out of the wings for "Summertime," they're ready.

They take a run at "The Shadow Of Your Smile" next, and while it's just the kind of then-contemporary pop that was routine for soul jazz outfits, there's nothing routine about this cut. It's just a warm-up, though, for the tenor battle to come. The disc closes out with 8 minutes and 46 seconds of "Willis And Von," and I'm not even gonna try. You'll just have to hear it for yourself. ~ by Shaun Dale.

Muse Records, MR 5200, 1981

Recorded 11^th August, 1978 Live at the International Jazz Festival Laren, Holland

Musicians:

Willis Jackson - Tenor Saxophone

Von Freeman - Tenor Saxophone

Carl Wilson - Organ

Joe “Boogaloo” Jones - Guitar

Yusef Ali - Drums

Tracks:

1. Pow! {Willis Jackson} (10:09)

2. The Man I Love {George Gershwin, Ira Gershwin} (7:10)

3. Troubled Times {William Stevenson, Willis Jackson, Wade Marcus} (6:34)

4. Summertime {George Gershwin, Ira Gershwin, Dubose Heyward} (6:25)

5. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (8:28)

6. Willis & Von {Willis Jackson} (8:40)

Credits:

Producer - Bob Porter

Engineer - Malcolm Addey

Mastering Engineer - Joe Brescio (Master Cutting Room, NYC)

Album Design - Morty Yoss

Photography - Rico d'Rozario

Liner Notes - Neil Teeser

Richard Davis - Harvest (1977) [vinyl>flac]

A very nice record that bassist Davis did for Muse in the late 70s. As with previous recordings he works closely with fellow bass player Bill Lee. Lee plays on the record, co-produced and arranged the album and shares songwriting credit with Davis on a couple of the tracks. Davis is joined by Ted Dunbar on guitar, Consuela Moore on piano, Freddie Waits on drums, James Spaulding on flute and alto sax and Marvin 'Hannibal' Peterson on trumpet, among others. Tracks include the two Davis/Lee originals "Half Pass" and "A Third Away" plus in conjunction with the title, there are several songs with flowers in the titles such as "Windflower", "Forest Flower", and "Passion Flower". He also throws in some familiar tunes like "Take The “A” Train". ~ Dusty Groove, Inc.

Muse Records, MR 5115, 1979

Recorded on May 3^rd & 16^th, 1977 at CI Recording, New York City

Personnel:

Richard Davis - Bass

Marvin Hannibal Peterson - Trumpet (#B1,B3,B4)

James Spaulding - Flute (#B1), Alto Saxophone (#B1,B3,B4)

Consuela Moore - Piano (#A1-B2,B5)

Ted Dunbar - Guitar (#A1-A3,B1-B2)

Bill Lee - Bass (#A1-B2,B4)

Billy Hart - Drums (#B1,B3,B4)

Freddie Waits - Drums (#A1-A3,B2), Percussion (#B1)

Tracks:

A1. Forest Flower {Charles Lloyd} (4:55)

A2. This Masquerade {Leon Russell} (6:33)

A3. Half Pass {Bill Lee, Richard Davis} (4:12)

A4. Three Flowers {McCoy Tyner} (1:51)

B1. Windflower {Sara Casey} (7:13)

B2. Passion Flower {Billy Strayhorn} (4:15)

B3. A Third Away {Bill Lee, Richard Davis} (4:25)

B4. Take The 'A' Train {Billy Strayhorn, Milt Raskin} (3:08)

B5. Forest Flower [Reprise] {Charles Lloyd} (1:55)

Credits:

Producer - Frederick Seibert

Co-Producer, Arranger - Bill Lee

Engineer - Elvin Campbell

Cover Photo - Pat Davis

Cover Design - Ron Warwell

Liner Notes - Richard Davis

Willis Jackson - Ya Understand Me? (1980) [vinyl>flac]

Willis plays in a well-balanced, full, warm, almost fleshy tone. He chooses three blues and two ballads and the records owes its success to the inclusion of Richard "Groove" Holmes an accomplished organ player and a perfect soloist and sideman. The two other younger musicians Steve Giordano and Roger Lee Humphrey supply a varied and swinging backing. Overall the album is landmark, even in the career of so prolific a musician as Willis Jackson. ~ Extract from Liner Notes by Bernard Niquet.

With "Groove" Holmes on organ duties, and some tart tenor from Jackson. ~ by Ron Wynn, AMG.

This album should get far more attention than the one-liner review above. The music is taken from a live date, later in Willis' career, but there seems no stopping to the power of his big tenor sound. Equally Richard "Groove" Holmes is right at home alongside the "Gator". Enjoy!

Muse Records, MR 5316, 1980

Digitally Recorded 26^th January, 1980, Live At Chateauneuf du Pape, France

Musicians:

Willis "Gator" Jackson - Tenor Saxophone

Richard "Groove" Holmes - Hammond Organ

Steve Giordano - Guitar

Roger Lee Humphrey - Drums

Tracks:

A1. Ya Understand Me? {Herb Abramson, Ahmet Ertegun, Jesse Stone} (7:34)

A2. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (6:34)

A3. My One And Only Love {Robert Mellin, Guy Wood} (6:26)

B1. The Head Tune {Willis Jackson} (8:59)

B2. More {Keith Newell, Nino Oliviero, Riz Ortolani} (9:11)

Credits:

Recording Engineer - Gerhard Lehner

Cover Photo - Clarence Eastmond

Cover Design - Lisa Emmons

Art Direction - Ron Warwell

Liner Notes - Todd Barkan

Alternate Release: Black and Blue [33.810 WE 312] France

Marion Brown - Le Temps Fou (1968) [vinyl>flac]

Marion Brown not long after launching his first albums on ESP and Impulse; journeyed to Europe and became associated with Günter Hampel's Free Jazz Ensemble. Here, he was approached to write the music for the French film "Un Été Sauvage" by Marcel Camus. It was a unique project where he utilised the majority of the players heard on "Gesprächsfetzen", namely Gunter Hampel, Ambrose Jackson and Steve McCall plus the emerging jazz bassist Barre Phillips (especially heard on his penned tune "Cascatelles") and Alain Corneau on Claves. Even though this album is essentially compiled of tracks written conceptually as a soundtrack it covers a amazing array of genres ranging from Modal Jazz, Folk Rock to fully blown Free Improvisation. A highlight is "Song For Serge And Helle", where Marion's alto duets with Barre's haunting bass drawn alongside Ambrose's trumpet and Günter's vibes. Equally "Boat Rock" is a lively tune with Steve McCall driving the beat. All players extend themselves further by contributing a vivid mixture of percussive sounds. Still to be released on CD this LP gives the listener a unique example of a rich period in Jazz's development by an artist sadly underrated in his lifetime. RIP Marion.

Polydor Records, 658.142, 1968

Recorded 20^th September, 1968 at Studio Davout, Paris, France

Musicians:

Marion Brown - Alto Saxophone, Bells

Günter Hampel - Vibes, Bass Clarinet, Tree Bells

Ambrose Jackson - Trumpet, Cow Bells, Tambour

Barre Phillips - Bass, Castanetes, Whistle

Steve McCall - Drums, Triangle, Tambour

Alain Corneau - Claves, Cow Bells (#B3)

Tracks:

A1. Le Temps Fou {Marion Brown} (5:22)

A2. Cascatelles {Barre Phillips} (5:22)

A3. Song For Serge And Helle {Marion Brown} (6:32)

B1. Boat Rock {Marion Brown} (4:55)

B2. Ye Ye {Marion Brown} (6:01)

B3. En Arrière {Marion Brown} (11:22)

Credits:

Producer - Jean Van Parys

Photos - W. R. Stephens