Emanuele Cisi feat. Eric Reed - Clear Days, Windy Nights (2015)

A Dream Album!

Cisi is a pride for Italian jazz! Rightly famous in the world! This album is exceptional, with fabulous Interplay. The presence of Eric Reed completes a wonderful training in itself superlative! ~ Mandrioli Giancarlo, Amazon.com.

Great Record

Emanuele Cisi is a formidable saxophonist and his reputation has long gone beyond national borders. In this latest work he is joined by an extraordinary rhythm section composed of the great American pianist Eric Reed, Vincenzo Florio on double bass and Australian drummer Adam Pache. In a couple of tracks the Peruvian trombonist Humberto Amesquita is added to them. Cisi's music is energetic, permeated with swing and ennobled by one of the most beautiful saxophone voices that can be heard; it is solidly attached to the mainstream, but never falls into the trap of its clichés. Ultimately a record to take with your eyes closed. ~ Stefano Lazzaretto, Amazon.com.

Abeat Records, AB JZ149, 2015

Recorded 8^th June, 2015 At Indiehub, Milan, Italy

Musicians:

Emanuele Cisi - Tenor Saxophone

Humberto Amésquita - Trombone (#2,8)

Eric Reed - Piano

Vincenzo Florio - Bass

Adam Pache - Drums

Tracks:

1. On A Clear Day {Burton Lane} (6:54)

2. Work {Arr. Emanuele Cisi, Thelonious Monk} (7:05)

3. Song For Iolanda {Emanuele Cisi} (7:46)

4. The End Of A Love Affair {E.C. Redding} (5:30)

5. Juta's Walk {Emanuele Cisi} (7:47)

6. Last Night When We Were Young {Harold Arlen} (5:28)

7. On A Windy Night {Emanuele Cisi} (5:28)

8. The Silver House {Emanuele Cisi} (4:54)

9. On A Clear Day [Alt.Take] {Burton Lane} (6:43)

Credits:

Producer - Abeat Records

Recording, Mixing Engineer - Gabriele Simoni

Mastering Engineer - Nancy Marciano

Design - Marina Barbensi

Photography - Mario Caccia, Valeria Margherita Zanola

Liner Notes - Emanuele Cisi

Javon Jackson - Easy Does It (2003)

Tenor saxophonist Javon Jackson seems right at home on this nice set of soul-jazz tunes. He’s certainly helped by the presence of trombonist Fred Wesley, who’s still a great funk and blues stylist, as well as Dr. Lonnie Smith, a top-flight organist who’s never gotten the credit he deserves as a Hammond B3 stalwart. Guitarist Mark Whitfield and drummer Lenny White keep the groove steady and burning as well, and vocalist Eve Cornelious brings some sizzle and sultriness to “House Party.” This works both as a good party record and solid jazz set with one exception. The group’s cover of “Wake Up Everybody,” while exuberantly delivered, simply lacks the power and weight of the original. Their rendition sounds more like a rousing dance exhortation than the sweltering, commanding mandate that Teddy Pendergrass delivered in his definitive original performance that was also his swan song to Harold Melvin & the Blue Notes.

Otherwise, this disc brings back fond memories of late-night house celebrations and Sunday-afternoon radio shows on vintage black radio stations. Jackson’s “Kiss,” Smith’s “If (You See Kay)” and Wesley’s title track get excellent drumming on the bottom from White, blues-tinged, scorching solos by Jackson and Wesley and striding, full organ lines by Smith. Whitfield’s splayed; frenetic solos also add a tight edge. He can be either a frenetic or a sophisticated soloist, while also smoothly contributing during the unison sections. Jackson’s writing also merits praise, particularly the final numbers “Easy Does It” and “J-Soul.” These have a relaxed, catchy groove and good blend of instrumental fire and rhythmic assertiveness.

Throughout Easy Does It Jackson plays with more verve and swing on supposedly less jazz-oriented pieces than he has in the past doing mainstream material, which indicates to me that he’s really enjoying himself. Personally, I’d much rather hear him doing good blues and funk than tentative, detached hard bop. ~ by Ron Wynn, Jazz Times.

Palmetto Records, PM 2093, 2003

Recorded 30^th September & 1^st October, 2002 at:

Maggie's Farm, Buck's County, Pennsylvania

White House Sound Lab, Leicester, England

Musicians:

Javon Jackson - Tenor Saxophone

Fred Wesley - Trombone, Vocals

Dr. Lonnie Smith - Organ

Mark Whitfield - Guitar

Eve Cornelious - Vocals

Tracks:

1. If You See Kay {Lonnie Liston Smith} (4:13)

2. Right On {Marvin Gaye} (7:35)

3. House Party {Fred Wesley} (4:17)

4. Papa Lou {Javon Jackson} (3:13)

5. Kiss {Javon Jackson} (7:25)

6. Diane {Javon Jackson} (5:47)

7. Wake Up Everybody {Gene McFadden, John Whitehead} (4:49)

8. Easy Does It {Javon Jackson} (4:34)

9. J Soul {Javon Jackson} (6:20)

Credits:

Producer, Engineer - Javon Jackson

Producer - Lenny White

Producer, Engineer, Mixing - Matt Balitsaris

Mastering - A.T. Michael MacDonald

Design - Jason Grotrian

Photography - Jimmy Katz

"Saxophonist Javon Jackson plays funk with a slow hand...[he] doesn't beat matters to a froth but allows them to come to fruition in their own time. This approach to groove calls for the clear arrangements that focus the senses nicely on Jackson's titillating tenor and Dr. Lonnie Smith's snaky organ...A good funkin' time is had by all." ~ Karl Stark, Philadelphia Inquirer.

Richard Davis - Fancy Free & Way Out West (1977) [vinyl>flac]

Review by Scott Yanow

Recorded with the same musicians and during the same two days as the Galaxy release Fancy Free, this LP covers a wide area. Bassist Richard Davis is heard in an unaccompanied solo on the brief "A Peace for Richard," on a duet with tenor saxophonist Joe Henderson for "On the Trail" (one of the session's highpoints), heading a trio with pianist Stanley Cowell and drummer Billy Cobham on "I'm Old Fashioned" and otherwise playing with a quintet that also includes Henderson, Cowell (who doubles on a dated sounding electric piano), Cobham and trumpeter Eddie Henderson; three songs have vocals by the obscure Dolly Hirota. Ranging from straightahead to some funky pop, this is an interesting if not essential release from the masterful bassist.

01 - A Peace For Richard
02 - Elephant Boy
03 - Do A Dog A Favor
04 - On The Trail
05 - I'm Old Fashioned
06 - Sienna Waiting For The Moment
07 - Warm Canto
08 - Song Of Gratitude
09 - Don't Worry Bout A Thing

Eddie Henderson (tp, flh) Joe Henderson (ts) Stanley Cowell (p, el-p) Richard Davis (b) Billy Cobham (d) Dolly Hirota (vo) Bill Lee (arr)
Fantasy Studios, Berkeley, CA, June 30, July 1, 1977

Another Galaxy that doesn't seem to have made it to CD

Extract from review by Chris Sheridan, Jazz Journal, November, 1978
“Professor Davis … what an impressive bassist he is… listen to the way he shadows and jostles Cowell on Nardis, giving the performance tremendous lift. It shows that he has no betters, only peers. Here he has brought together a brawny quintet, including three men who are better-established within the Fusion Music scene. Eddie Henderson came to the fore with Herbie Hancock, but shows here that he is capable of more profound things. Joe's talents have been submerged beneath mountains of wattage on recent Milestone releases, but here he plays with a lighter and more inventive touch. Cobham is, perhaps, a little fidgety, but after so much rock that is only to be expected. Hirota sounds like a cross between Diana Ross and Rose Murphy.”

Review by Scott Yanow
"It seems odd that this Galaxy LP was recorded at the same time as Way Out West for the rival Muse label. Bassist Richard Davis teams up with trumpeter Eddie Henderson, tenor saxophonist Joe Henderson, keyboardist Stanley Cowell and drummer Billy Cobham for five selections that are highlighted by "Silver's Serenade," "Nardis" and a rare cover version of Donald Byrd's "Fancy Free"; singer Dolly Hirota is featured on "I Still Love You, Baby." Overall this is the stronger of the sets recorded during the two-day period in 1977, an advanced and mostly straightahead effort."

1. The Wine Of May
2. Silver's Serenade
3. Emily
4. Nardis
5. I Still Love You, Baby
6. Fancy Free

Eddie Henderson (tp, flh) Joe Henderson (ts) Stanley Cowell (p, el-p) Richard Davis (b) Billy Cobham (d) Dolly Hirota (vo -5) Bill Lee (arr)
Fantasy Studios, Berkeley, CA, June 30, July 1, 1977

Terence Blanchard - Flow (2005)

Two years before Flow, Terence Blanchard released Bounce, a departure from anything he had done in his already storied career. It was a seminal album, with the ideas of a musician 20 years his junior, but the skill and command of the jazz great that he had become. As a follow-up, Flow exhibits that no one better balances traditionalism, provincialism and contemporary aesthetics like Blanchard. This is almost immediately evident and highlighted on "Wadagbe," the album's third cut. Blanchard’s instantly recognizable, clarion-call horn-tone is still there, as is the native New Orleanian's homage to the Nola stomp and mardi gras Indian chants, plus a classically lyrical jazz-head and an end-song coda that singes. Guitarist Lionel Loueke, still in his early 30s at the time, wrote "Wadagbe" and Benny Golson tribute "Benny's Tune." Young drummer Kendrick Scott wrote album-standout "The Source." In fact, Blanchard handles sole writing duties of just one song on the album, "Wandering Wonder," allowing his younger sidemen's voices to shine. It is this young energy that keeps Blanchard and the album's producer, Herbie Hancock, sounding so vibrant and current. Hancock, years into receiving Social Security, turned in the piano solo of the year on "The Source" - a percussive display so cerebral, violent and dramatic that it almost defies belief. Few of Blanchard's Young Lion peers from the 1980s are still relevant in any fresh way, which makes Flow, together with its predecessor Bounce, such a revelation. Blanchard isn't stuck making 60s tribute albums or recycling the sound of his youth. Instead, he's hooking up with the hip kids, sometimes directing traffic, sometimes going with the Flow. ~ by Vincent Thomas, AMG.

Blue Note, 7243 5 78274 2 3, 2005

Recorded 11^th-14^th December, 2004 At Henson Recording Studios, Hollywood, California

Personnel:

Terence Blanchard - Trumpet, Programming, Synthesizer Programming

Brice Winston - Tenor Saxophone, Soprano Saxophone, Yamaha WX5

Lionel Loueke - Guitar, Vocals

Aaron Parks - Piano (#2,3,5,8,9,11)

Herbie Hancock - Piano (#4,7)

Derrick Hodge - Bass

Kendrick Scott - Drums

Howard Drossin - Programming, Synthesizer Programming

Gretchen Parlato - Vocals (#8,9)

Tracks:

01. Flow, Part 1 {Terence Blanchard, Derrick Hodge} (5:29)

02. Wadagbe [Intro] {Lionel Loueke} (4:14)

03. Wadagbe {Lionel Loueke} (10:27)

04. Benny's Tune {Lionel Loueke} (7:43)

05. Wandering Wonder {Terence Blanchard} (5:46)

06. Flow, Part II {Terence Blanchard, Derrick Hodge} (3:38)

07. The Source {Kendrick Scott} (8:02)

08. Over There {Derrick Hodge} (7:32)

09. Child's Play {Brice Winston} (6:12)

10. Flow, Part III {Terence Blanchard, Derrick Hodge} (2:45)

11. Harvesting Dance {Aaron Parks} (11:43)

Credits:

Producer, Audio Production - Herbie Hancock

Executive Producer - Bruce Lundvall

Engineer - Don Murray

Assistant Engineer - Glenn Pittman

Mixing Assistant - Seth Presant

Mastering - Robert Vosgien

Concept, Photography - Nitin Vadukul

Art Direction, Design - Burton Yount

Riche Cole - Leningrad Alto Madness (1989) [vinyl>flac]

A rare piece of wax of a concert Richie Cole played whilst on tour in Russia in 1989. He is backed by a local group which do justice to his style of play. It was recorded during autumn at the International Jazz Festival held in Leningrad hence the sub-concert title "Autumn Rhythms". Richie is in fine form as he lays down some great interpretations of a number of well recognised standards. He also adapts a few tunes aimed at pleasing the Russian audience. A highlight is his beautiful soloing on "If Ever I Would Leave You". Only ever released on vinyl in Russia. Taken from an LP in reasonable condition, the resultant rip after trimming excess applause and manually removing a number of clicks is a truly entertaining concert coming from a master altoist, Enjoy!

Melody Records, 60 30069 006, 1990

Recorded 1989 At Leningrad International Jazz Festival "Autumn Rhythms"

Musicians:

Riche Cole - Alto Saxophone

Andrey Kondakov - Piano

Andrey Ryabov - Guitar

Vitaly Solomonov - Double Bass

Oleg Butman - Drums

Tracks:

A1. Leningrad Bossa Nova {Duke Ellington, Richie Cole} (8:57)

A2. If Ever I Would Leave You {Frederick Loewe, Alan Jay Lerner} (4:43)

A3. How High The Moon {Sam Lewis} (7:16)

B1. Sunday In New York {Peter Nero} (8:46)

B2. Polyushko Field {Richie Cole, Lev Knipper} (7:45)

B3. Blues For Leningrad {D. Forest, Richie Cole} (4:38)

Credits:

Engineer - Victor Dinov

Photography - D. Akulshin

Liner Notes - Vladimir Feiertag

Blue Mitchell - Blue Soul (1959) [Bonus Remaster]

Trumpeter Blue Mitchell left his home in Miami for a short stint in New York City, headed back to Florida, and then to Los Angeles before his brief but vital career as a jazz trumpeter ended. This sojourn identified his sound, initially branded by the warmth of the Southeast, burnished by the hustle and bustle of the Big Apple, and polished by the West Coast cool school demeanor. In 1959, as Mitchell returned to Miami, he connected with Detroit trombonist Curtis Fuller and Philadelphia tenor saxophonist Jimmy Heath to form one of the most potent three-horn front lines in jazz history. Few knew how good they were until after the fact, but this recording, the third album for Mitchell as a leader, has him and his mates in full flight. Drummer Philly Joe Jones has a lot to do with the solid booster rocket-like propulsion on this primarily hard bop date, and check out his calypso variations on the second chorus of the otherwise easy blues swing and ultra-melodic "Waverley Street." Credit Mitchell's street smarts and highly developed melodic inventiveness as the focal point for this definitive session. In many ways, this is a parallel album to the Miles Davis classic Kind of Blue, with subtle undertones driven by fourth-gear swing. The CD kicks off with the famous "Minor Vamp," of which Fuller's original take for the Savoy label has been remixed and layered, and is heard in the acid jazz dancehalls. It's a familiar sparse line, a two-note vamp tacked onto a lithe, perky melody that needs no critique -- it's simply great! More concisely rendered hard bop follows on "The Head," not complex by any means, but filled with plenty o' soul. The hardest line crops up during "Top Shelf," featuring a memorable, cutting, precise solo by Heath. Fuller and Heath lay out so you can hear in full dimension the cozy and warm persona of Mitchell on the ballad "Park Avenue Petite," but especially on the bright, easy swinger "Blue Soul," which most accurately approaches Kind of Blue. In tribute to his then boss, Horace Silver, "Nica's Dream" features Mitchell's muted trumpet over an underlying fresh bed of trombone and tenor sax. Even more so, Mitchell's deep blue horn shines on the standard "Polka Dots and Moonbeams," an organ of sheer beauty and one to be studied for those who need to learn that playing fewer notes more musically is an admirable quality. This is one of the most precious jazz recordings of a year that would soon give sway to the Blue Note sound, and is in many real and important ways as much of a prelude as any other statement. It's a must-have for all serious mainstream jazz fans. ~ by Michael G. Nastos, AMG.

Riverside Records, RCD-30508, 2008

Recorded 24^th, 28^th, 30^th September, 1959 At Reeves Sound Studios, New York City

Personnel:

Blue Mitchell - Trumpet

Curtis Fuller - Trombone (except #3,4,7,11,12)

Jimmy Heath - Tenor Saxophone (except #3,4,7,11,12)

Wynton Kelly - Piano

Sam Jones - Bass

Philly Joe Jones - Drums

Tracks:

01. Minor Vamp {Benny Golson} (3:42)

02. The Head {Richard Mitchell} (4:29)

03. The Way You Look Tonight {Dorothy Fields, Jerome Kern} (3:23)

04. Park Avenue Petite {Benny Golson} (3:58)

05. Top Shelf {Jimmy Heath, Arr. Heath} (4:09)

06. Waverly Street {Jimmy Heath, Arr. Heath} (5:00)

07. Blue Soul {Richard Mitchell} (4:12)

08. Polka Dots And Moonbeams {Johnny Burke, Jimmy Van Heusen} (5:50)

09. Nica's Dream {Horace Silver} (6:36)

10. Minor Vamp [Take 1] {Benny Golson} (3:39)

11. Park Avenue Petite [Take 1] {Benny Golson} (5:11)

12. Blue Soul [Take 2] {Richard Mitchell} (6:29)

Credits:

Producer, Liner Notes - Orrin Keepnews

Recording Engineer - Jack Higgins (24th, 30th), Roy Friedman (28th) September, 1959

Cover Design - Paul Bacon, Ken Brearen, Harris Lewine

Photography [Back] - Lawrence N. Shustak

Remastering [24-bit] - Joe Tarantino (Fantasy Studios, Berkeley)

Editorial - Rikka Arnold

Project Supervision - Nick Phillips

Projest Assistant - Chris Clough, Albert Roman

Art Direction - Larissa Collins

Houston Person - Broken Windows, Empty Hallways (1972) [re-rip]

This is the tenth Album by Houston Person released on Prestige Records.

This LP in many ways is atypical of the earlier albums Houston released in the mid to late sixties. In the early seventies he started moving away from smaller combos towards larger groups with a range of musical charts and at times orchestral arrangements. Jazz as we know it was under the pressure of newer forms of music; Rock and Pop music were dominating. Some musicians started to dabble in Free Jazz, Fusion and Funk. As a result many jazz artists including Houston turned their attention to interpreting some of the more popular tunes of the day. This album is one such an attempt to claw back some interest in jazz. Some jazz critics have denounced these explorations as direct commercial exploits. Forty years have passed and jazz aficionados are returning to this period with newer ears. Broken Windows, Empty Hallways contains a unique assortment of tunes, mostly pop oriented with only one penned by Houston ‘Bleecker Street ‘and another by Thelonious Monk ‘Let's Call This’. Houston steps up grandly to the challenge adding further richness to his powerful soulful tenor readings. This is especially noticeable when launching into some of the ballads. He seems to be able blow a lot more freely on his solos leaving main development of rhythm to rest of the players. This is enhanced by the orchestral arrangements of Billy Ver Planck and the musical scores of Ozzie Cadena who also contributes a tune ‘Moan Er-uh Lisa’. Houston is joined by some fine musicians including Joe Wilder & Victor Paz on trumpet, organist Ernest Hayes, Hubert Laws on flute & tenor, Cedar Walton on piano and drummer Grady Tate; to name a few. In time with repeated listens this album will prove to be of great merit amongst the rest of Houston’s vast discography. Enjoy!

Prestige Records, PRST-10044, 1972

Recorded 1^st May, 1972 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Joe Wilder - Trumpet

Victor Paz - Trumpet [Solo #B1]

Hubert Laws - Flute, Tenor Saxophone

Buzz Brauner - Baritone & Tenor Saxophones, English horn, Oboe, Piccolo, Clarinet, Flute

Ronnie Jannelli - Baritone Saxophone, Clarinet, Flute

Jim Buffington - French horn

Ernest Hayes - Organ

Jimmy Watson - Organ (#B4)

Cedar Walton - Piano

Grady Tate - Drums

Bunny Briggs - Tap Dancing (#A4)

Billy Ver Planck - Orchestrations

Track Listing:

A1. I Think It's Going To Rain Today {Randy Newman} (6:05)

A2. Don't Mess With Bill {William Robinson} (3:04)

A3. Everything's Alright {Tim Rice, Andrew Lloyd Webber} (4:25)

A4. Mr. Bojangles {Jerry Jeff Walker} (4:05)

B1. Moan Er-uh Lisa {Ozzie Cadena} (6:21)

B2. Imagine {John Lennon} (5:01)

B3. Let's Call This {Thelonious Monk} (4:10)

B4. Bleecker Street [The Pimp] {Houston Person} (4:10)

Credits:

Musical Charts, Supervision - Ozzie Cadena

Recording Engineer - Rudy van Gelder

Art Direction - Tony Lane

Photography - Lee Friedlander

Charles Earland - Blowing The Blues Away (1997)

The title tune is by Horace Silver, as are “Strollin'” and “Quicksilver,” two other tunes on this album. Veteran organist Earland allows in the liner notes that Silver had a great influence on him; thus, this album has a funky feeling (an expectation of most organ dates, anyway) and a Silver-ish front line of trumpet (James Rotundi) and tenor saxophone (Eric Alexander). There’s a nice balance between the hard bop blowing of the hornmen (and guitarist Bob De Vos) and Earland’s more fundamental solo approach. The organist has an effective solo style consisting of swinging riff-like lines that build all the way. Besides the Silver tunes, we hear, among others, Herbie Hancock’s modal “Dolphin Dance,” the Isley Brothers’ “For the Love of You” and the hymn “This Is the Day (The Lord Has Made).” Greg Rockingham is the quintet’s drummer, a good one. ~ Owen Cordle, JazzTimes.

HighNote Records, HCD 7010, 1997

Recorded in 1997 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Charles Earland - Organ [Hammond B-3]

Jim Rotundi - Trumpet

Eric Alexander - Tenor Saxophone

Bob DeVos - Guitar

Greg Rockingham - Drums

Tracks:

1. Blowin' The Blues Away {Horace Silver} (4:59)

2. Sweet Love {Anita Baker, Gary Bias, Louis A. Johnson} (6:06)

3. For The Love Of You {Chris Jasper, The Isley Brothers} (6:13)

4. This Is The Day [The Lord Has Made] {Traditional, Arr. Charles Earland} (7:11)

5. Dolphin Dance {Herbie Hancock} (6:39)

6. Put It Where You Want It {Joe Sample} (7:40)

7. Strollin' {Horace Silver} (6:18)

8. Quicksilver {Horace Silver} (7:14)

Credits:

Producer, Arranger - Charles Earland

Engineer - Rudy van Gelder

Art Direction, Design - Annalee Valencia-Bruch

Photography - Graham Haber

Liner Notes - Dave Helland

More Soulful Cookin' from The Mighty Burner

Another winner from Charles Earland. Earland's organ playing runs the gamut from simmering slow burns (Anita Baker's "Sweet Love" and Horace Silver's "Strollin'") to high heat (Silver's "Blowin' The Blues Away" and "Quicksilver"). From beginning to end a most satisfying addition to The Burner's catalog. ~ High Modes, Amazon.com.

Houston Person - Underground Soul! (1966) [re-rip]

In 1966, Houston Person recorded his first album as a leader Underground Soul! This launched a fruitful affiliation with Prestige Records that produced eleven albums over six years. During his tenure with Prestige, Person experimented with different formats; for this recording he teamed up with Mark Levine on trombone, Charles Boston on organ and Frank Jones on drums. In some regards these relative unknowns would soon be replaced by more familiar combos with increasing expertise and a real passion for Soul Jazz. This group nevertheless still sets a standard for Person’s bold and luxuriant tenor sound that continues to this day. Highlights include Underground Soul, Tears, Ballin' and If You Could See Me Now.

‘The jazz underground has methods of communication which challenge the speed of light for effectiveness. When a new player comes on the scene and has something to play the word spreads around town and across the continents as quickly as a transatlantic cable. Jazz has been an underground music for most of its existence, and, ironically, being American it has never entered into the mainstream of American life. This is music for those who have a taste for good jazz; it comes from the soul and it grows on you from the underground up.' ~ Excerpts from Liner Notes by Christopher Peters.

Prestige Records, PRST 7491, 1966

Recorded 16th June, 1966 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Houston Person - Tenor Saxophone

Mark Levine - Trombone

Charles Boston - Organ

Frank Jones - Drums

Track Listing:

A1. What The World Needs Now Is Love {Burt Bacharach, Hal David} (3:50)

A2. Underground Soul {Houston Person} (5:48)

A3. The Pimp {Houston Person} (3:43)

A4. Tears {Mark Levine} (3:44)

B1. Aleilula {Edu Lobo, Roy Guerra} (4:09)

B2. Ballin' {Danny Wright} (6:13)

B3. If You Could See Me Now {Tadd Dameron, Carl Sigman-Robbins} (4:26)

B4. Strike Up The Band {George Gershwin, Ira Gershwin} (2:51)

Credits:

Producer - Cal Lampley (August, 1966)

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten
Liner Notes - Christopher Peters

Wynton Marsalis - The Magic Hour (2004)

The Magic Hour is Marsalis' first jazz ensemble studio recording since 1999's Marciac Suite. His last album was All Rise, an extended composition for big band, gospel choir and symphony orchestra. "All Rise was such a huge piece involving over two hundred people. I wanted to produce my next recording with a smaller group," says the trumpeter, who settled into Right Track Studios in New York for two days last June to record the new album. "I wanted to restate my basic love of jazz music in a quartet format," says Marsalis.

For his debut on this label, Wynton Marsalis gets back to basics with a small combo. Taking a break from his large-ensemble works like Blood on the Fields and All Rise, the trumpeter leads a quartet consisting of bassist Carlos Henriquez, pianist Eric Lewis, and drummer Ali Jackson. Labelmates Bobby McFerrin (who recorded with the trumpeter on the early '80s LP, The Young Lions) and Dianne Reeves join Marsalis on "Baby, I Love You" and "Feeling of Jazz." "Big Fat Hen" is peppered by a New Orleans-meets-Brazil second-line samba, while "Skippin'" is a Monkish riff tune with stop time. The title track, dedicated to the time when kids go to sleep, includes a melodic nod to "The Flight of the Bumblebee," a mid-tempo groove, a ballad and the Cuban clave. With the sterling production by younger brother Delfeayo, Wynton Marsalis starts off on a good foot. ~ Eugene Holley, Jr., Amazon.com.

Blue Note, 7243 5 91717 2 2, 2004

Recorded and Mixed 6^th & 7^th June, 2003 At Right Track Studios, New York City

Musicians:

Wynton Marsalis - Trumpet

Eric Lewis - Piano

Carlos Henriquez - Bass

Ali Muhammed Jackson - Drums

Dianne Reeves - Vocals (#1)

Bobby McFerrin - Vocals (#4)

Tracks

1. Feeling Of Jazz {Wynton Marsalis} (7:03)

2. You And Me {Wynton Marsalis} (4:50)

3. Free To Be {Wynton Marsalis} (8:40)

4. Baby, I Love You {Wynton Marsalis, Bobby McFerrin} (5:20)

5. Big Fat Hen {Wynton Marsalis} (7:31)

6. Skipping {Wynton Marsalis} (8:01)

7. Sophie Rose-Rosalee {Wynton Marsalis} (6:47)

8. The Magic Hour {Wynton Marsalis} (13:14)

Credits:

Producer - Delfeayo Marsalis

Recording - Patrick Smith (Right Track Studios, NYC)

Mixing - Daniel Kresco (Glenwood Studios, Burbank, CA)

Mastering - Daryl Dickerson (Artistic Studios, New Orleans, LA)

Art Direction, Package Design - Burton Yount

Art Direction, Illustrations - Rachel Salomon

Danny Gatton, Joey DeFrancesco - Relentless (1994)

This was a logical matchup. Danny Gatton was a high-powered and very versatile guitarist who could play virtually any modern style. His tonal distortions and use of feedback were impressive but he could also swing as hard as anyone around. The same could be said of organist Joey DeFrancesco and, together with bassist John Previti and drummer Timm Biery, the lead voices romp on a variety of fairly basic material with lots of blues and a few standards. Although no new revelations are offered, the joyful chance-taking of Danny Gatton kept the music from ever becoming predictable or too relaxed; he certainly challenges DeFrancesco throughout this set. ~ by Scott Yanow, AMG.

Big Mo Records, BIGMO 20232, 1994

Recorded 22^nd - 25^th February, 1994 At Big Mo Recording Studios, Kensington, Maryland

Musicians:

Danny Gatton - Guitar

Joey DeFrancesco - Keyboards, Organ [B-3]

John Previti - String Bass (#2,3,8,9)

Timm Biery - Drums

Tracks:

1. Fine {Danny Gatton} (4:22)

2. Broadway {Billy Bird, Henri Woode, Teddy McRae} (6:13)

3. Kindred Spirits {Danny Gatton} (7:50)

4. The Chess Players {Wayne Shorter} (9:49)

5. Gearheads {Joey DeFrancesco, Danny Gatton} (4:48)

6. Blues On The Half Shell {Chris Battistone, Danny Gatton} (6:56)

7. The Pits {Danny Gatton} (11:52)

8. Big Mo {Danny Gatton} (4:43)

9. Well You Needn't {Thelonious Monk} (6:34)

Credits:

Producer, Mixing - Danny Gatton

Producer, Mixing, Engineer - Ed Eastridge

Engineer - Greg Hartman, Ron Freeland

Mastering - John Brittain

Design - Dixie Eastridge

Photography - John Sprung, Hugh Talman

Amazing How Well They Complement Each Other

Monster players, both Danny and Joey. I'm not sure how this collaboration came about, but there are some magical moments in this recording....amazing how well they complement each other. Gatton is a Brad Paisley on jazz steroids. If you haven't heard of him before this album, you won't be disappointed. DeFrancesco is the consummate B-3 monster and has been for years now. Give it a listen. Five stars for sure. ~ bluguitarman, Amazon.com.

Dave Liebman Group - Songs For My Daughter (1994)

"...That the music is not all sweetness and light is indicative of unconditional love's travails.... SONGS FOR MY DAUGHTER is as varied and moving a recital as this virtuoso reedman has ever recorded." ~ Cam Jazz.

Essentially, an overlooked album from his vast discography, this album released on the Italian label soul note is a foray into a more the acoustical and programmatic collective. This endeavour is enhanced by the addition of two great players pianist Phil Markowitz and guitarist Vic Juris, not to disparage the rest of his well-versed and stalwart group.

Soul Note, 121 295-2, 1995

Recorded May, 1994 At Red Rock, Saylorsburg, Pennsylvania, USA

Musicians:

Dave Liebman - Soprano Saxophone, Wooden Flute

Phil Markowitz - Acoustic Piano

Vic Juris - Acoustic Guitar, Electric Guitar

Tony Marino - Bass, Electric Bass

Jamey Haddad - Drums, Percussion

Scott Cutshall - Percussion (#7)

Lydia Liebman - Vocals (#9)

Tracks:

1. Little Peanut {Dave Liebman} (7:25)

2. Arrival {Dave Liebman} (6:20)

3. For Lydia {Caris Visentin} (6:30)

4. Innocence {Dave Liebman} (8:43)

5. Tomato Face {Dave Liebman} (5:06)

6. Papoose {Dave Liebman} (8:04)

7. Sins Of The Fathers {Dave Liebman} (8:56)

8. Mommie's Eyes {Dave Liebman} (6:01)

9. You Are My Sunshine {Traditional} (1:17)

Credits:

Producer - David Liebman

Executive Producer - Flavio Bonandrini

Engineer - Kent Heckman

Mastering Engineer - Gennaro Carone at Phonocomp, Tribiano, Milano

Photography - Caris Visentin Liebman

Art Cover - Maria Bonandrini

Liner Notes - Dave Liebman, Bethann Hatfield

Dave says he doesn't welcome new musicians in the tribe until they have been at it for about 10 years. Talent is not all that counts in this genre, although it's paramount. You have to make it work financially, and get used to traveling for 20 hours to experience two on stage. The audiences are not as large as with other styles and the money doesn't always match the level of sacrifice and expertise required. But if you can withstand the pressure you earn your ranks among fellow musicians, Dave explains. This doesn't mean that he is not paying attention to new talent. He acknowledges that the best indications of someone's personality is often found in their early records. ~ Milton D. Carrero, The Morning Call.

Al Haig - Solitaire [24/48 vinyl rip]

When a near mint copy of this LP was presented to me for ripping by my friend Cliff, I knew that I already had a rip of the cd version called 'Piano Interpretations' (it has the sides reversed), but I couldn't resist seeing if I could do better than the CD. Umm...yeah, quite a bit better actually. My rip of the CD version did not pass AudioChecker and of course this one passes with flying colors. I don't have a Dynamic Range measuring program, but I'd bet money it is far superior there as well. deGallo reports that Dynamic Range came in at a mind blowing 13!

For those who don't already know this album, well... as solo piano records go, this one is 5 star all the way.

Danny Gatton - New York Stories (1992)

Danny Gatton (4^th Sept., 1945 - 4^th Oct., 1994) was an American guitarist who fused rockabilly, jazz, and country to create his own distinctive style. When Rolling Stone magazine selected the 100 Greatest Guitarists of all Time in 2003, senior editor David Fricke ranked Gatton 63rd on his ballot. On May 26, 2010, Gibson.com ranked Gatton as the 27th best guitarist of all time

This interesting outing by an all-star group (guitarist Danny Gatton, altoist Bobby Watson, trumpeter Roy Hargrove, Joshua Redman on tenor, pianist Franck Amsallem, bassist Charles Fambrough and drummer Yuron Israel) is most notable for featuring the brilliant Gatton in a jazz setting. Together the septet, performs nine originals by group members and Gatton and Watson emerge as the main solo stars. Despite its somewhat generic name, this advanced hard bop date is quite memorable. ~ by Scott Yanow, AMG.

Blue Note, CDP 7 98959 2, 1992

Recorded 16^th & 17^th February, 1992 At Unique Recording, New York City

Musicians:

Danny Gatton - Guitar

Roy Hargrove - Trumpet

Bobby Watson - Alto Saxophone

Joshua Redman - Tenor Saxophone

Franck Amsallem - Piano

Charles Fambrough - Bass

Yuron Israel - Drums

Tracks:

1. Dolly's Ditty {Danny Gatton} (3:51)

2. Wheel Within A Wheel {Bobby Watson} (7:01)

3. Ice Maidens {Charles Fambrough} (3:29)

4. Out A Day {Franck Amsallem} (6:32)

5. Mike The Cat {Danny Gatton} (5:34)

6. The Move {Yuron Israel} (8:26)

7. A Clear Thought {Roy Hargrove} (5:11)

8. 5/4 {Bobby Watson} (5:30)

9. One For Lenny {Danny Gatton} (7:36)

Credits:

Producer - Dan Doyle

Chief Engineer - Michael Finlayson

Assistant Engineer - Tim Leitner

Photography - Jeffrey Scales

Design - Patrick Roques

Art Direction - Cynthia Cochrane

Liner Notes - John Swenson (Rolling Stone Jazz Guide)

Musically And Sonically Wonderful

I agree with most of the reviewers that this is one of the finest recordings of any kind of music that I've heard. The interplay between the musicians, in a jam session no less, is astounding, and it represents Danny Gatton in his most supportive, understated, yet leading role I've also yet heard. It is also a wonderful recording, one that I use constantly to evaluate audio equipment with enjoyable music rather than a sonic spectacular. ~ Jamie Allan, Amazon.com.

Sam Jones - Something New/Something In Common (1979/77) [vinyl>flac]

Something New

Sam Jones recorded profically as a sideman but rarely as a leader. Three albums for Riverside in the early 60s then a further seven in the 1970s. This was to be his final leader recording. As far as I can tell, never issued on CD.

Review by Scott Yanow:
The short-lived Sam Jones big band made its only recording for Interplay, which was reissued in 1980 on a Sea Breeze LP. The hard-swinging group is heard performing Jones' "Unit Seven" (the bassist was always an underrated composer), "Stella By Starlight" and originals by Pete Yellin, Bob Mintzer and Ernie Wilkins. Many all-stars were in the band, and among those featured are up-and-coming pianist Fred Hersch, trumpeters Richard Williams and John Eckert, Mintzer on tenor, altoist Yellin, trombonist Sam Burtis, and the tenor of Harold Vick (who is showcased on Wilkins' "Tender Touch"). An excellent jazz orchestra that has been long forgotten since Sam Jones' death in 1981.

Unit seven
Stella by starlight
Tropical delight
Antigua
Tender touch

Spanky Davis, John Eckert, Richard Williams (tp) Sam Burtis, Dick Griffin (tb) Pete Yellin (as) Bob Mintzer (fl,ts) Harold Vick (ts) Ronnie Cuber (bar) Fred Hersch (p) Sam Jones (b) Mickey Roker (d)
New York, June 4, 1979

Something In Common

Review from allaboutjazz.com:
Something In Common reunites Jones with his long-time friends Cedar Walton and Billy Higgins. In addition Slide Hampton, Blue Mitchell and a young Bob Berg join in, elevating each other’s compositions through effective arrangements and penetrating solos.
Jones’ only original tune, “Seven Minds,” opens the album with one of his ominous solos, backed by Higgins’ cymbaled shimmering and Walton’s upper-register ornamentation, before Jones leads into an enthralling, charging modal romp that challenges all of the players. Cedar Walton’s “Bolivia” features Jones’ most famous bass lines when he was a member of Walton’s Eastern Rebellion. Walton’s “Something In Common,” rooted with Jones’ walking approach, reveals Walton’s understated taste, not only in composition, but also in arranging, which continues to this day. Slide Hampton’s contribution, “Every Man Is A King,” generously allows for Jones once again to lead off a tune with a dramatic and unhurried bass solo before the group comes in for a call-and-response theme. Blue Mitchell’s tribute to Horace Silver, “Blue Silver,” is surprising as it reveals after six tracks that, in spite of the theoretical basis for the tune, the voicing of the arrangements remains the same. Plus, each tune allows for individual expansion of the theme as the musicians, obviously enjoying the session, stretch out for spirited improvisation.
The forceful restraint of the sextet on those six tracks, with its close voicing, anticipation of the beat and memorable solos, makes the album one worth reinvestigating.

01 - Every Man Is A King
02 - For All We Know
03 - Blue Silver
04 - Something In Common
05 - Bolivia
06 - Seven Minds

Sam Jones (bass) Blue Mitchell (trumpet) Bob Berg (saxophone) Slide Hampton (trombone) Cedar Walton (keyboard) Billy Higgins (drums)
NYC, September 13, 1977