Shirley Scott - Roll 'Em: Shirley Scott Plays The Big Bands (1966) [CD]

Shirley Scott’s Roll ‘Em is interesting on several levels, the first being that you are no doubt already keenly aware of the songs Shirley is laying down here with her seventeen-piece big band, so it’s a hoot to simply sit back and listen to the tunes without the due consideration jazz-listening often requires. Secondly, there’s nothing unexpected delivered on this record, everything … the enunciation, the chords, the notes, the take, it’s all been done before, leaving Roll ’Em to simply be a breezy foray into the musical insights and sounds that are created here. Though when "Stompin' At The Savoy" washed across my listen space, I was raptured with the flanking path Scott’s organ took this song. Oddly enough, when one considers women in jazz, the first names that come to mind are usually the singers, Ella Fitzgerald or Billie Holiday, perhaps because singers are easier to spot and identify. Shirley was a lush beautiful petite and very powerful for her size and time, so it sparked my imagination that she might be taking on these songs purposely, numbers that seemed rather too large or expansive for a woman to embrace, where Scott shows the world that she’s more than capable of helming a big band, charting its course, and coming out the other side proving that she can stand toe to toe with anyone when it comes to music that is easily compared. So, while I don’t want to dismiss this outing as uninventive or not being challenging enough, it is impressive to hear Shirley create perfect flawless circles, that while not bold or majestic, hit at the heart of all that’s pure, and dare I suggest innocent, when it comes to the purest elements of sophistication. After all, a simple black dress with an understated string of pearls speaks volumes, without the need for showiness or exuberance. ~ by Jenell Kesler, discogs.com. 

Impulse! Records, AS-9119, 1972
GRP Records, GRD-147, 1994
Recorded 15th (#7-10) & 19th (#1-6) April, 1966 at Van Gelder Studio, Englewood Cliffs, NJ 

Personnel:
========
#1-4:
Shirley Scott - Organ
Thad Jones, Joe Newman, Jimmy Nottingham, Ernie Royal, Clark Terry - Trumpet
Paul Faulise, Quentin Jackson, Melba Liston - Trombone
Tom McIntosh - Trombones
Phil Woods, Jerry Dodgion - Alto Saxophone
Bob Ashton, Jerome Richardson - Tenor Saxophone
Danny Bank - Baritone Saxophones
Attila Zoller - Guitar
George Duvivier - Bass
Grady Tate - Drums
Oliver Nelson - Conductor, Arranger 

#5-6:
Shirley Scott - Organ, Arranger (#5)
George Duvivier - Bass
Grady Tate - Drums 

#7-10:
Shirley Scott - Organ
Richard Davis - Bass
Ed Shaughnessy - Drums 

Tracks:
01. Roll 'Em {Mary Lou Williams} (4:08)
02. For Dancers Only {Don Raye, Sy Oliver, Vic Schoen} (3:43)
03. Sophisticated Swing {Mitchell Parish, Will Hudson} (2:50)
04. Sometimes I'm Happy {Grey, Caesar, Youmans} (3:53)
05. Little Brown Jug {Joseph Eastburn Winner; Arr. Shirley Scott} (3:57)
06. Stompin' At The Savoy {Razaf, Goodman, Webb, Sampson} (3:58)
07. Ain't Misbehavin' {Andy Razaf, Harry Brooks, Fats Waller} (3:31)
08. A Tisket A Tasket {Ella Fitzgerald, Van Alexander} (3:55)
09. Things Ain't What They Used To Be {Duke Ellington, Ted Persons} (5:19)
10. Tippin' In {Bobby Smith, Marty Symes} (4:33) 

Total Time: 39:54 

Credits:
Producer - Bob Thiele
Recording Engineer - Rudy van Gelder
Reissue Producer - Michael Cuscuna
Executive Producer - Dave Grusin, Larry Rosen 

Organist Shirley Scott focuses on swing-era tunes throughout this enjoyable album. Four songs showcase her organ accompanied by a 17-piece big band arranged by Oliver Nelson while the remaining six numbers find her jamming with a trio that also includes either George Duvivier or Richard Davis on bass and Grady Tate or Ed Shaughnessy on drums. Although nothing all that unexpected occurs, it is fun to hear an organ performing such numbers as "For Dancers Only," "Little Brown Jug" and "Stompin' At The Savoy." ~ Scott Yanow, AMG

Sometimes I'm Happy

Marco Guidolotti Quartet - 'S Wonderful (2014)

Marco Guidolotti is an active saxophone soloist. He won the prestigious Massimo Urbani International Jazz Award, reserved for saxophone players in 2010, and has performed at several international jazz festivals. His forte is his proficiency on the baritone saxophone. With his quartet consisting of Francesco Lento (trumpet and flugelhorn), Marco Loddo (double bass), Giovanni Campanella (drums); in 2014 they released this album on Tosky Records “’S Wonderful” as a tribute to the great music of Gerry Mulligan, another great baritone player, and trumpeter Chet Baker. 

Tosky Records, TSK013, 2014
Recorded 2rd-24th June, 2014 at MamoCenter Theater, Rome, Italy 

Musicians:
Marco Guidolotti - Baritone Saxophone, Clarinet
Francesco Lento - Trumpet, Flugelhorn
Marco Loddo - Double Bass
Giovanni Campanella - Drums 

Tracks:
01. Reunion {Gerry Mulligan} (2:56)
02. 'S Wonderful {George Gershwin} (4:14)
03. G & C {Marco Guidolotti} (3:57)
04. Four For Three {Gerry Mulligan} (3:44)
05. Orazio {Marco Guidolotti} (2:57)
06. Tea For Two {Vincent Youmans} (3:50)
07. Night Lights {Gerry Mulligan} (5:15)
08. Say Yes, Say No {Marco Guidolotti} (5:54)
09. Nothing Like This {Marco Guidolotti} (4:03)
10. Bernie's Tune {Gerry Mulligan} (4:11) 

Total Time: 41:01 

Credits:
Producer - Giorgio Lovecchio, Davide Belcastro
Mixing - Giorgio Lovecchio
Photo - Roberto Panucci 

"Reunion" [Making of 'S Wonderful]

Art Lande, David Samuels, Paul McCandless - Skylight (1981)

As one of the finest mallet players of his generation, Dave Samuels has trodden a wide and multifarious path. From Double Image (his gorgeous project with David Friedman) to the exciting territories of his work with the Caribbean Jazz Project (some of the best Latin jazz around), not to mention his fruitful years with Spyro Gyra, Samuels brings a signature delicacy to his playing that is comforting and domestic. His first two intersections with ECM, Dawn and Gallery, are both sadly out of print but make a flowing trilogy of sorts with 1981’s Skylight, which thankfully is still available and marks his last appearance on the label. Joined by one-and-only Art Lande and Paul McCandless, Samuels shows us his compositional brilliance in the airy title cut. Not to be outdone, Lande and McCandless offer two tunes apiece. Lande’s territories are more contradictory in their energies, at once twilit and dripping with morning dew, and undeniably engaging. The reed work of McCandless is awesome in its quiet power, particularly in his “Willow,” which closes the album in unified pleasure. Two improvisations round out this overlooked effort. The loamy tales of a bass clarinet thread every monochromatic turn of “Duck In A Colourful Blanket (For Here),” while the inter-ludinal “Ente (To Go)” stands as one of the most effective pieces to employ a thumb piano I’ve heard in a long time. While the album’s title may refer to an architectural feature, here one encounters its meteorological meaning (“the diffuse light from the sky, scattered by air molecules, as distinguished from the direct radiation from the sun”) in full. With a blend of joy and sorrow that is imaginative but never gaudy, this singular trio session shows us that, even in a darkening day there is music to be discovered. ~ Tyran Grillo, ecmreviews.com. 

ECM Records, 531 025-2, 1982
Recorded May, 1981 at Tonstudio Bauer, Ludwigsburg, Germany 

Musicians:
Art Lande - Piano, Percussion
David Samuels - Vibraphone [Vibraharp], Marimba, Percussion
Paul McCandless - Soprano Sax, English Horn, Oboe, Bass Clarinet, Wood Flute

Tracks:
1. Skylight {David Samuels} (8:09)
2. Dance Of The Silver Skeezix {Art Lande} (6:30)
3. Duck In A Colorful Blanket [For Here] {Lande, Samuels, McCandless} (1:28)
4. Chillum {Paul McCandless} (5:14)
5. Moist Windows / Lawn Party {Art Lande} (8:01)
6. Ente [To Go] {Art Lande, David Samuels, Paul McCandless} (2:01)
7. Willow {Paul McCandless} (9:08) 

Total Time: 40:33 

Credits:
Producer - Manfred Eicher
Engineer - Martin Wieland
Cover Design - Barbara Wojirsch
Photography [Cover] - Klaus Frahm
Photography [Liner] - W. Patrick Hinely

Billy Harper - Trying To Make Heaven My Home (1979) [vinyl]

Billy Harper played with Art Blakey in the late 60s, featured on Lee Morgan's final album, and played with Max Roach and Randy Weston before recording a series of terrific albums under his own name in the 70s. Yet his work is poorly known! Like many US musicians he has mainly recorded for European and Japanese labels and many of these albums have disappeared having never made it to a CD reissue. Here's one of them.
Ripped from vinyl with full scans. Great review below!

Review by Michael G. Nastos:
A quintet recording for this incendiary tenor saxophonist. An extended, hard-blowing session.

1. Trying to Make Heaven My Home
2. Inside
3. Love On The Sudan

Everett Hollins (t) Billy Harper (ts) Armen Donelian (p) Wayne Dockery (b) Malcom Pinson (d)
Stuttgart , March 3 & 4, 1979

Georgia Mancio - Trapeze (2007)

It’s been five years since Georgia Mancio’s debut Peaceful Place. If that album showcased her clarity and lightness of touch, then Trapeze - the singer’s new, wilfully eclectic, 12-tracks collection - serves to underline yet more of her fine qualities. Perhaps most impressive of all is her versatility across a range of settings. The album jumps from Jobim/Moraes to Lionel Bart (‘Where is Love’) to Stanley Turrentine (‘Sugar’) without ever once losing its footing. Backed only by bass and drum, a crisply articulated ‘My Heart Stood Still’ illustrates her rock-solid sense of time, while gorgeously seductive interpretations of Violetta Parra’s enduringly popular ‘Gracias a la Vida’ and Seu Jorge’s classic Brazilian take on ‘Life on Mars?’ lifts the lid on her capacious imagination and storytelling gift. ~ Peter Quinn, JazzWise. 

Roomspin Records, 46, 2007
Recorded 2007 at Clowns Pocket Recording Studio, Bexley, United Kingdom 

Musicians:
Georgia Mancio - Vocals
Gareth Lockrane - Flute
John Pearce - Piano
Dave Green - Bass
Dave Ohm - Drums
Anselmo Netto - Percussion 

Tracks:
01. O Morro [Não Tem Vez] {Antônio Carlos Jobim, Vinícius De Moraes} (4:42)
02. My Heart Stood Still {Richard Rodgers, Lorenz Hart} (4:05)
03. Gracias A La Vida {Violeta Parra} (5:22)
04. Where Is Love? {Lionel Bart} (6:35)
05. On A Misty Night {Georgie Fame, Tadd Dameron} (4:57)
06. Doralice {Antônio Almeida, Dorival Caymmi} (4:03)
07. Tres Palabras {Osvaldo Farrés, Ray Gilbert; Arr. Georgia Mancio} (4:29)
08. Never Will I Marry {Frank Loesser} (3:46)
09. Sugar {Jon Hendricks, Stanley Turrentine} (5:58)
10. Senza Fine {Gino Paoli} (3:56)
11. Long As You're Living {Oscar Brown Jr., Julian Priester, Tommy Turrentine} (5:54)
12. Life On Mars? {David Bowie, Seu Jorge} (4:57) 

Total Time: 58:48 

Credits:
Producer - Georgia Mancio & Dave Ohm with Derek Nash
Design by Theory 

Senza Fine [Endless]

Bluesiana Triangle - Bluesiana Triangle I (1990)

The greatest Dr. John Album that hardly anyone knows exists. This classic also features Art Blakey and Dave "Fathead" Newman of Ray Charles fame. It's Intense from beginning to the endand features classics like for all we know sung by Blakey. It also features the best version of "when the saints go marching in" I've ever heard. It's a shame Label Windham hill went under and no one has re-released this classic as it's one of Mac Rebenacks best. ~ hee haw, 5 Stars, Amazon.com.
---------------------------
A real stand-out CD
---------------------------
I have close to 1,000 CD's (alternative, blues, country, rock, zydeco, you name it), and this is one of my favorites. It makes me smile just to see the jacket, and I'm always swept away by the music. If you like music that's bluesy and fun and jamming with instruments galore and that New Orleans flair, have a listen! I've had this for many years and have never gotten tired of it. ~ OKshopper, 5 Stars, Amazon.com. 

Windham Hill Records, WD-0125, 1990
Recorded and mixed March, 1990 at Acme Studios, Mamaroneck, New York 

Musicians:
Dr. John - Piano, Organ [Hammond], Guitar, Vocals
Art Blakey - Drums, Vocals (#7)
David "Fathead" Newman - Saxophones, Flute, Backup Vocals (#3)
Essiet Okon Essiet - Bass, Backup Vocals (#3)
Joe Bonadio - Percussion, Vocals (#7) 

Tracks:
1. Heads Up {David "Fathead" Newman} (5:44)
2. Life's A One Way Ticket {"Cousin" Joe Pleasant} (5:35)
3. Shoo Fly Don't Bother Me {Public Domain} (10:15)
4. Need To Be Loved {Art Blakey, David Newman, Mac Rebennack} (3:42)
5. Next Time You See Me {Earl Forest, Bill Harvey} (4:50)
6. When The Saints Go Marchin' In {Traditional} (6:19)
7. For All We Know {Fred Coots, Samuel M. Lewis} (6:37) 

Total Time: 43:02 

Credits:
Producer - Joe Ferry
Executive Producer - Sam Sutherland
Producer, Engineer - Peter Denenberg
Assistant Engineer - Thom Leinbach
Art Direction - Anne Robinson
Design - Candace Upman
Photography [Cover] - John F. Cooper
Photography [Back] - Ebet Roberts 

Heads Up

Bluesiana Triangle - Bluesiana II (1991)

After Blakey's death, the group released this second album, featuring drummer Will Calhoun (who replaced Art Blakey), trombonist Ray Anderson, bassists Essiet Okon Essiet and Jay Leonhart (on different tracks), and percussionist Joe Bonadio. 

Previously, Windham Hill Records released Bluesiana Triangle, a jazz trio album by drummer Art Blakey, pianist Dr. John, and reed man David "Fathead" Newman. Blakey passed away in 1990, but in the spring of 1991, Dr. John and Newman organized this second Bluesiana session, featuring trombonist Ray Anderson, drummer Will Calhoun, bassists Essiet Okon Essiet and Jay Leonhart (on different tracks), and percussionist Joe Bonadio. The resulting music again justifies the name, blues played in a funky Louisiana style with plenty of room for extended jazzy soloing. Though much of the material was written by Dr. John and he does sing occasionally, this is not a conventional Dr. John vocal album. It does contain some excellent playing, however. ~ by William Ruhlmann, AMG. 

Windham Hill Records, 01934 10133 2, 1991
Recorded 22nd-25th April, 1991 at Acme Studios, Mamaroneck, New York 

Musicians:
Dr. John - Piano, Guitar, Vocals
Ray Anderson - Trombone
David "Fathead" Newman - Saxophone, Flute
Essiet Okon Ossiet - Bass (#6-9)
Jay Leonhart - Bass (#1-5)
Will Calhoun - Drums
Joe Bonadio - Percussion 

Tracks:
01. Fonkalishus {Ray Anderson, David Newman, Mac Rebennack} (5:59)
02. Doctor Blooze {Mac Rebennack} (3:33)
03. Cowan Woman {Mac Rebennack} (6:51)
04. For Art's Sake {Ray Anderson, Mac Rebennack} (8:13)
05. Skoshuss {Mac Rebennack} (5:19)
06. Love's Parody {Will Calhoun} (3:30)
07. Santa Rosalia {Mac Rebennack} (5:33)
08. San Antone {Public Domain} (4:30)
09. Montana Banana {David "Fathead" Newman} (5:30)
10. Tribute To Art {Will Calhoun} (6:52) 

Total Time: 55:50 

Credits:
Producer - Dr. John, David "Fathead" Newman
Producer, Mixing Engineer - Joe Ferry
Executive Producer, Mixing - Sam Sutherland
Producer, Engineer, Mixing - Peter Denenberg
Assistant Producer - Shari Weingarten
Engineer - Thom Leinbach
Mixing - Will Calhoun
Mastering - Ted Jensen [Sterling Sound, NY]
Art Direction, Design - John Sullivan, Dennis Gallagher
Photography - Ray Anderson, Jay Leonhart, John F. Cooper, William Claxton
Illustration - Debbie Drechsler 

Cowan Woman

Dayna Stephens - Peace (2014)

Stephens met Mehldau at a performance in New York’s Smalls Jazz Club, where Mehldau remarked on how much he enjoyed Stephens’s baritone playing. It felt right asking Mehldau to be a part of this project, as his ballad playing is especially remarkable. The idea to create a recording highlighting Stephens’s ballad and baritone sax playing had been formed quite a while ago, by Stephens and producer Matt Pierson. Together Stephens and Pierson selected tunes and personnel, recorded in The Clubhouse recording studio in Rhinebeck, New York. The musicians selected to fill out the ensemble: guitarist Julian Lage, bassist Larry Grenadier and drummer Eric Harland, performing with Mehldau for his first time. The recording begins with “Peace,” a straightforward composition with attractive harmonic movement that highlights the ensemble’s immediate chemistry. "I Left My Heart in San Francisco" has deep sentimental meanings for the Bay area bred Stephens. "Zingaro" is nuanced and effective, especially in the blend between guitar and piano. “The Good Life," which is stripped down to a moving trio with Lage and Grenadier. “The Duke” feels leisurely, the dynamic interplay between the ensemble members keeps a spark in this longtime favorite. Two Ennio Morricone compositions follow: "Brothers", lovingly played on soprano, followed by an atmospheric "Deborah's Theme" on tenor. "Oblivion” is a loose take on the tango with a special solo turn from the highly gifted Lage and Stephens on soprano. “Body And Soul" is adapted to baritone, deepened only by Grenadier's deft bass playing in duo. “Two for the Road," is a true serenade on tenor and includes some intriguing musical choices from all. "Moonglow" closes the program in a dancing duet between the low voices of baritone and bass. Dayna Stephens's Peace is a recording that has just the right balance of talent, taste and patience. The compositions are perfectly suited for the musicians to really get to the heart of their meanings. The musicians are evocative and daring, yet bring an enormous amount of restraint to their playing, showing maturity that only decades of serious ballad play can garner. ~ Extract from daynastephens.bandcamp.com. 

Sunnyside Communications Inc., SSC 1399, 2014
Recorded at The Clubhouse, Rhinebeck, New York
Additional Recording at Strange Weather, Brooklyn, New York 

Musicians:
Dayna Stephens - Tenor, Soprano & Baritone Saxophones
Brad Mehldau - Piano
Julian Lage - Guitar
Larry Grenadier - Bass
Eric Harland - Drums 

Tracks:
01. Peace {Horace Silver} (6:34)
02. I Left My Heart In San Francisco {George Cory, Douglas Cross} (4:59)
03. Zingaro {Antônio Carlos Jobim} (7:48)
04. The Good Life {Sacha Distel, Jack Reardon} (6:31)
05. The Duke {Dave Brubeck} (3:58)
06. Brothers {Ennio Morricone} (1:43)
07. Deborah's Theme {Ennio Morricone} (4:00)
08. Oblivion {Astor Piazzolla} (4:59)
09. Body And Soul {Johnny Green, Edward Heyman, Robert Sour, Frank Eyton} (6:32)
10. Two For The Road {Henry Mancini} (6:09)
11. Moonglow {Will Hudson, Irving Mills, Eddie DeLange} (3:38) 

Total Length: 56:57 

Credits:
Producer - Matt Pierson
Executive Producer - Randi Norman
Recording & Mixing Engineer - Chris Allen
Engineer [Assistant] - Mike Dwyer
Additional Recording Engineer - Daniel Schlett
Mastering Engineer - Mark Wilder
Photography & Graphic Design - Christopher Drukker 

Peace

Woody Shaw - Love Dance (1975) [Jap-CD]

A fantastic album by Woody Shaw - spiritual, soulful, and filled with some nice modal grooving! The group's one of the best he ever worked with on Muse - with Billy Harper on tenor, plus Rene McLean, Steve Turre, Joe Bonner, and Cecil McBee - and the approach reminds us of some of the work on Strata East from the same time. The highlight of the record is the cut "Sunbath", which was done in a more famous jazz dance version by singer Joyce Hurley - but Shaw's version has a very similar groove. Harper makes many of the other tracks shine brilliantly, and titles include "Love Dance", "Obsequious", and Harper's own beautiful composition "Soulfully I Love You". ~ Dusty Groove.

Muse Records, MR 5074, 1976
Sony Records, SRCS 9405, 1998
Recorded November, 1975 at Blue Rock Studio, New York City 

Musicians:
Woody Shaw - Trumpet
Steve Turre - Trombone, Bass Trombone
Rene McLean - Alto & Soprano Saxophones
Billy Harper - Tenor Saxophone
Joe Bonner - Piano, Electric Piano
Cecil McBee - Bass
Victor Lewis - Drums
Guilherme Franco - Percussion
Tony Waters - Congas 

Tracks:
1. Love Dance {Joe Bonner} (12:37)
2. Obsequious {Larry Young} (9:28)
3. Sunbath {Peggy Stern} (6:33)
4. Zoltan {Woody Shaw} (6:48)
5. Soulfully I Love You [Black Spiritual Of Love] {Billy Harper} (8:13) 

Total Time: 43:58 

Credits:
Producer - Michael Cuscuna
Engineer - Eddie Korvin
Mastering - Joe Brescio
Art Direction, Design, Photography - Hal Wilson
Liner Notes - Dan Morgenstern 

Love Dance

Billy Harper - Capra Black (1973)

Capra Black remains one of the seminal recordings of jazz's black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper's inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper's tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.  ~ by Jason Ankeny, AMG. 

Strata-East Records, SES-19739, 1973
Bellaphon International, 660.51.022, 1993 

Personnel:
=========
Billy Harper - Tenor Saxophone, Voices
Jimmy Owens - Trumpet
Julian Priester - Trombone
Dick Griffin - Trombone
George Cables - Piano
Reggie Workman - Bass
Billy Cobham - Drums
Elvin Jones - Drums
Warren Smith - Drums
-----------------------------
Barbara Grant - Voices
Eugene McDaniels - Voices
Laveda Johnson - Voices
Pat Robinson - Voices 

Tracklist:
=======
Capra:
1. Capra Black (11:22)
2. Sir Galahad (8:08)
3. New Breed (4:34)
Black:
4. Soulfully, I Love You / Black Spiritual Of Love (9:39)
5. Cry Of Hunger (10:49) 

All Compositions by Billy Harper 

Total Time: 44:33 

Credits:
Producer, Arranger - Billy Harper
Engineer - Orville I'Brien
Photography - Richard Mayeda
Digital Transfer - Phil Klum 

This album is dedicated to Lee Morgan and to Kenny Dorham (who inspired my uncle-who inspired me), and the many other messengers who have passed this road before me. ~ Billy Harper. 

Capra Black

Mark Soskin - Man Behind The Curtain (2009)

Pianist Mark Soskin's successful career as a top-drawer jazz musician has been defined by his tenure with legendary saxophonist Sonny Rollins and his efforts as a leader, which mark him as a fine player and purveyor of the modern mainstream. For this, his tenth album as a leader, Soskin is asserting his talents as a person who enjoys rearranging well-worn standards, adding three originals, and displaying the immense talent that makes his music ultimately enjoyable. With estimable help from drummer Bill Stewart and acoustic upright bassist Jay Anderson, Soskin has substantial support in this endeavor while adding saxophonist Ravi Coltrane. A musician quite different than Rollins, the son of John Coltrane (and a fine player in his own right) maintains his own high-level brand of quality and visibility to the quartet. Soskin himself is quite an intelligent player who always knows the right phrase to place in the moment, especially from his bass-oriented left hand. He loves to set up sonic waves in tandem with Anderson, or play off of Stewart's deft rhythmic pulse. The quartet does a memorable version of "Invitation," and while jazz bands have done this one to death, Soskin uses a waltz tempo, a modal base, and kinetic energy to uplift it. A light and lilting take of "Heather on the Hill" moves to hip and heavy modal power in nine meaningful minutes. A bass feature for Anderson on the fairly slow and tender "For Heaven's Sake" has Coltrane overdubbing tenor and soprano sax; the rubato free-based "For All All We Know" shows a different side of Soskin à la John Coltrane removed from bar lines; and the chord-driven "This Is New" has the pianist accenting the melody while swinging it along easily. Soskin is humble as a composer, and his "Chutes & Ladders" is playful, tuneful modern music with a sonorous tandem line from Coltrane's tenor and Anderson's bass; the title track is a straight waltz, mysterious yet light; and "Little One" is simply a beauty in its economy and concordant, internal innocence. There's no strain of egos or dominant imbalance that might tip the scales, especially in the role Ravi Coltrane plays as a teammate rather than a frontman. It is this democratic aspect of Soskin's music that takes the quartet into a cohesive arena that for many listeners may not be all that immediately distinctive. The good news is that Soskin and his excellent ensemble rely on solid mainstream jazz values in order to get a direct point of view across, and in this case succeed without any further questions. ~ by Michael G. Nastos, AMG. 

Kind Of Blue Records, KOB 10035, 2009
Recorded 8th May, 2009 at Systems Two Recording Studio, New York 

Musicians:
Mark Soskin - Piano, Arranger
Ravi Coltrane - Soprano & Tenor Saxophones
Jay Anderson - Bass
Bill Stewart - Drums 

Tracks:
1. Heather On The Hill {Frederick Loewe, Alan Jay Lerner} (8:57)
2. Chutes And Ladders {Mark Soskin} (5:36)
3. Invitation {Bronslau Kaper, Paul Francis Webster} (7:13)
4. For All We Know {J. Fred Coots, Sam M. Lewis} (5:55)
5. Man Behind The Curtain {Mark Soskin} (8:10)
6. This Is New {Kurt Weill, Ira Gershwin} (6:11)
7. For Heaven's Sake {Elise Bretton, Sherman Edwards, Don Meyers} (8:40)
8. Little One {Mark Soskin} (8:13) 

Total Time: 58:55 

Credits:
Producer - Mark Soskin
Executive Producer - Roy Tarrant
Engineer, Mixing, Mastering - Mike Marciano
Photography - Jimmy Katz

James Brown - Messin' With the Blues 1990

 James Brown was always a sharp businessman. When King Records folded, they owed Brown enough in back royalties that he was able to walk away with full possession of his masters! This material comes from his work at King from 1965 -75, but at the time it was released most of the King material was no longer in print. Much of this material had ever been released anyway! I have the 20 disc complete singles, but you can't put this together out of anything that I've ever seen. 

This stands as one of the most unique of JB comps since he put it together himself. Brown was already the Godfather of Soul and Funk and nothing he had released in the previous 10+ years sounded anything like this! It seems a daring move and I don't recall the album being hugely popular, but I had a buddy who bought it and soon after so did I. It has long been a fave as it was my first exposure to his older material.

Messing with the Blues Review by Richie Unterberger

Although he is most famous for his innovations in soul and funk music, James Brown never lost sight of his blues and R&B roots. His albums often placed surprisingly rootsy covers of old chestnuts alongside his groundbreaking polyrhythmic workouts. This double CD compiles 30 of the bluesiest items from his vast recorded legacy. Cut between 1957 and 1985, most of the tracks actually date from the '60s; many of these, in turn, were laid down in the early part of the decade, when J.B. was gradually evolving from his more conventional beginnings. The artists whose songs are covered here read like a who's who of R&B pioneers: Louis Jordan, Roy Brown, Memphis Slim, Ivory Joe Hunter, Fats Domino, Chuck Willis, Little Willie John, Billy Ward, Guitar Slim, and Bobby Bland. It's quite an instructive insight into Brown's not-always-visible roots. It would be fair to say that this does not rank among his most exciting material, finding him in a smoother and more conventional style than his most innovative work. It is nonetheless always entertaining and accomplished, with Brown's love for this material shining through strongly in his committed interpretations. Especially intriguing are an 11-minute cover of Chuck Willis' "Don't Deceive Me" and a two-part, blues-based rap vamp from the early '70s, "Like It Is, Like It Was (The Blues)." The disc includes several unreleased cuts, alternate takes, and unedited versions of previously released songs.

Andrew Hill - Nefertiti (1976)

One of the most mindless quirks of some jazz listeners is major label prejudice. Take for example those vaguely familiar with pianist Andrew Hill's albums 'Blue Black' and 'Nefertiti', both recorded for the semi-obscure East Wind label, an imprint only in existence from 1974-77. If you have most of Hill's Blue Note albums and some of his more recent output and feel that is most of what is worth hearing, are you ever wrong. These albums are stunning. They can almost be considered companion pieces, each different enough in its own right to justify owning the pair. Nefertiti is a trio done two years later after 'Blue Black'. It has Roger Blank (drums) and Hill's most frequent bassist, Richard Davis. It starts out with the song "Blue Black", oddly enough nothing to do with the title cut of the other disc, Hill starting with a simple figure based on a scale. After about six and a half minutes, just when you think he's wrung all he can out of it, the rhythm section comes in, hard. On this and every other piece, the band plays together with stunning creativity and empathy. Hill has great energy throughout and a beautifully fat, full tone. Other high points include Davis' gorgeously imaginative arco work on the title cut and Blank's anomalous drum pattern on "Mudflower. This album is not only highly entertaining, but continue to fascinate with repeated listenings. ~ Extract by Kevin Ray, AAJ. 

East Wind, EW-8032, 1976
Inner City Records, IC 6022, 1979
East Wind, UCCJ-9162, 2015
Recorded 25th January, 1976 at Vanguard's 23rd Street Studios, New York 

Musicians:
Andrew Hill - Piano
Richard Davis - Bass
Roger Blank - Drums 

Tracks:
1. Blue Black (14:10)
2. Relativity (5:29)
3. Nefertiti (8:08)
4. Hattie (3:47)
5. Mudflower (7:32)
6. Unnatural Man (3:23) 

All Compositions by Andrew Hill 

Total Time: 42:31 

Credits:
Producer - David Baker
Executive-Producer [1976] - Toshinari Koinuma
Executive-Producer [2002] - Hirotoshi Nabetani
Supervisor - Kiyoshi Itoh, Yasohachi Itoh
Mastering - Hideaki Nishimura
Mastering Supervisor - Kikuo Niikura
Photography [Back] - Tadayuki Naitoh
Photography [Front] - Shinya Fujiwara
Design - Eiko Ishioka, Motoko Naruse
Liner Notes - Kazunori Harada 

Nefertiti

Gap Mangione - Suite Lady (1978)

An Utter Classic
=============
Yet hardly known to those who weren't fortunate enough to have run across it back in the late seventies when the smooth jazz genre was in its ascendancy, though this isn't really smooth jazz as we've come to know it ~ it's rather fresher and funkier. Produced, recorded and even mixed by Larry Carlton at his own Room 335 studio in Hollywood, this is, for me, the pinnacle of Gap Mangione's musical career. And it's certainly not a Larry Carlton album with somebody else's name stuck on the cover, you may be pleased to learn. In addition to Mr. Mangione on a variety of keyboards (acoustic piano, ARP & Yamaha CS80 synthesizers & Fender Rhodes electric piano), we find Robert "Pops" Popwell (one of Larry Carlton's old pals from his days with the Crusaders), Mike Porcaro & Abe Laboriel (bass), (the now sadly late) Jeff Porcaro, Ralph Humphrey (later of Free Flight) & Peter Donald (drums & percussion), Joe Porcaro (congas & percussion), Greg Mathieson (acoustic and Fender Rhodes electric piano) and Dan Sawyer (sax & harmonica), plus strings and brass on selected tracks. Oh yes, Larry Carlton, as you might expect, played all the guitars. Mastering was undertaken by Bernie Grundman at A&M studios (and, coincidentally, A&M is the label on which this was issued). It's a touch on the bright side, but not disastrously so, and that touch of brightness is what's helped this album maintain its power and freshness after all these years. The opening track is unashamedly disco-ish (written, as it happens, by Larry Carlton) but, after that, the album settles down into a decidedly more sophisticated mood, not least the superbly bluesy Shh and King Snake, the latter followed by the superb title track which features a long-ish brass intro (trumpets, trombone and French horn) on which, with a good sound system, you can almost see each of the players standing side by side. You can certainly hear each of them breathing. This is a great album and I sincerely hope it won't be too much longer before it's reissued on CD. Though it's always difficult (I find) to get into an album several decades after its original release, Suite Lady might just be an exception to that general rule, whilst if you were there at the time, as they say, and like this particular genre of music, it might just be an indispensable memento of 1978 when the UK music scene was still pretty dire and people like me were looking across the pond for more inspiring fare. Still and always, one of my top ten albums. ~ Julian Stevens, Amazon.com. 

A&M Records, SP-4694, 1978
Recorded and mixed at Room 335, Hollywood, California

Musicians:
Gap Mangione - Synthesizer [ARP] (#A1,A4), Piano (#A2,A3,B1-B3), Fender Rhodes (#A2), Synthesizer [Yamaha C S 80] (#B1), Arranger [Brass] (#B1,B3,B4)
Chuck Findley - Trumpet (#A1,A2,B1-B4)
Bill Reichenbach, Jr. - Trombone (#A1,A2,B1-B4)
Vincent De Rosa - French Horn (#B3,B4)
Dan Sawyer - Tenor Saxophone, Harmonica (#A4)
Greg Mathieson - Piano [Acoustic] (#A1,A4), Fender Rhodes (#B2)
Larry Carlton - Guitar (#A1-A4), Arranger [Brass] (#A1,A2,B1,B2), [Strings] (#A3,B2)
Robert "Pops" Popwell - Bass (#A1,A2,B1)
Abraham Laboriel - Bass (#A3,B3)
Mike Porcaro - Bass (#B2)
Jeff Porcaro - Drums (#A1,A2,A4,B1,B2), Percussion (#A1,A2)
Peter Donald - Drums (#A3,B3)
Ralph Humphrey - Drums [Opening Statement Only] (#B1)
Joe Porcaro - Congas (#A1,A2,A4,B1), Percussion (#A1,A2,B1,B2)
Gerald Vinci - Concertmaster (#A2,A3,B2) 

Tracks:
A1. Mellow Out! {Greg Mathieson} (5:36)
A2. I Don't Know {Larry Carlton} (4:05)
A3. Shh {Greg Mathieson} (5:54)
A4. You Can't Cry For Help {Paul Bogush, Jr.} (3:32)
B1. Sister Jo {Gap Mangione} / Time Of The Season [Medley] {Rod Argent} (5:24)
B2. King Snake {Larry Carlton} (6:32)
B3. Suite Lady {Gap Mangione} (6:18)
B4. We Three [Scherzando] {Gap Mangione} (2:28) 

Total Time: 39:49 

Credits:
Producer, Recording, Mixing - Larry Carlton
Engineer [Second] - Steve Carlton
Engineer [Strings] - John Guess
Mastering - Bernie Grundman [A&M Studios]
Coordinator [Strings] - Gerald Vinci
Photography - Mark Hanauer, Raul Vega
Art Direction - Roland Young
Design - Phil Shima
Management - Richard Burkhart 

Suite Lady

Dexter Gordon - The Sound Of Jazz: Dexter Gordon (1977)

One of many impromptu sessions staged in 1977 for Lionel Hampton's Who's Who in Jazz label, this recording features the basic band of Hampton on vibes, Bucky Pizzarelli on guitar, Hank Jones on piano, George Duvivier on bass, Oliver Jackson on drums, and Candido Camero on congas that is common to many of the albums, plus, in this case, Dexter Gordon (an alumnus of the Hampton big band) on tenor and soprano saxophone. The songs are mostly standards like "They Say That Falling in Love Is Wonderful" and "I Should Care," and Hampton and Gordon are given extended solo time in the relaxed arrangements, with Pizzarelli and Jones also taking occasional turns. The charm of all the 1977 Who's Who sessions is their intimacy: they sound more like something overheard after the final set in a club than formal recordings. This is one of the better ones. ~ by William Ruhlmann, AMG. 

Masters Records, CLCD 5025, 1988
Recorded 11th November, 1977 at Studio 21 Sound, New York 

Musicians:
Dexter Gordon - Tenor & Soprano Saxophones
Lionel Hampton - Vibraphone [Vibes]
Hank Jones - Piano
Bucky Pizzarelli - Guitar
George Duvivier - Bass
Oliver Jackson - Drums
Candido - Percussion [Longa Drums] 

Tracks:
1. Cute {Neal Hefti, Stanley Styne} (7:01)
2. They Say That Falling In Love Is Wonderful {Irving Berlin} (7:56)
3. Lullaby Of Birdland {B. Y. Forster, George Shearing} (4:20)
4. I Should Care {Axel Stordahl, Paul Weston, Sammy Cahn} (5:13)
5. Seven Come Eleven {Charlie Christian, Benny Goodman} (6:29)
6. Blues For Gates {Lionel Hampton} (8:05) 

Total Time: 39:06 

Credits:
Producer - Lionel Hampton
Executive Producer - Robert W. Schachner
Compilation - Emiel Kamzol 

Lullaby Of Birdland

Arthur Blythe - Blythe Byte (2001)

Alto saxophonist Arthur Blythe remains a reassuring exemplar of the rooted revolutionary. To be sure, he is less intent on pushing the musical envelope these days, but his aggressive tone and harmonic approach won't let the listener take him for granted. Working here in (and out of) a quartet setting, Blythe dances deftly between what we know and what he wants to show us. His primary collaborator on Blythe Byte is John Hicks, whose support on three duet outings is sympathetic and assured. Bassist Dwayne Dolphin and drummer Cecil Brooks III complete the ensemble. From the opening track, his own "Hardly," Blythe serves up his distinctive sound, redolent of R&B and the lingering spice of sophisticated harmony. Three Monk tunes add their own character to the mix. Hicks puts an elegant spin on "Blue Monk" (a quartet take) and "Light Blue," and gives "Ruby, My Dear" a similarly understated frame; this gives Blythe all the support he needs, as he focuses on melody throughout, working around the obvious rhythmic temptations. The title track is truly a gem, a 39-second unaccompanied rhapsody that is worth the price of admission. ~ Bill Bennett, JazzTimes.com. 

Savant Records, SCD 2036, 2001
Recorded 17th March, 2001 at Tedesco Recording Studios, Paramus, New Jersey 

Musicians:
Arthur Blythe - Alto Saxophone
John Hicks - Piano (#1-8,10)
Dwayne Dolphin - Bass (#1-3,5-7)
Cecil Brooks III - Drums (#1-3,5-7) 

Tracks:
01. Hardly {Arthur Blythe} (7:29)
02. Besamé Mucho {Sunny Skylar, Consuelo Velázquez} (5:47)
03. Blue Monk {Thelonious Monk} (6:09)
04. Light Blue {Arthur Blythe} (5:02)
05. And One {Dwayne Dolphin} (6:23)
06. My Little Brown Book {Billy Strayhorn} (6:15)
07. Naima {John Coltrane} (6:11)
08. Ruby My Dear {Thelonious Monk} (6:00)
09. Blythe Byte {Arthur Blythe} (0:43)
10. What A Friend We Have In Jesus {Charles C. Converse, Joseph Scriven} (4:29) 

Total Time: 54:33 

Credits:
Producer - Cecil Brooks III
Associate Producer - Arthur Blythe
Executive-Producer - Joe Fields
Engineer - David Baker
Engineer [Assistant] - Tom Tedesco
Mastering - John Arthur Lee
Design - Keiji Obata
Photography - Alan Nahigian 

Naima

Ray Bryant - Live At Basin Street East (1964)

Ray Bryant's second album for Sue was the one of two releases taped during an engagement at Basin Street East in New York City in 1964. The pianist is joined by bassist Jimmy Rowser and drummer Ben Riley (neither of whom is credited on the album jacket). This LP concentrates primarily on standards, although one pop song of the period (Bob Dylan's "Blowin' in the Wind") is thrown in, along with a pair of Bryant's originals. The piano is in decent shape, though Bryant is fairly conservative in his approach to most of the tunes, resulting in a somewhat uninspired treatment of "C Jam Blues" and a funky but lackluster "Love for Sale." One of his more unusual choices is organist Wild Bill Davis' "Blues Azure" (also known as "Azure Te," as it was titled when Duke Ellington performed it between 1969 and 1971 with its composer in his orchestra). The audience, for the most part, seems more interested in talking among themselves than realizing they are witnessing the making of a live recording. Long unavailable following the demise of the label, this music was reissued on CD by Collectables in 1996. ~ Ken Dryden, AMG. 

Sue Records, STLP 1019, 1964
Collectables Records, COL-5755, 1996
Recorded at Basin Street East, New York City in 1964 

Musicians:
Ray Bryant - Piano
Jimmy Rowser - Bass
Ben Riley - Drums 

Tracks:
01. What Is This Thing Called Love? {Cole Porter} (3:55)
02. C Jam Blues {Barney Bigard, Duke Ellington} (3:50)
03. Sister Suzie {Ray Bryant} (4:42)
04. This Is All I Ask {Buford Busbee, Charles Mitchell, Gordon Jenkins} (2:37)
05. Love for Sale {Cole Porter} (4:25)
06. Blowin' In The Wind (Bob Dylan} (4:21)
07. Satin Doll (Duke Ellington, Johnny Mercer, Billy Strayhorn} (4:55)
08. Days Of Wine And Roses (Henry Mancini, Johnny Mercer} (4:13)
09. Blue Azurte {Wild Bill Davis} (2:35)
10. All The Young Ladies {Ray Bryant} (3:25) 

Total Time: 39:03 

Credits:
Producer, Director - Juggy Murray
Engineer - Phil Macy
Art Direction, Design, Cover - Frank Lerner
Photography - Chuck Stewart
Liner Notes - Ren Grevatt

Aldo Romano - Chante (2005)

Chante is an exemplary cultivation of Aldo Romano's jardín of romantic songs. His poignant intimacy of feelings is genuinely conveyed in this stylish set of emotional songs replete with rhythmic waves, passionate lyrics, and beautiful music. With superb accompaniment from Nelson Veras on acoustic guitar, Rémi Vignolo on double bass, André "Dee" Ceccarelli on drums, Francesco Bearzatti on tenor saxophone and clarinet, Flavio Boltro on trumpet, and Baptiste Trotignon on piano, the pleasure you will derive from Romano's poetic expressions is priceless. Whether you're enjoying the quiet, joie aimer of Cole Porter's "So in Love" with a special person or at your leisure in a dignified daydream by the "L' Étang" on a sunny carefree day, you're sure to yield to the romantic allurement of Aldo Romano's wonderful voice. Chante's seduction is in the taste and swagger of Romano's delivery, arrangements, and song selection. "A St Germain Des Prés," sung in French, brings you close to a lover in a Parisian café. "The End of a Love Affair," which is sung in accented English, drips with forlorn charm, while "Lo Qui Tu Li" is a slow-burning love affair featuring supermodel Carla Bruni. Their flawless pairing offers listeners an imaginative setting that brings to mind a champagne sunset sail for two. With extra spice from the accompanying string ensemble, this song is the centerpiece of the recording. The ultra-romantic "Sans Un Mot" is a ballad that is tinged with the easy-to-cozy-up-to saxophonics of Francesco Bearzatti. Here, Romano's voice is an irresistible art form that beckons you to curl up on a canopied bed with cocktail in hand. It resonates with sex appeal and is as unique as two lovers. "Estate" further seals Aldo's diverse set of influences in a charming envelope of passionate musical innovation. A beautiful piano solo by Baptiste Trotignon keeps the song soft and calm in a mosaic of idyllic improvisations. ~ by Paula Edelstein, AMG. 

Dreyfus Jazz, 346050366862, 2005
Recorded May-June 2005 at Studio Ferber, Paris, France 

Musicians:
Aldo Romano - Vocals, Arranger (#1)
Flavio Boltro - Trumpet
Francesco Bearzatti - Tenor Saxophone, Clarinet, Arranger (#2,10)
Baptiste Trotignon - Piano
Nelson Veras - Guitar, Guitar [Acoustic]
Rémi Vignolo - Bass, Contrabass
André Ceccarelli - Drums
Carla Bruni - Vocals (#3)
Rita Marcotulli - Arranger (#1) 

Orchestra:
Jean Claude Petit - Arranger, Conductor 

Strings:
Alain Kouznetzoff, Carol Saint Michel, Christophe Guiot, Marie-Hélène Clausse,
Yves Melon, Véronique Guay, Thierry Huchin, Karine Ato, Armand Nuvolone,
Yué Zhang, Laurent Philipp, Hélène Blazy, Paul Rouger, Karen Khochafian,
Marc Desmons, Natacha Tchitch, Daniel Vagner, Noelle Santos, Jean-Michel Lenert,
Fanny Coupé, Matthieu Rogué, Nathalie Gaudemer, Philippe Feret, Emma Savouret,
Emmanuel Gaugué, Clémentine Meyer, Gwénaelle Feret 

Woodwinds:
Marc Chantereau, Jean-François Verdier, Bruno Martinez, Anne Regnier,
Jean-François Duquenois, Frédéric Chatoux, Frédéric Hochain, Stéphane Limonaire 

Tracks:
01. Les Enfants S'Ennuient Le Dimanche {Charles Trenet} (4:52)
02. A St Germain Des Prés {Léo Ferré} (4:02)
03. Io Qui Tu Li {Nicky Nicolaï, Aldo Romano} (5:18)
04. Avec Les Anges {Marguerite Monnot, Alexandre Breffort} (2:53)
05. The End Of A Love Affair {Edward Redding} (4:13)
06. Sans Un Mot {Yves Simon, Aldo Romano} (4:35)
07. La Valse Des Lilas {Eddy Marnay, Michel Legrand, Eddy Barclay} (4:48)
08. Les Papillons De Nuit {Claude Nougaro, Aldo Romano} (3:45)
09. Estate {Bruno Brighetti, Bruno Martino} (4:19)
10. Rue De Douai {Claude Nougaro, Aldo Romano} (4:06)
11. L' Étang {Paul Misraki} (4:26)
12. So In Love {Cole Porter} (3:58)
13. Les Clowns {Gianni Esposito} (3:58) 

Total Time: 55:18 

Credits:
Producer - Aldo Romano, Francis Dreyfus
Executive Producer- Christian Pégand
Arranger, Director - Jean-Claude Petit
Sound Engineer - René Ameline
Assistant - Laurent Binder
Assistant, Mastering Assistant - Benjamin Joubert
Photography - Sonia Sieff 

Les Enfants S'Ennuient Le Dimanche