Happy as a fat rat in a cheese factory

Charles Greenlee: I Know About The Life - The Musical Genius Of Charles Greenlee (1975)

2008-08-31T01:08:00.000-07:00

Sublimely spiritual work from trombonist Charles Greenlee - a player who's best remembered for work as a sideman with Archie Shepp, but who really sparkles as a leader on this rare Japanese set! The vibe here is totally great - a righteous approach to soul jazz that rivals the best work of the Strata East scene in the US, but which is carried off with the poise and power of some of the best mid 70s Japanese-only dates of this type. Clearly a great deal of respect and freedom given to Greenlee in the studio, but also some good help in putting together the record in as solid a way as possible. Jean Carn makes a great appearance singing on 3 tracks here - with a quality that's even more righteous than her work with Doug Carn on Black Jazz - and one more number features the great Joe Lee Wilson on vocals too. Players include Hubert Eaves and Art Matthews on piano, Charles Sullivan on trumpet, Archie Shepp on tenor and soprano, Buster Williams on bass, and either Charlie Persip or Beaver Harris on drum. (Review courtesy of Dusty Groove)

2008-08-21T15:12:00.000-07:00

It's been a while, my friends! But I got a new post comin' up in a few days; "I Know About The Life - The Musical Genius Of Charles Greenlee". See ya soon!

Gary Bartz: Bartz (1980)

2008-06-21T02:53:00.000-07:00

After 1978's occasionally gorgeous LOVE SONG and often sluggish LOVE AFFAIR, saxophonist Gary Bartz linked with frequent session associates and production duo James Mtume and Reggie Lucas. Mtume/Lucas had transitioned away from soul-jazz to straight soul/R&B, with Roberta Flack, Phyllis Hyman, and Stephanie Mills as some earlier beneficiaries. Add Howard King (drums), Hubert Eaves III (keyboards), Tawatha Agee (vocals) - this is a "Mtume-the-group" album in all but name. Carrying much more rhythmic oomph than either 1978 Bartz date, the album's clear-cut highlight is "Keep Goin' On" (a Tawatha showcase), but "Need Your Love" and "Music" (where you can hear Eaves revving up for "D" Train) are also bound to move those who love all other late-'70s/'80s Mtume and Mtume/Lucas-produced albums. (review courtesy of AMG)

Shibuya Jazz Classics: Nobukazu Takemura Collection (2005)

2008-06-18T12:09:00.000-07:00

Japanese jazz of the 70s - all pulled from the legendary catalog of Three Blind Mice Records, and hand-selected by Nobukazu Takemura himself! During the 70s, the Japanese jazz scene was in an incredibly intense phase - one that had players breaking out of older modes that were often strict copies of American jazz, and working in newer styles that often blended soul, modal, and spiritual jazz with freer-thinking ideas and more Eastern-inspired modes. The result was an incredible batch of music that was probably more strongly recorded by the Three Blind Mice label than any other Japanese imprint - because unlike some of their contemporaries, TBM didn't fill their catalog with work by American players, and often focused exclusively on Japanese artists. Plus, TBM also let their players go a bit more "out" than usual - really pushing the boundaries of modern jazz on the Tokyo scene, at a level that's still only partially acknowledged outside of Japan. This 2CD set is a great overview of those years - and it brings together some of the more groove-oriented material you'd expect from Takemura's selection with other tracks that are much more experimental - often concerned with sound textures and unusual instrumental combinations! 15 long tracks in all - including "One For Trane" by Nosuke Miyamoto Sextet, "Encounter" by Allan Praskin Quartet, "Sketches" by Masayuki Takayanagi, "Be Still My Soul" by Kosuke Mine Quartet, "Tomorrow" by Hideo Ichikawa Trio, "Mr Gabe" by Hideto Kanai Quintet, "Winter Song" by Hiroshi Fukumura Quintet, "Sun In The East" by Masayuki Takayanagi & New Direction For The Arts, "Spring & Swing" by Albert Mangelsdorff Quartet, and "Spanish Flower" by Tee & Company. (Review courtesy of Dusty Groove)

Long time, no see...

2008-06-14T15:35:00.000-07:00

Been crazy busy at work, but it's soon time for Nobukazu Takemura's Three Blind Mice-compilation. Solid!

Byard Lancaster: It's Not Up To Us (1968)

2008-04-12T21:37:00.000-07:00

A lesser-known avant-gardist who has been based much of his career in Philadelphia, Byard Lancaster is an advanced improviser who is not shy to show the influence of blues and soul in his solos. He played with Sunny Murray starting in 1965 and worked with Bill Dixon (1966-1967), Sun Ra (off and on between 1968-1971), and McCoy Tyner (1971-1977). Lancaster played for a bit with Memphis Slim in Paris, but has mostly performed jazz locally. All of his own recordings were for obscure labels (including Vortex, Dogtown, Palm, Philly Jazz, and Bellows), but his 1966 ESP date with Sunny Murray has been reissued on CD. (Scott Yanow/AMG)

I first heard Byard Lancaster on a DJ Cam compilation (RENDEZ-VOUS) back in '94 and I've been trying to find his albums ever since! This is about the only review of IT'S NOT UP TO US I've found:

"Lancaster, who recently turned 61, originally recorded this, his debut album, for the Vortex label back in 1966. Lancaster's playful, Pied Piper flute work on the title track delivers an infectious, lightweight melody that's perfect for a walk around the block or a jog through the park; while those of us who remember the fear and trepidation of the final days of summer just before Labor Day as you reticently accept the foregone conclusion that sun and fun are over and it's back to the books and studies, will especially appreciate the forlorn melancholia dripping from Lancaster's flute on "Last Summer." And while it's probably not the version Jessica Walter had in mind when she phoned up DJ Clint Eastwood with the request to "Play 'Misty' For Me," Lancaster's take on the old Errol Garner classic demonstrates his improvisational skills as his alto sax envelops the rudiments of the melody line with fills, trills, thrills and spills right up to the shockingly strangulated three-note conclusion.

Guitarist Sonny Sharrock's "John's Children" (a tribute to Coltrane, not Marc Bolan's pre-T.Rex psych band who were making their debut recordings around the same time) presents the lineup (including Jerome Hunter, bass and particularly Eric Gravatt on drums) with the opportunity to really stretch out. By the middle of the piece, Sharrock's guitar has taken on an almost raga-like quality which, complimented by Keno Speller's congas and Lancaster's syncopated punctuation marks on his alto sax results in, perhaps, the album's closest contact with the burgeoning psychedelia developing within the rock idiom. Although unacknowledged, a young Roger McGuinn may have found some inspiration here for his masterful 12-string workout on "Eight Miles High."

Lancaster's flute on his own composition, "Mr. A.A." ventures into Celtic folk territory and on more than one occasion I found myself drifting back to the early Donovan catalogue, particularly "There Is A Mountain" or any of the childlike fairy tales on the Gift From A Flower To A Garden collection. I also had to check the track listing to confirm my suspicions that Lancaster really was covering "Over The Rainbow," although, even more so than on "Misty," he merely uses the familiar melody line as a springboard for a phantasmagorical display of his improvisational talents. As with Hendrix' interpretation of the "Star Spangled Banner" at Woodstock, the song is there, yet it's not REALLY there...it almost becomes a completely new composition.

And while Lancaster's presence is practically non-existent on the nine-minute closer, "Satan," it's what we've encountered beforehand, from his lilting, melodic flute and occasional forays into folk and rock, to his more-than-competent, yet never ostentatious improvs that results in an album of essentially jazz recordings that will also appeal to non-jazz aficionados like myself." (Review courtesy of Jeff Penczak/fakejazz.com)

Byard Lancaster (as, fl) Sonny Sharrock (g) Jerome Hunter (b, el-b) Eric Gravatt (d) Kenny "Keno" Speller (cga d)
NYC, December 18, 1966 and July 12, 1967.

Kyoto Jazz Massive presents "Star Borne" - A Collection Of Black Fusion From CTI & Kudu (2006)

2008-03-28T10:46:00.000-07:00

A great little dip into the CTI and Kudu catalogs of the 70s - put together by Kyoto Jazz Massive, and featuring some of the hippest funky tracks from both labels! The "Star Borne" title here is very apt - as the grooves are often spacey and cosmic - stretching out with plenty of keyboards amidst the funkier drums, and usually produced with a flanged-out way that electrifies the best elements even further! All tracks are long and soulful - and while the collection's not the most all-encompassing CTI set you'll ever buy, it may well be one of the hippest! Tracks include "Gambler's Life" and "Star Borne" by Johnny Hammond, "Povo" by Freddie Hubbard, "Too High" by Joe Farrell, "Skyscrapers" by Deodato, "Could Heaven Ever Be Like This" by Idris Muhammad, "People Make The World Go Round" by Milt Jackson, and "Pastime Paradise" and "Mambotango" by Ray Barretto. (Review courtesy of Dusty Groove)

Eric Kloss: In The Land Of The Giants (1969)

2008-02-23T02:03:00.001-08:00

You can't have too much Kloss in your collection... Or Booker Ervin, for that matter!

Joe Henderson: In Japan (1971)

2008-02-12T14:12:00.000-08:00

Tenor saxophonist Joe Henderson is heard in peak form throughout this set. Performing at the Junk Club in Tokyo, Henderson is joined by an all-Japanese rhythm section (electric pianist Hideo Ichikawa, bassist Kunimitsu Inaba, and drummer Motohiko Hino) on lengthy versions of "'Round Midnight," "Blue Bossa," and his two originals "Out 'n' In" and "Junk Blues." Henderson sounds quite inspired throughout the set, and the obscure rhythm section (only Hino is known in the U.S.) really pushes him. An underrated gem. (Review courtesy of AMG)

For my buddy Sunnis, who always had a weak spot for Henderson's sound!

Pharoah Sanders: Oh Lord, Let Me Do No Wrong (1987)

2008-02-07T14:10:00.000-08:00

Although Pharoah Sanders was originally considered a firebrand, thanks to his wild early free jazz work in the '60s, his later records are actually more in the tradition of players like his one-time leader John Coltrane and, especially, Rahsaan Roland Kirk. The title track from this 1987 session could have been on any of Kirk's Atlantic albums, a mixture of gospel sway and free jazz honk that builds into a hypnotic swoon under Leon Thomas' rich baritone vocals. (Thomas also appears on his own composition, the blues "If It Wasn't for a Woman," and the closing "Next Time You See Me.") On the extended, relaxed take of Coltrane's "Equinox," Sanders doesn't try to copy his former boss' phrasing, but there's certainly a Coltrane-like elegance to Sanders' lyrical solo. In fact, Sanders' playing on the standard "Polka Dots and Moonbeams," which also features a lovely Vince Guaraldi-like piano solo by William S. Henderson III, is downright pretty. OH LORD, LET ME DO NO WRONG is a mellow and peaceful set by a player who no longer needs to make noise; whether old-school fans will appreciate this is debatable. (Review courtesy of Stewart Mason/AMG)

Hmmm, I'm fairly certain Mason didn't actually listen to this album! The title track sounds nothing at all like Kirk and even if "Equinox" indeed is extended, it is certainly not relaxed. And Mason doesn't even mention the kick ass version of "Out Of This World"! "Mellow and peaceful", my ass!

Eric Kloss: Grits And Gravy (1966)

2008-01-29T12:15:00.000-08:00

One of the true child prodigies of the ‘60s, saxophonist Eric Kloss holds the distinction of having a record contract with Prestige Records at the ripe young age of 15. Blind, smart as a whip, and technically proficient at even this early stage in his career, Kloss went on to make some remarkable albums up through the early ‘70s and then disappeared into academia. While his first two records featured him with organ combos and have been paired on a compact disc reissue, it was his third album as a leader that truly solidified his stature. Despite its hokey title, GRITS AND GRAVY spoke to Kloss’ merits as a distinctive jazz artist, as opposed to a gimmick concocted to take advantage of some youthful charm.

Composed of two 1966 sessions, GRITS AND GRAVY has its more commercial moments in the three cuts featuring female background vocalists and a larger ensemble. Even still, “A Slow Hot Wind” and “A Day In the Life Of a Fool” manage to include some magical moments where Kloss makes the most of his limited solo space. The real meat here though comes in the five selections that find Kloss and his alto horn going head to head with the legendary rhythm team of Jaki Byard, Richard Davis, and Alan Dawson. Let’s face it; this threesome would scare off many a musician double Kloss’ age at the time, making his showing here even all the more remarkable.

Clocking in at just a tad over ten minutes, Kloss leaves us a true tour-de-force in the guise of “Milestones.” Taken at breakneck speed, the alto man delivers phrase after phrase with fluidity and dazzling technique. His tonal manipulations and the way he ventures into the upper register suggest that men like John Coltrane and Archie Shepp had left their influence on Kloss. Byard is equally inspired in his message, with Dawson and Davis providing the glue to hold it all together. Often cited as a test for any jazzman is his way with a ballad and in that department Kloss exhibits maturity beyond his years, a take on “You Don’t Know What Love Is” providing the proof. (Review courtesy of allaboutjazz.com)

Thanks to Jazz-Nekko for the cover!

Johnny Hammond: Higher Ground (1973)

2008-01-15T10:05:00.000-08:00

Massive work from Johnny Hammond - stretching out here in some totally jamming grooves that really transform his style for the 70s! The sound here is a lot hipper and tighter than some of Hammond's more rough-edged soul jazz of the 60s - a groove that's a great precursor to his more famous meetings with Larry Mizell a few years later - and equally great! Johnny's got plenty of space here - and is really taking his time with the grooves, thanks to some open ended arrangements by Bob James, who also plays electric piano on the record! The record is a seminal piece of work in the transformation of the chunky 60s organ sound to a sweeter 70s keyboard groove - and was proof that Johnny, more than most of his 60s soul jazz contemporaries, was ready to embrace the new sounds of the decade with open arms. Includes the great sample cut "Big Sur Suite" - plus "Higher Ground", "Summertime/The Ghetto", and "Catch My Soul". (Review courtesy of Dusty Groove)

Lucky Thompson: Sonny Lester Collection (1991)

2008-01-09T14:32:00.000-08:00

OK, this looks kinda low budget, but the music is first rate! 8 tracks from two early 70s recordings that Lucky Thomspon did for Groove Merchant. This is what Dusty Groove has to say about ILLUMINATIONS (the complete GOODBYE YESTERDAY and I OFFER YOU, back to back on one CD):

First up is GOODBYE YESTERDAY - an album that has Lucky Thompson working in a mode that's quite different than his early years - working in a cool group that includes Cedar Walton on electric piano and celeste, Larry Ridley on bass, and Billy Higgins on drums! While most cuts are relatively straight, they've got an open soulful approach that's quite different from most of Lucky's other work - much more in the vein of recordings by Walton from the time, with an arch soul jazz righteousness to them, and a bit of an electric vibe when Cedar hits the keyboards. I OFFER YOU is an excellent album of mellow soulful tracks by Lucky Thompson - with a sweet 70s groove that's quite different from most of his other recordings! The album's got a cool mellow feel - with Lucky veering much more towards a CTI-ish electric mode than the style he used on most of his other earlier albums, which were in a soul jazz or hardbop style. Thompson plays both tenor and soprano sax - sometimes with hints of a post-Coltrane influence, in lines that are nice and snakey! The group's great too - with Cedar Walton on acoustic and electric piano, Sam Jones on bass, and Louis Hayes on drums - all very soulful players that help bring a righteous sort of energy to the album!

McCoy Tyner: Counterpoints - Live In Tokyo (1978)

2008-01-06T07:26:00.000-08:00

Long time, no see, my friends!

Personnel: McCoy Tyner (piano); Ron Carter (double bass); Tony Williams (drums). Live at Denon Colosseum, Tokyo, Japan (07/28/1978).

McCoy Tyner is a powerhouse pianist and this live concert from Tokyo only confirms the mastery of this jazz titan. COUNTERPOINTS opens with Tyner's own composition "The Greeting." A modal tour de force, this tune features a scorching solo from Tyner and high-octane drumming from Tony Williams. However, bassist Ron Carter offers great musical contrast. During his solo, he brings the group dynamic noticeably lower, and unlike Tyner and Williams, he focuses on subtle rhythmic motifs.

Duke Ellington's "Prelude to a Kiss" may be the highlight of COUNTERPOINTS. Performed as a piano-and-bass duet, it begins with intimate chords and delicate melodic gestures. However, as the tune develops, Tyner's playing becomes more extroverted and experimental. During his solo, he plays many of his trademark pentatonic licks--machine-gun-like riffs that freely embrace bitonality. Again, in contrast, Carter takes a much less modern approach to this tune. By playing more bebop-oriented lines, he juxtaposes the old with the new. Overall, this album documents the virtuosity and conceptual brilliance of Tyner and his band quite well.

Jukka Eskola (2005)

2007-11-19T02:22:00.000-08:00

When you pick up a copy of Finnish trumpeter Jukka Eskola’s debut album, the first thing that catches the eye is the stylish artwork. Ricky-Tick has brought back the classic minimalist Blue Note–flavoured artwork, which used to be the visual style of the “golden era” of jazz in the 1950’s and 60’s. This release follows the chosen path remarkably well, even though it is actually released by Free Agent Records rather than Ricky-Tick, which in turn released Eskola’s first 12” earlier this year. It is a delight to discover that the actual music lives up to the standards set by the great artwork.

Many listeners probably know Eskola from his work with Nuspirit Helsinki, The Five Corners Quintet, and Teddy Rok Seven. Thus, great expectations had already been built up before his debut release. It is interesting to note that the line-up on Eskola’s debut is almost identical to that of The Five Corner Quintet’s “official” live setting. Here, Jukkis Uotila takes Mikael Jakobsson’s place on piano – otherwise the cast remains the same. That doesn’t imply an identical sound, of course, particularly when considering that Tuomas Kallio is the musical mastermind behind the FCQ studio sound, whereas Eskola’s album is produced by Teppo “Teddy Rok” Mäkynen. Eskola and Mäkynen also share the composing credits and, needless to say, Teddy Rok occupies the drummer’s seat as well.

It is clear that Eskola’s playing is influenced by Freddie Hubbard. This is also self-proclaimed by Eskola himself. He states Hubbard’s ‘Little Sunflower’ as an influence to one of the album’s highlights, ‘Buttercup’. Educated listeners will also pick up the reference to Roy Ayers’ ‘Everybody Loves the Sunshine’ on ‘Timber Up’. Another highlight right there, by the way. When talking about standout tracks on the album, the Teddy Rok-composed ‘1974’ was the tune that first caught my ear early on, and the appeal hasn’t worn out. That’s good news for all the vinyl junkies out there: it can be found on the flipside of the highly recommended ‘Buttercup’ 12”. Eskola’s full-length, on the other hand, has only been released on CD thus far.

To sum up, Eskola’s debut is definitely promising. It includes a handful of excellent tracks and displays a bunch of young top-class musicians on the rise. The only problem is that the album somewhat fails to maintain the intensity of the best tracks all the way through. However, this is still a release worth getting into. That goes especially for all those interested in the new wave of Finnish jazz and the vital Helsinki scene in particular. (Review courtesy of beyondjazz.net)

Lonnie Smith: Mama Wailer (1971)

2007-11-13T12:49:00.000-08:00

Dr. Lonnie Smith's Mama Wailer is one of the quintessential sides issued by Creed Taylor's CTI/Kudu imprint. Out of print for decades on LP, in 2003 it became available again in Japan as a beautifully remastered CD -- as part of King's ambitious reissue project of all things Kudu.

Uncharacteristically, Smith played clavinet as well as organ on this set, and arranged all but one track. The rest of the band was comprised of Billy Cobham, Ron Carter, Chuck Rainey, Grover Washington, Jr., Airto, Jimmy Ponder, George Davis, and others. There are only four cuts on Mama Wailer, the title and "Hola Muneca" were written by Smith, the others are covers of pop tunes from the era: Carole King's "I Feel the Earth Move," and Sly Stone's "Stand" -- the latter takes up all of Side Two. Smith's keyboard playing -- particularly on the clavinet, is dirty, greasy, and way-gone funky. He rides Latin grooves on "Hola Muneca," and his B3 collides with the basses and Cobham's dancing, inverted backbeat groove. This is what Latin soul is all about when it meets jazz. The improvisations are in the pocket, but, at the same time, off the page. Here is where boogaloo and hard bop meet headlong. On the King tune, soul-jazz reigns supreme as the B3 administers groove therapy to the rhythm challenge. Elsewhere, as on "Stand," (arranged by Washington), Smith's overdubbed B3s create a wondrously complex harmonic melody as the band moves in behind the beat. A few minutes in (it's almost 20 minutes in length), the ensemble picks up the tempo, and falls into the groove pocket from which all things are possible improvisationally. Two-and-a-half minutes into the tune, the jam unfolds, a soul-jazz deep funky grit that streams and sweats call-and-response lines from one player to the next. For anyone who's ever had reservations about Washington's ability to cut loose as an improviser, they need only to give this track a listen and then apologize to his ghost. As guitars weave in and around the slinky, deep-groove basslines, Smith and Washington trade fours, and then Ponder turns his guitar into an overdrive machine to match Smith line for line, interweaving and intercutting before the whole mutha lifts off at eight-minutes-thirty-seconds and into a James Brown and His Famous Flames riot of soulful funky badness that nonetheless allows for Washington to solo outside on the edges of an over-amped rhythm section. Whew! (Review courtesy of AMG)

The Jack Wilson Quartet featuring Roy Ayers: Ramblin' (1966)

2007-11-12T01:16:00.000-08:00

Jack Wilson was a talented, if understated, mainstream jazz pianist. Wilson's music had elements of hard bop, swing, cool jazz and soul-jazz, and it was all tied together by his tasteful playing. After recording for Vault, he moved to Blue Note in 1966.

This album is an exceptional and fresh album by two exceptional musicians. Jack Wilson and Roy Ayers have an instinctive and uncomplicated sense of showmanship that goes hand with awareness appreciation for their audience, and an enthusiasm for their music. Fine, swinging (and bold) versions of "Ramblin' ", "Stolen Moments", and "Impressions". And I really like the tender three-part "The Sandpiper".

Archie Shepp: Kwanza (1969)

2007-10-10T16:25:00.000-07:00

Albert Ayler flamed like phosphorous for a few years, spoke like an Old Testament prophet, wore leather trousers and died young in mysterious circumstances. Archie Shepp burned just as bright, but has lived to a ripe age, growing to embrace the mainstream, and has had one foot in academe for much of his career. The two saxophonists, along with John Coltrane, personified the Impulse! label during its giddy zenith, but Ayler's highly marketable legend, now of mythic proportions, has grown to overshadow Shepp's contributions to the label and the “new thing.”

Kwanza catches Shepp at his most funked up and glorious. It was recorded over four sessions, between September 1968 and August 1969, a time when psychedelia and Blackism's twin recalibrations of jazz convention were at their most fervid. Primal R&B values were fascinating the avant garde, along with what would now be called world music and an avowed, Maoist anti-intellectualism (the latter essentially an affectation, and one hilariously observed by Tom Wolfe in Radical Chic And Mau-Mauing The Flak Catchers, Farrar, Straus & Giroux, 1970).

Shepp, though himself an intellectual, was part of this back-to-the-roots-and-outwards movement. Kwanza, and the nearly contemporaneous The Way Ahead (Impulse!, 1968), recorded with the same core musicians, were his mature statements in a trajectory which had hit the backbeat with the New Orleans fonk-informed Mama Too Tight (Impulse!, 1966).

Surrounding himself with the cream of the “new thing” players, Shepp maintained his commitment to free and collective improvisation, but combined it now with structured arrangements rooted in gospel and the blues. Bass ostinatos, keyboard vamps and drum backbeats drive the music, along with raw R&B horn charts and sweating, testifying horn solos.

Ace fellow travellers like organist/pianist Dave Burrell, trombonist Grachan Moncur III and trumpeter Jimmy Owens help Shepp keep the unexpected happening against these repititious, cyclical structures. First-generation bebop baritone saxophonist Cecil Payne, a relative old-timer here, blows his fine wild heart out on Cal Massey's “Bakai.”

Kwana is roughly contemporaneous with Ayler's most considered R&B statement, New Grass (Impulse!, 1968), whose visceral passion it approaches without wholly abandoning the cerebral in the process. There are close affinities too with the work of some artists on the post-Alfred Lion, late-1960s Blue Note label, recently compiled on the double-disc set Righteousness. A great little chunk of history, and with the power still to move the listener. (Review courtesy of All About Jazz)

Roy Ayers: No Stranger To Love (1979)

2007-10-02T14:41:00.000-07:00

When you obtained a Roy Ayers/Ubiquity album in the late '70s you could usually count on two things: the funk smokers would be gritty and infectious, and the quiet storm tunes would be mellow and seductive. No Stranger To Love was no exception. Ayers comes through with some sweaty, get-down funk grooves, including "Shack Up, Pack Up, It's Up (When I'm Gone)," "Slyde," and the hit single "Don't Stop the Feeling." The quiet storm audience was bound to appreciate soft, relaxed, jazzy items like "No Stranger To Love/Want You" and Ayers' remake of Bobby Caldwell's "What You Won't Do For Love." When No Stranger To Love came out in 1979, the Disco Era was still in effect, so it isn't surprising that Ayers adds a fair amount of disco gloss to "Don't Hide Your Love." Whether he's in shake-your-booty mode or lover-man mode, Ayers exited the '70s on a high note with this excellent LP.

Sonny Rollins: In Japan (1973)

2007-09-18T03:46:00.000-07:00

Hmm, let's see what AMG thinks:

A tremendous recording of a great Japanese concert! ~ Ron Wynn, All Music Guide

Well, that's good enough for me! All in all, I think Rollins' recordings from the early 70s are vastly underrated.

Sonny Rollins - ts
Yoshiaki Masuo - g
Bob Cranshaw - b
David Lee - dr
Mtume - perc

Art Ensemble Of Chicago: People In Sorrow (1969)

2007-09-09T12:36:00.000-07:00

In 1969, the Art Ensemble of Chicago (which had recorded just one official record, Congliptious, as a group at that point in time), moved to Paris for two years and recorded eight albums during their first year overseas alone. This particular LP has the innovative band (which was then a quartet consisting of trumpeter Lester Bowie, bassist Malachi Favors, and both Roscoe Mitchell and Joseph Jarman on multiple reeds) performing the 40-minute group original "People in Sorrow." The still-startling music, which uses space, dynamics, and a wide range of emotions expertly, is not for everyone's taste (the high-energy tenors of the mid-'60s are actually easier to get into), but worth the struggle. (Review courtesy of AMG)

Sleep Walker: Works (2007)

2007-09-02T11:55:00.000-07:00

More than just "works" from Sleep Walker - a collection of singles, remixes, and new tracks - all representing some of the best work from this ultra-hip club jazz combo! As with their full albums, the style here is jazz-based at the outset - played in a classic mode that has plenty of echoes of Impulse Records during the Coltrane generation - but forged into a tighter, leaner groove for the 21st Century - a mode that's sometimes rhythmic and aimed at the dancefloor, yet which never loses any sense of depth or creativity from a jazz perspective! Saxophonist Masato Nakamura contributes some incredibly great tenor and soprano work to the tunes - and Hajimi Yoshizawa's modal piano lines pulsate tremendously throughout. A few cuts are remixes, but still very much embody the Sleep Walker sound - with new instrumentation, as the group makes a live jazz take on the tracks they're supposedly remixing! Titles include "Quiet Dawn", "Wind", "River Of Love", "Eclipse", "Big Escape", and "Waltz For Moe (new take)" - plus Sleep Walker versions of "Don't Believe A Word" by Victor Davies, "Sim Ou Nao" by Jazzinho, and "Pathways" by Jazztronik. (Review courtesy of Dusty Groove)

A solid album, not just some haphazard collection. The definitive highligt for me is the fine version of Cal Massey's "Quiet Dawn".

Wayne Shorter: Odyssey Of Iska (1970)

2007-08-31T15:56:00.000-07:00

On August 26, 1970, Wayne Shorter recorded two separate albums for Blue Note (the other one is Moto Grosso Feio), his final projects for the label. For this set, Shorter (doubling on tenor and soprano) utilizes a double rhythm section comprised of vibraphonist Dave Friedman, guitarist Gene Bertoncini, both Ron Carter and Cecil McBee on basses, drummers Billy Hart and Alphonse Mouzon, and percussionist Frank Cuomo. On the verge of joining Weather Report (referred to in the liner notes as "Weather Forecast"), it is not surprising that Shorter's originals include titles such as "Wind," "Storm," and "Calm." These moody works were never covered by other jazz players but they work quite well in this context, launching melancholy flights by Shorter. ~ Scott Yanow, All Music Guide

Hmm... I usually respect Yanow's opinion, but I think he's way off base here. Odyssey Of Iska is much more than "moody works" and "melancholy flights"!

Rahsaan Roland Kirk & The Vibration Society: Rahsaan Rahsaan (1970)

2007-08-22T16:46:00.000-07:00

Roland Kirk and his band - which, along with his normal companions Howard Johnson on tuba, Dick Griffin on trombone, Ron Burton on piano, and Vernon Martin on bass, added Leroy Jenkins on violin, Alvern Bunn on conga, Sonelius Smith on celeste and piano, and Joe Texidor on various sound objects to the mix - once more indulge his obsession with creating modern day "black classical music." Recorded on one night - Christmas Eve 1969, two days before Johnny Hodges died - this is one of the weirdest records Kirk ever recorded, but it certainly has merit. Beginning with a 17-minute conceptual suite called "The Seeker," this was classical music Kirk style. The fact that his music here careens from vanguard atonalities to deep swinging blues grooves and wide-ranging color orchestrations worthy of Ellington is part of the Kirk paradox: If you hate it, wait a second - it'll change. Other tracks here include a steamy "Satin Doll," a bluesy, mood-driven "Sweet Fire," and an almost obscene "Baby Let Me Shake Your Tree," all played with a host of horns in Kirk's mouth, all playing either ostinato or soloing at the same time, splitting the lobes as he called it, and all of them directing a very tight, wildly celebratory band. Rahsaan was the king of the riff - he could use it until it bit you - and once it did he was off and running someplace else, down on the hard-swinging outer spaceways of his mind and heart. ~ Thom Jurek, All Music Guide

The Cannonball Adderley Quintet: Music, You All (1972)

2007-08-14T00:10:00.000-07:00

Excellent live set from the early 70's, featuring George Duke, Airto, Ernie Watts, and brother Nat. David Axelrod produced, and the LP's got that nice hard funky sound that he did so well during his stint with Cannonball. Includes the 12 minute groover "The Brakes", plus "Oh Babe", "Music, You All", and "Capricorn". Lots of funky drums and bass, and with a lot of space in the arrangements to let things break down! (Review courtesy of Dusty Groove)

Recorded at the Troubadour in L.A. in 1972. Not mentioned in the Dusty Groove review above, the album also features an excellent, fast paced version of "Walk Tall"!

BTW, if someone knows where to get a hold of Adderley's The Price You Got To Pay To Be Free, please let me know.

Lonnie Liston Smith: Live! (1977)

2007-08-06T02:52:00.000-07:00

Aahh, the sweet, sweet keyboard of Lonnie Liston Smith! This recording shows clearly that, even in the late 70s, he had lost none of his remarkable powers!

Recorded live at Smucker's Cabaret in Brooklyn, NY, in 1977, this superb LP is the only live album that Lonnie Liston Smith provided in the 1970s. It's also one of the most essential and improvisatory recordings he ever came out with. Smith and his band, the Cosmic Echoes, don't hesitate to let loose during this performance, which finds them bringing a very adventurous spirit to gems like "Watercolors" and "Sorcercess." Vocalist Donald Smith is in excellent form on "Expansions," "Visions of a New World," and "My Love," and there are many inspired solos by keyboardist/pianist Smith as well as saxman Dave Hubbard and guitarist Ronald Dean Miller. Though the Cosmic Echoes maintain their ethereal qualities, their playing definitely has a tougher edge on stage. - Alex Henderson, All Music Guide

Frank Foster: The Loud Minority (1971)

2007-08-02T15:58:00.000-07:00

One of the most amazing albums ever from Frank Foster - a totally righteous set that's light years ahead of his earlier work with the Basie Band! The format here is right up there with the best on Strata East at the time - a large-group session that's filled with some of the hippest players of the early 70s - all coming together with a joyous, spiritual sense of power! Foster's in the lead on tenor and soprano sax, but other players include Cecil Bridgewater and Hannibal Marvin Peterson on trumpets, Harold Mabern on keyboards, Elvin Jones on drums, Dick Griffin on trombone, Stanley Clarke on bass, Airto on percussion, and even Dee Dee Bridgewater on vocals! Tracks are all quite long and flowing - spiritual expressions of jazz that rival the greatness of anything recorded for impulse! - and titles include "The Loud Minority", "Requiem For Dusty", "JP's Thing", and "EW - Beautiful People". (Review courtesy of Dusty Groove)

OK, I know that this fine album has been released on CD, but I haven't seen it for quite some time. The Loud Minority deserves to be heard!

Johnny Lytle: New And Groovy (1966)

2007-07-31T09:29:00.001-07:00

Considered one of the top vibes players in the world, Johnny Lytle was known for his great hand speed and showmanship. He was also a songwriter and wrote many of his own hits, including "The Loop," "The Man," "Lela," "Selim," and the jazz classic "The Village Caller." Lytle recorded more than 30 albums for various jazz labels including Tuba, Jazzland, Solid State and Muse. Throughout his career he performed and recorded with jazz greats the likes of Louis Armstrong, Lionel Hampton, Miles Davis, Nancy Wilson, Bobby Timmons and Roy Ayers. The devoted father of three also featured his son, Marcel Lytle, on several of his recordings as a vocalist and drummer. Lytle was such an admirer of the music of the late, great Miles Davis that he wrote "Selim" (Miles spelled backwards) in honor of Davis, which features Davis' former pianist Wynton Kelly.

Lytle never recorded with any of the major record labels, and that could be why he never gained the status of a jazz icon like some of his peers. Lytle felt that he would lose control of his music and creative development; Lytle liked to play what came natural to him, and being with a major label might not have afforded him that opportunity. Johnny Lytle grew up in a family of music, the son of a trumpeter father and an organist mother. He began playing the drums and piano at an early age. Before studying music in earnest, Lytle lent his hands to boxing, and was a successful Golden Gloves champion. During the late '50s, Lytle landed jobs as a drummer for Ray Charles and others, and he also continued to box. But by 1960, the energetic Lytle had laid down his gloves and, inspired by the great Lionel Hampton, picked up the mallets, turning his full attention towards the vibraphone. He started a jazz band and began recording for the famed jazz label Riverside Records under the direction of Grammy award-winning producer Orrin Keepnews.

Lytle found success early in his career with chart-topping albums like A Groove, The Loop, and Moonchild. From his swinging uptempo tracks to his soul-satisfying ballads, Lytle knew how to keep a groove. And with a nickname like "Fast Hands," he could always keep the attention of an audience. In addition to his musicianship, his gregarious personality made him a popular attraction on the jazz circuit. Even though Lytle did not experience the same success he was privileged to during the '60s, he did continue to record and build a respectable catalog of music with recordings in the '70s,'80s and '90s.

Lytle remained a popular concert attraction in the U.S. and Europe; his last performance was with the Springfield (Ohio) Symphony Orchestra in his hometown in November 1995. At the time of his death, Lytle was scheduled to begin recording a new CD on the Muse label. ~ Craig Lytle, All Music Guide

OK, so maybe my vacation is over, but Johnny Lytle helps me keeping the summer vibe a little longer!

Cal Massey: Blues To Coltrane (1961)

2007-07-04T04:12:00.000-07:00

There's some doubt about the birthdate of composer and trumpeter Cal Massey, with some accounts having him born in 1928. But there's no question about his ability as a composer; Massey wrote some poignant and compelling material, and had works recorded by John Coltrane, Freddie Hubbard, Jackie McLean, Lee Morgan, Philly Joe Jones and Archie Shepp, among others. Some Massey numbers that were cut included "Bakai," by Coltrane, "Fiesta" by Jones, "Assunta, Father and Son" by Hubbard, "Message from Trane" by McLean and "Cry of My People" by Shepp. Massey studied trumpet with Freddie Webster and worked in big bands led by Jay McShann, Jimmy Heath, and Billie Holiday. Massey then opted to concentrate on composing and didn't do much playing the rest of his career, though he did lead an ensemble that included Jimmy Garrsion, McCoy Tyner and Tootie Heath in the late '50s. This group played Massey's compositions, and had periodic guest appearances from Coltrane and Donald Byrd. Massey worked and toured with Archie Shepp from 1969 until his death in 1972, and he also worked with Romulus Francechini, co-founding The Romas Orchestra which also performed Massey compositions. His musical play "Lady Day: A Musical Tragedy" was Massey's final work. The Shepp albums Attica Blues, and Things Have Got To Change and Cry of My People contain several Massey compositions and there is a Candid CD featuring rare examples of Massey's fine trumpet playing. ~ Ron Wynn, All Music Guide

Blues To Coltrane is - I believe - Massey's only date as a leader and features "Bakai", "These Are Soulful Days" and "Father And Son", tunes that had been (or later would be) recorded by Coltrane, Morgan and Hubbard. As Wynn says, Massey was a fine trumpeter - as well as one hell of a arranger/composer!

Harold Alexander: Sunshine Man (1971)

2007-07-02T23:58:00.000-07:00

I'm off on vacation in a couple of days, but I'll leave you a couple of real gems. First; the funky flute of Harold Alexander!

A wicked bit of funky jazz from Harold Alexander - and one of the hardest to find albums on the legendary Flying Dutchman label! The set's got a great sound that's freer than your average jazz funk album of the time - with some nice traces of post-Coltrane spiritualism, mixed in alongside some sweet electric piano by Neal Creque, and tight funky drums by Pretty Purdie! Tracks are all nicely long, with plenty of cool and sharp changes - and titles include the classic "Sunshine Man", plus "Tite Rope", "Quick City", and "Mama Soul". (Review courtesy of Dusty Groove)

Prince Lasha/Sonny Simmons: Firebirds (1967)

2007-06-27T13:58:00.000-07:00

The second of two collaborations by Prince Lasha (on flute, alto, and alto clarinet) and Sonny Simmons (alto and English horn), this set has been reissued on CD. Vibraphonist Bobby Hutcherson, bassist Buster Williams, and drummer Charles Moffett offer stimulating support and close interplay with the two lead voices, who contributed all five selections. The music is influenced by (but not too derivative of) Ornette Coleman's free jazz style, and the improvisations are pretty advanced and sometimes quite emotional. Lasha and Simmons made for a potent team, making one wish that they would have a reunion someday. An underrated classic of its kind. ~ Scott Yanow, All Music Guide

OK, Firebirds has been released on CD but I haven't seen it around in a long time. It's a stellar album, and as I believe I read somewhere; had it only been released on impulse!, it would have been considered a major 60s avant-garde classic.

But I don't think Yanow is right when he speaks of this as the second of two Lasha/Simmons albums. Surely did they collaborate on more than just two recordings?

Freddie Hubbard: Keep Your Soul Together (1973)

2007-06-25T13:07:00.000-07:00

Trumpeter Freddie Hubbard's CTI recordings have long been underrated and a bit downgraded by writers who get them confused with his much commercial output for Columbia. For this LP Hubbard is heard in fine form on four of his originals (highlighted by "Spirits of Trane") with a septet that includes tenor-saxophonist Junior Cook, keyboardist George Cables, guitarist Aurell Ray, either Kent Brinkley or Ron Carter on bass, drummer Ralph Penland and Juno Lewis on percussion. The music is sometimes funky but definitely creative jazz with Hubbard heard during his prime period. ~ Scott Yanow, All Music Guide

Ahhh, CTI! The label we love to hate! Either you like Creed Taylor's production and his slick sound or you don't, I think. In my opinion, there's no denying that some of the finest jazz of the 70s came out on CTI.

Herb Geller Octet: "Rhyme And Reason" (1975)

2007-06-24T14:23:00.000-07:00

Real top quality jazzy fusion with vocals from Earl Jordan of the Les Humphries Singers plus the fantastic Mark Murphy! Hideous cover - great music!

BTW, I've been having some technical problems (sound drop-outs, etc), but hopefully that issue has been resolved now.

Hal Singer: Blues And News (1971)

2007-06-20T01:56:00.000-07:00

Equally at home blowing scorching R&B or tasty jazz, Hal "Cornbread" Singer has played and recorded both over a career spanning more than half a century. Singer picked up his early experience as a hornman with various Southwestern territory bands, including the outfits of Ernie Fields, Lloyd Hunter, and Nat Towles. He made it to Kansas City in 1939, working with pianist Jay McShann (whose sax section also included Charlie Parker), before venturing to New York, in 1941, and playing with Hot Lips Page, Earl Bostic, Don Byas, and Roy Eldridge (with whom he first recorded in 1944). After the close of the war, Singer signed on with Lucky Millinder's orchestra.

Singer had just fulfilled his life's ambition - a chair in Duke Ellington's prestigious reed section - in 1948, when a honking R&B instrumental called "Cornbread" that he'd recently waxed for Savoy as a leader began to take off. That presented a wrenching dilemma for the young saxist, but in the end, his decision to go out on his own paid off; "Cornbread" paced the R&B charts for four weeks and gave him his enduring nickname. Another of his Savoy instrumentals, "Beef Stew," also cracked the R&B lists.

Singer recorded rocking R&B workouts for Savoy into 1956 (the cuisine motif resulting in helpings of "Neck Bones," "Rice and Red Beans," and "Hot Bread"), working with sidemen including pianists Wynton Kelly and George Rhodes, guitarist Mickey Baker, bassist Walter Page, and drummer Panama Francis. One of his last dates for the firm produced the torrid "Rock 'n' Roll," which may have featured Singer as vocalist as well as saxist.

By the late '50s, Singer had abandoned rock & roll for a life as a jazz saxist. He recorded for Prestige in a more restrained manner in 1959, and stayed in that general groove. Singer relocated to Paris in 1965, winning over European audiences with his hearty blowing and engaging in quite a bit of session work with visiting blues and jazz luminaries. The old R&B fire flared up temporarily in 1990, when he cut Royal Blue for Black Top with boogie piano specialist Al Copley. ~ Bill Dahl, All Music Guide

A true Southern honker! I first heard Singer on a Mojo compilation ("Malcolm X"). On Blues And News he cuts a different version of his Acid Jazz classic. Serious modal swing!

Hannibal: The Angels Of Atlanta (1981)

2007-06-12T15:15:00.000-07:00

Although the Harlem Boys Choir is occasionally utilized, and Pat Peterson takes a soulful vocal on "The Inner Voice," this is very much trumpeter Marvin "Hannibal" Peterson's date. The explorative trumpeter is heard at his absolute peak, taking lengthy and fiery improvisations that show off not only his virtuosity but his emotional range. The superlative band (tenor saxophonist George Adams, pianist Kenny Barron, cellist Diedre Murray, bassist Cecil McBee, and drummer Dannie Richmond) really inspires Peterson, who stretches the boundaries of his music toward gospel and soul without watering down the jazz content. This well-balanced set is one of Hannibal's finest recordings. ~ Scott Yanow, All Music Guide

Deeply moving music, and perhaps my favorite Hannibal album. Quite possibly the best version of "Motherless Child" I've ever heard.

Nathan Davis: Peace Treaty (1965)

2007-06-08T23:57:00.000-07:00

One of the first true moments of genius from saxophonist Nathan Davis - a mid 60s European session cut for the tiny SFP label - and a record that's even rarer than his early classics for MPS! The sound here is similar to the MPS sides - a mixture of soul jazz and modal jazz - served up with a bit more freedoms than Davis might have gotten on the US scene, and featuring a lineup that includes Woody Shaw on trumpet, Jean-Louis Chautemps on baritone sax, Rene Urtreger on piano, Jimmy Woode on bass, and Kenny Clarke on drums. The tight rhythm of Woode and Clarke is a nice counterpoint to the modernism of Davis and Shaw - Davis works a bit on soprano, which sounds especially great! Titles include "Peace Treaty", "Klook's Theme", "Now Let M' Tell Ya", "Kansas City Special", and "Sconsolato". CD features 2 bonus tracks - "Sconsolato (quintet)" and "Kansas City Special (quintet)" - both recorded by an smaller group with Jimmy Gourley on guitar, and without the trumpet and baritone sax. (Review courtesy of Dusty Groove)

Funky Swedish Meatballs: Various Scandinavian Grooves, Vol 2

2007-06-05T22:42:00.000-07:00

More steaming hot 70s jazz, funk and soul from Scandinavia! The stand out track for me is without a doubt Björn Skifs "Alltför sent", a slow, brooding Swedish version of Carole King's "It's Too Late". Skifs is of course otherwise known for his 1974 Billboard hit "Hooked On A Feeling"!

Luis Gasca: Born To Love You (1974)

2007-06-01T00:26:00.000-07:00

Underrated Bay Area trumpeter Luis Angel Gasca with an allstar crew. Slick, yet passionate, latin jazz fusion, indeed! The album also features a couple of real groovers (DeJohnette's "New Orleans Strut" is certainly one funky tune) and some interesting covers (Coltrane's "A Love Supreme" and Tyner's "Search For Peace").

Funky Swedish Meatballs: Various Scandinavian Grooves, Vol 1

2007-05-29T14:59:00.000-07:00

I've heard a bunch of compilations of Swedish or Scandinavian jazz/funk. Some legit (like Between Or Beyond The Northern Lights or Groove På Svenska), some not-so-legit (like Behind Kungsträdgården or Cosmic A Go Go). But the best turned in fact out to be some kind of obscure internet-only compilation called Funky Swedish Meatballs! Rare 70s jazz, funk, fusion, soul and groovy rock from top notch musicians like Slim Borgudd, Janne Schaffer, Björn J:son Lindh, Pop Workshop, Egba, Bo Hansson, Häxmjölk, Björn Skifs, Jukka Tolonen and Pekka Pohjola, among others (some to be found on Vol 2). If you can't stand the heat, get out of the kitchen!

Clifford Jordan & The Magic Triangle: Firm Roots (1975)

2007-05-26T09:29:00.000-07:00

Clifford Jordan was a fine inside/outside player who somehow held his own with Eric Dolphy in the 1964 Charles Mingus Sextet. Jordan had his own sound on tenor almost from the start. He gigged around Chicago with Max Roach, Sonny Stitt, and some R&B groups before moving to New York in 1957. Jordan immediately made a strong impression, leading three albums for Blue Note (including a meeting with fellow tenor John Gilmore) and touring with Horace Silver (1957-1958), J.J. Johnson (1959-1960), Kenny Dorham (1961-1962), and Max Roach (1962-1964). After performing in Europe with Mingus and Dolphy, Jordan worked mostly as a leader but tended to be overlooked since he was not overly influential or a pacesetter in the avant-garde. A reliable player, Clifford Jordan toured Europe several times, was in a quartet headed by Cedar Walton in 1974-1975, and during his last years, led a big band. He recorded as a leader for Blue Note, Riverside, Jazzland, Atlantic (a little-known album of Leadbelly tunes), Vortex, Strata-East, Muse, SteepleChase, Criss Cross, Bee Hive, DIW, Milestone, and Mapleshade. ~ Scott Yanow, All Music Guide

OK, so maybe Glass Bead Games or Night Of The Mark VII is my favorite recordings, but Clifford Jordan, Cedar Walton, Sam Jones and Billy Higgins also did some truly inspired albums for SteepleChase in the mid-70s!

Walt Dickerson: Tell Us Only The Beautiful Things (1975)

2007-05-24T14:30:00.000-07:00

Walt Dickerson made an impact when he first emerged in the early '60s - he won the Down Beat Critic's Poll as New Star in 1962 - but as the years have passed, he's become much less visible. Dickerson graduated from Morgan State College in 1953. After serving in the Army from 1953-1955, he settled in California, where he led a band that included Andrew Cyrille and Andrew Hill. In his early-'60s heyday, Dickerson played the clubs on the New York scene. He worked with Sun Ra, recording Impressions of a Patch of Blue in 1965. Shortly thereafter, Dickerson retired from performing for nearly a decade and returning in 1975. In the years 1977-1978, he made the bulk of his recordings for the SteepleChase label, which included duos with Sun Ra, guitarist Pierre Dorge, and bassist Richard Davis. Also in 1978, Dickerson recorded in a quartet with pianist Albert Dailey. Dickerson has been one of the few vibists to exhibit an awareness of free jazz techniques, though he's manifestly conversant in the language of post-bop. Dickerson has performed around his native Philadelphia. ~ Chris Kelsey, All Music Guide

This was Dickerson first album after his ten year hiatus and what a great return it was. Two long, moody pieces featuring Wilbur Ware and Andrew Cyrille. Kudos for the extra-funky picture of Dickerson on the back of the cover!

The New John Handy Quintet: New View! (1967)

2007-05-20T14:22:00.000-07:00

Altoist John Handy's 1967 quintet included vibraphonist Bobby Hutcherson, the up and coming guitarist Pat Martino, bassist Albert Stinson and drummer Doug Sides. They really stretch out on three pieces (John Coltrane's "Naima" and an original), and New View is highlighted by Handy's emotional and episodic "Tears of Ole Miss (Anatomy of a Riot)", which clocks in at 23:45. The inside/outside music is quite picturesque, emotional, and ultimately logical. It is a pity that John Handy did not make more of an impact on the mainstream of jazz, but his three Columbia studio albums still sound fresh decades later. ~ Scott Yanow, All Music Guide

Inspired by the Hutcherson posts at OIR, I rummaged through my collection and found this gem! As usual, Yanow is right on the money. "Tears of Ole Miss" is indeed a deeply moving piece of music.

Carlos Garnett: The New Love (1977)

2007-05-14T12:26:00.000-07:00

An intense tenor soloist, Carlos Garnett seemed to largely disappear from jazz after the late '70s, but re-emerged 20 years later playing better than ever. He grew up in Panama, started playing tenor in 1957, and early on performed calypso and Latin music. In 1962, Garnett moved to New York, working with rock groups and struggling a bit, but listening closely to the free jazz saxophonists. He gained some recognition for his work with Freddie Hubbard (1968-1969), Art Blakey's Jazz Messengers (1969-1970), and Charles Mingus, and had an important stint with Miles Davis in 1972. Garnett also worked with Jack McDuff, Andrew Hill, Gary Bartz, and Norman Connors during the era and recorded five albums of his own for Muse during 1974-1977 that ranged from exploratory music to attempts at commercialism. Carlos Garnett was musically inactive during much of the 1980s, but started a comeback in 1991. In 1996, he made one of his finest albums (Fuego en Mi Alma, for the HighNote label) in a style little changed since the '70s. ~ Scott Yanow, All Music Guide

I only got this incredible album ("Memories of Coltrane"!) and Black Love, but I'm constantly looking for the other three Muse albums. I'm fairly certain that Black Love is the only one the has been re-released. It's really a shame. I don't know why Muse/32 Jazz would keep those tapes locked up.

BTW, sorry 'bout the low bitrate. I'm trying to get away from the aiff-format and since I'm really a rookie at these things, this is what I ended up with. I'll do better next time.

Shibuya Jazz Classics: Calm Collection (2002)

2007-05-11T15:38:00.000-07:00

Wonderful work from the Japanese recording scene of the 70s! 5 extra-long tracks pulled from records by American players, but ones that never came out in the US at the time! The work here is in a fantastically open mode - post-Coltrane in spirit, with long and free-flowing tracks that are dripping with spirituality and a sense of exploration, yet which also never get too free or far out. Think of your favorite albums by Archie Shepp or Pharoah Sanders, and you've got a good feel for the work - and remember that the set was put together by Calm to reflect the hip Tokyo jazz groove scene, and you'll know that it swings. Titles include "Round Trip (part 2)" by Beaver Harris, "Piece of Ground" by Zenzile featuring Marion Brown, "To Search The Inner World" by Hannibal & The Sunrise Orchestra, "Steam" by Charles Greenlee, and "Black Renaissance" by Harry Whitaker & Black Renaissance. (Review courtesy of Dusty Groove)

Such a solid compilation! I'm so impressed by the whole Shibuya Jazz Classics series. And Charles Greenlee's version of "Steam" (with Shepp on sax) is just stunning! Aside from the Black Renaissance LP (which I think was re-released by Ubiquity/Luv n' Haight a couple of years ago), I've never even seen one of these Baystate albums...

Azar Lawrence: Summer Solstice (1975)

2007-05-09T04:11:00.000-07:00

Azar Lawrence showed a great deal of potential during his period with McCoy Tyner's Quartet (1973-1977), but has not made that strong an impression since. A fine tenor and soprano saxophonist (which he took up in 1970 and 1972 after a few years playing alto), Lawrence performed with Horace Tapscott in Los Angeles. He toured Europe with Clark Terry in 1970 and in 1973, joined Elvin Jones' band. After three months, Lawrence decided to switch to Tyner's group and he recorded several impressive albums (on Milestone) while a sideman with the great pianist. Azar Lawrence also recorded three albums as a leader for Prestige during 1974-1976, but has not had further opportunities to head sessions and has maintained a low profile ever since. ~ Scott Yanow, All Music Guide

Summer Solstice features the jazz dance classic "Novo Ano", a tune that Toshio Matsuura treated to a fine remix on the Soul Source compilation Remixed Fevers in 2005. I lost my copy of Lawrence's People Moving some years ago and if someone could tell me if its been posted somewhere, it'd be much appreciated.

Miles Davis: Live In Montreux (1973)

2007-05-05T13:45:00.000-07:00

The Miles Davis Septet kicks ass at the Montreux Casino, July 8, 1973!

Miles Davis (tpt, org); Dave Liebman (ss, ts, fl); Pete Cosey (g, perc); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)

First set
1 Band warming up 0:17
2 Turnaroundphrase 16:34
3 Tune in 5 19:53

Second set
4 Ife 27:23
5 Calypso Frelimo 16:00
6 Unknown Title 730620 15:31

The Cannonball Adderley Quintet: 74 Miles Away (1967)

2007-05-02T08:59:00.000-07:00

Aahh, the sweet, righteous sound of Cannonball Adderley!

A classic album recorded during the time when Capitol was making a mint off of Cannonball's funky soul jazz riffing - and one of the early efforts he did with David Axelrod at the helm! Once again, keyboardist Joe Zawinul's penned the big tracks on the album, including the 2 title hits: "Walk Tall" and "74 Miles Away". The latter is the best groove, and has a lot of room for a nice long solo workout by Cannon, Nat, and Joe! (Review courtesy of Dusty Groove)

"Walk Tall" is obviously the hit (and Cannonball would return to it on several recordings) but the real treat is of course the long title piece. Booth groovy and complex.

Eddie Russ: See The Light (1976)

2007-04-29T22:45:00.000-07:00

A beautiful album of spacey jazz funk! Eddie Russ was a 70s keyboard genius - right up there with Lonnie Liston Smith and Herbie Hancock in our book, although he never reached the fame of either of those players. This album's one of Eddie's best -and it's got a smoothly produced soul jazz sound that's almost a takeoff on the style of Smith's excellent records for Flying Dutchman. Tracks are uptempo and jazzy, with a strongly soulful vibe that features lots of electric keyboard work over the top of fast dancing rhythms. A few cuts have sweet female soul backup vocals, and additional instrumentation includes trumpet, sax, and guitar. (Review courtesy of Dusty Groove)

The mighty Bacoso posted this little gem last summer, but the link is long gone. Grab it now, you never know when See The Light appears again!

Herbie Mann: Live At The Whisky A Go Go (1968)

2007-04-23T21:30:00.000-07:00

According to Dusty Groove, "a hip set that features two album side-length jammers, played in a tripped-out, stretched-out, funky soul fashion!"

Herbie may be considered a lightweight by many, but man; did he make some groovy albums for Atlantic in the late 60's/early 70's! Live At The Whisky A Go Go features one of Mann's most interesting groups from that period: youngsters like Roy Ayers, Sonny Sharrock, Miroslav Vitous and the underrated Steve Marcus as well as reliable session drummer Bruno Carr.

Herbie Mann will always be special for me, since his album At The Village Gate was the very first jazz album I ever bought!

Sahib Shihab: Conversations (1963)

2007-04-22T11:45:00.000-07:00

Because he spent so much of his career living in Europe, Sahib Shihab is primarily known for being a baritonist in the bop era. As this very interesting CD shows, he was also quite original on the alto, soprano and flute and by the early 1960's was open to the influence of the avant-garde without losing his own musical personality. Shihab, who is teamed on this live Copenhagen session with flugelhornist Allan Botchinsky, guitarist Ole Molin, drummer Alex Riel and the 17-year old bassist Niels Henning Orsted Pedersen, performs "Someday My Prince Will Come," "Charade" and a lengthy version of "Billy Boy" along with five originals including the three-part "Conversations." This surprising music is well worth several listens and shows that Shihab was a much more diverse player than is usually thought. (Review courtesy of AMG)

Herbie Hancock: Directstep (1979)

2007-04-22T00:23:00.000-07:00

For the rabid audiophiles in Japan, Herbie Hancock went to Tokyo to record a direct-to-disc LP that later became one of the world's earliest CD releases. Due perhaps to the arduous one-take-only nature of the direct-to-disc process, Hancock takes the rare step of using a second keyboardist, Webster Lewis, to handle the multiple electronic textures; the rest of the cast is a quorum of Headhunters (Bennie Maupin, reeds; Paul Jackson, bass; Bill Summers, percussion), plus guitarist Ray Obiedo and drummer Alphonse Mouzon. Understandably, the music sometimes sounds a bit inhibited and structured but there are some refreshingly jarring rhythmic disruptions in "Butterfly". "Shiftless Shuffle" eventually develops a fine roadhouse groove and the extended "I Thought It Was You" cuts the original version on Sunlight. The excellent LP sound is superior to that of the CD -especially the rock-solid bass and drums. ~ Richard S. Ginell, All Music Guide

Sleep Walker (2003)

2007-04-18T16:11:00.000-07:00

A monumental bit of club jazz -- one of the best new records we've heard in years, with a sound that's right up there with the best of Impulse Records from the classic years! The album's a side project of Japanese producer/keyboardist Hajime Yoshizawa - and unlike his other records, which have a much stronger dance/soul approach, this set's almost purely straight jazz - done with majestically searching solos on both keyboards and sax, the latter of which is played by Masato Nakamura, who has a tone that almost recalls Pharoah Sanders! The whole thing's great -- a brilliant piece of Love Supreme jazz, co-produced by Kyoto Jazz Massive, who give the record enough of a bounce to make it appeal to fans of recent work by them, Koop, or Jazzanova as well. An instant classic -- and a mindblowingly deep record that we'll be playing for years! (Review courtesy of Dusty Groove)

Sleep Walker's debut album is actually every bit as good as Dusty Groove will have you believe. This is a classic piece of modern jazz; both deep AND danceable! All killer, no filler, as the mighty Bacoso often so eloquently puts it.

Duke Pearson: The Phantom (1968)

2007-04-17T15:29:00.000-07:00

After his big band experiment, Duke Pearson returned to a smaller group setting, but he didn't scale back his ambitions. The Phantom finds Pearson writing an ambitious set of post-bop that expands the boundaries of the music with Latin percussion and complex harmonies derived from the avant-garde. His supporting band is fairly large, featuring Jerry Dodgion (flute), Bobby Hutcherson (vibes), Sam T. Brown (guitar), Alexander Gafa (guitar), Bob Cranshaw (bass), Mickey Roker (drums), Carlos "Patato" Valdes (conga), and Victor Pantoja (conga), but they're agile, bringing a spark and energy to the difficult arrangements. The results aren't always successful, but they are intriguing and worth investigating. (Review courtesy of AMG)

Trust me, the title piece alone is worth the price of the LP. Bobby Hutcherson works his magic. A little eerie and quiet different soundwise from the rest of the album.

Gary Bartz: Ju Ju Man (1976)

2007-04-14T13:44:00.000-07:00

Although altoist Gary Bartz's career was beginning to become a bit aimless during this period (as if he were searching for commercial success), and his recordings tended to be erratic, this mostly straight-ahead outing was a major exception. Bartz teams up with pianist Charles Mims, bassist Curtis Robertson and drummer Howard King for a stimulating set of music. While "Ju Ju Man" effectively uses voices in a tribute of sorts to John Coltrane's "A Love Supreme," "My Funny Valentine" is a feature for the warm vocal of Syreeta, 'Trane's "Straight Street" and Bartz's "Pisces Daddy Blue" are both swinging and "Chelsea Bridge" finds the leader taking rare solos on soprano and clarinet. This was Gary Bartz's best jazz session as a leader until he re-emerged on Mapleshade in 1987; it is a pity that the Catalyst label's LPs are difficult to find. ~ Scott Yanow, All Music Guide

Buddy Terry: Lean On Him (1973)

2007-04-12T10:09:00.000-07:00

One for the Mainstream collectors...

According to Terry, this album was an attempt to mold jazz with gospel. He starts off with a cover of "Lean On Me" played just a little faster than the original. It doesn’t get interesting until two drum breaks/breakdowns featuring Purdie in the middle. Purdie lets loose with another drum break at the beginning of "Holy, Holy, Holy", a soulful gospel tune with singing by Dee Dee Bridgewater. "Inner Peace" starts off with some spacey sounds. Once the song gets going it fluctuates between a mellow rhythm and a funkier one that features several drum break by Purdie. (Review courtesy of Soul Strut)

Terry did a couple of Avant Garde-ish albums on Mainstream before he released Lean On Him. Which makes this kind of a strange (and not entirely successful) album for him. But the 10 minute "Inner Peace" sure is a killer tune. Pure dancefloor jazz! And the rhythm section is hard to beat: "Bad" Wilbur Bascomb and Bernard Purdie with Lawrence Killian on percussion. Top notch!

Dieter Reith: Knock Out (1975)

2007-04-10T12:31:00.000-07:00

Just by looking at the cover, you know Dieter means business!

Dieter Reith (fender rhodes, string organ, synthesizer, p)
Wilton Gayner (ts, ss)
Dave King (fender bass)
Todd Canedy (ds)
Sabu Martinez (congas)

Bobby Hutcherson: Live At Montreux (1973)

2007-04-09T12:43:00.000-07:00

By 1973 Blue Note was pretty well a dead label and this often-brilliant advanced hard bop set was only released at the time in Europe and Japan. Now with the CD reissue, Americans can finally hear the mutually inspiring performance of vibraphonist Bobby Hutcherson and trumpeter Woody Shaw. Joined by a fine rhythm section, they create fiery solos on modal originals with Shaw in particular in prime form. Highly recommended. ~ Scott Yanow, All Music Guide

Hutcherson's set at Montreux in 1973 was finally released on CD in '94. Haven't seen it since, so I guess it's out of print. Too bad, since this is tremendous music!

Ted Curson: Plays Fire Down Below (1962)

2007-04-04T14:15:00.000-07:00

Trumpeter Ted Curson, who by the early '60s had his own distinctive sound and an advanced yet accessible style, performs two standards ("Show Me" and "Falling in Love With Love") and four obscurities, with pianist Gildo Mahones, bassist George Tucker, drummer Roy Haynes, and (on four numbers) Montego Joe on conga. Curson, 27 at the time, is heard in top form on one of the very few of his sessions to be reissued on CD. ~ Scott Yanow, All Music Guide

Available on CD, but what the heck... Yanow doesn't mention it, but the title piece is the real gem!

Paolo Achenza Trio: Do It (1994)

2007-03-29T22:41:00.000-07:00

Paolo Achenza is an Italian jazz pianist from Bari and was one of the first Italian artists involved with the acid jazz scene. In the first half of the 1990s, he formed the Paolo Achenza Trio with Stefano Valenzano and Egidio Rondinone to make various albums and singles. On "Do It", a true Blue Note-like 60s dancefloor jazz album if there ever was one, he was also joined by Greg Osby on reeds. Great originals plus killer versions of Jack Wilson's "Do It", Joao Donato's "Minha Saudade", Freddie Hubbard's "Backlash" and Michel Sardaby's "Welcome New Warmth"!

Stone Alliance (1976)

2007-03-27T11:46:00.000-07:00

A steaming hot platter of minimalist funk!

Steve Grossman:
Tenor Saxophone
Gene Perla:
Electric Bass and Piano
Don Alias:
Drums, Congas, Bongos and Bell

1. Vaya Mulatto (Don Alias) 5:40
2. King Tut (Steve Grossman) 6:40
3. Duet (Steve Grossman and Don Alias) 5:30
4. Sweetie-Pie (Don Alias) 4:23
5. Creepin' (Stevie Wonder) 5:10
6. Samba de Negro (Don Alias) 4:52

Harold Alexander: Raw Root (1974)

2007-03-24T10:44:00.000-07:00

This album sacrifices the fervor of Harold Alexander's previous Flying Dutchman dates, although the cosmic reach of his signature flute remains intact. Raw Root gets off to a nice start with "Down Home" that features a funky beginning by Richard Davis on bass and the aptly-named named Brian Breaks on drums. "Country Soul" is another representation of Alexander’s sound with his patented humming-flute playing over a slow paced soul rhythm with a Gospel influenced female chorus in the background. "Street Life", "New York Sister" and "Raw Root" are all fast paced flute jams over funky beats. In fact, the entire side B side is upbeat fusion if that’s your thing. (Review courtesy of Soul Strut)

Pucho And His Latin Soul Brothers: Yaina (1971)

2007-03-23T11:47:00.000-07:00

An obscure 1971 release by New York Latin soul-jazz heavyweight Henry "Pucho" Brown and his Latin Soul Brothers. "Cease The Bombing" manages to make an effective anti-war statement just with flutes, vibes, gentle percussion, and a melancholy wordless vocal chorus, and a funked-up cover of John Coltrane's classic "Naima" works surprisingly well. The good-to-great tracks clearly outnumber the bummers. ~ Stewart Mason, All Music Guide

Herbie Hancock: Live At Nakano Sun Plaza (1978)

2007-03-20T15:38:00.000-07:00

Herbie Hancock, recorded in Tokyo, September 29, 1978. So smooth, so funky!

Lineup:
Herbie Hancock - Electric Piano, Keyboards
Bennie Maupin - Soprano & Tenor Saxophones
Webster Lewis - Keyboards
Paul Jackson - Bass
Bill Summers - Percussion
Alphonse Mouzon - Drums

Tracks:
1. Butterfly
2. Sunlight
3. I Thought It Was You
4. Chameleon
5. Shifless Shuffle

Various Artists: Tempo Jazz (1994)

2007-03-18T14:12:00.000-07:00

A great sampler of rare jazz from Italy -- recorded in the 70s, and almost impossible to find otherwise! The album includes some incredible work by lesser-known European players - like Italians Mario Rusca, Gigi Cichellero, Giancarlo Pillot and Romano Mussolini - plus rare recordings by Americans like Sonny Taylor and Julius Farmer.

Marion Brown: Vista (1975)

2007-03-17T02:04:00.000-07:00

Alto saxophonist Marion Brown is an under-sung hero of the jazz avant-garde. Committed to discovering the far-flung reaches of improvisational expression, Brown nonetheless is possessed of a truly lyrical voice but is largely ignored when discussions of free jazz of the '60s and '70s are concerned. ~ Thom Jurek, All Music Guide

Slim Borgudd: Funky Formula (1976)

2007-03-15T15:53:00.000-07:00

Karl Edward Tommy Borgudd, better known as Slim Borgudd (born November 25 1946) is a former Swedish Formula One driver who raced for the ATS and Tyrrell teams. He was also an extremely funky drummer!

Lightnin' Rod: Hustlers Convention (1973)

2007-03-14T14:07:00.000-07:00

A former member of the Last Poets, Lightnin' Rod helped pioneer the spoken-rhyme style that would one day become rap. His most renowned album, Hustler's Convention, told the story of an ill-fated ghetto "player" and featured backing instrumentation by Kool & the Gang. ~ Dan Heilman, All Music Guide