In the Land of Jazz

Ike Quebec The Complete Blue Note 45 Sessions

2012-02-24T21:27:00.000-08:00

During his comebackyears (1959-62) after a decade mostly off the scene, tenor saxophonist IkeQuebec recorded frequently for Blue Note. He started off with a session aimedat the 45 jukebox market and, although he eventually made a few full-lengthalbums for the label, Quebec cut four 45 dates over a two-and-a-half-yearperiod. This double-disc set has all of the jukebox sessions. Most of the 26selections clock in between four and seven minutes and have long melodystatements in addition to concise and soulful solos. Quebec, who was inconsistently prime form during his last period, is joined by groups featuringeither Skeeter Best or Willie Jones on guitar and Edwin Swanston, Sir CharlesThompson, or Earl Van Dyke on organ. Fun, loose and highly enjoyable music.

Review by Scott Yanow

http://www.allmusic.com/album/complete-blue-note-45-sessions-r145969

Caj Tjader & Eddie Palmieri - El Sonido Nuevo (1966)

2012-02-10T17:09:00.000-08:00

This Verve CD reissuesthe popular collaboration between vibraphonist Cal Tjader and pianist EddiePalmieri (who provided the arrangements) titled El Sonido Nuevo: The New SoulSound, along with six other songs taken from a pair of Tjader's other Verve albums.Despite the claims of greatness expressed in the liners ("a landmark inthe history of Latin jazz"), much of the music is actually quitelightweight although enjoyable enough, and the easy listening melodies andaccessible rhythms hold on to one's interest. Despite the changing personnel,Tjader is generally the lead voice, and he is in fine form even if the overallresults are not all that memorable or unique.
Review - Scott Yanow
http://www.allmusic.com/album/el-sonido-nuevo-the-new-soul-sound-r148939

1. Los Jibaros

2. Guajira Azul

3. Ritmo Uni

4. Picadillo

5. Modesty (Theme from Modesty Blaise)

6. Unidos

7. On A Clear Day (You Can See Forever)

8. El Sonido Nuevo

9. Fuji

10. Black Orchid

11. Los Bandidos

12. Poinciana

13. Yellow Days

14. Along Came Mary

Lonnie Liston Smith Cosmic Funk (1974)

2012-01-05T17:55:00.000-08:00

A real gem from Lonnie Liston Smith's early years in the studio - and a record that's perhaps a bit more "cosmic" than it is "funk" – but that's why we like it so much! The session has Lonnie stretchingout a bit more than usual – borrowing some of the righteousness from his yearswith Pharoah Sanders, and tripping out on tracks that revel in their own spaceybrilliance. Lonnie plays both acoustic and electric piano on therecord – stretching out on some Impulse-influenced grooves that feature somegreat soprano sax and flute from the lesser-known George Barron. Titles includethe soulful "Beautiful Woman", the ethereal "Sais", and theheavier groover "Cosmic Funk" – plus great versions of WayneShorter's "Footprints" and John Coltrane's "Naima"

www.dustygroove.com

1. Cosmic Funk

2. Footprints

3. Beautiful Woman

4. Sais (Egypt)

5. Peaceful One

6. Naima

Curtis Counce - You Get More Bounce With Courtis Counce (1957)

2012-01-05T17:43:00.000-08:00

Although the title and even the cover photo havebeen changed, this CD reissue has the same music as was earlier issued as Counceltation; the "bonus cut""Woody 'n You" has also been reissued on Sonority. In any case, the programfeatures the underrated but talented Curtis Counce Quintet of 1956-1957, a groupconsisting of the bassist/leader, trumpeter Jack Sheldon, tenor saxophonist Harold Land, pianist Carl Perkins, and drummer Frank Butler. Counce contributed two originals but otherwise the band sticksto jazz standards, with some of the best moments being on "Too Close forComfort," "Mean to Me," and Charlie Parker's "Big Foot."

1. Complete

2. How Deep Is The Ocean

3. Too Close For Comfort

4. Mean To Me

5. Stranger In Paradise

6. Counceltation

7. Big Foot

8. Woody 'n You

Curtis Counce (b) Carl Perkins (p) Harold Land (ts) Jack Sheldon (tp) Frank Butler (d)

Wynton Kelly Trio/Sextet - Kelly Blue (1960)

2011-12-20T21:10:00.000-08:00

Originally cut for Riverside, this set mostlyfeatures the influential pianist Wynton Kelly in a triowith his fellow rhythm section mates from the Miles Davis bands,bassist Paul Chambers and drummer Jimmy Cobb. "KellyBlue" and "Keep It Moving" add cornetist Nat Adderley, flutist Bobby Jaspar and the tenorof Benny Golson to the bandfor some variety. The CD reissue augments the program with a previouslyunreleased "Do Nothin' Till You Hear from Me" and the alternate takeof "Keep It Moving." Kelly was renownedas an accompanist, but as he shows on a set including three of his originalsand four familiar standards (including "Softly, As in a MorningSunrise" and "Willow Weep for Me"), he was also a strongbop-based soloist too. A fine example of his talents.

Review by Scott Yanow

http://www.allmusic.com/album/kelly-blue-r142046

1. Kelly Blue

2. Softly, As In The Morning Sunrise

3. Do Nothing Until You Hear From Me

4. On Green Dolphin Street

5. Willow Weep For Me

6. Keep It Moving (take 4)

7. Keep It Moving (take 3) Bonus track

8. Old Clothes

Wynton Kelly (p) Nat Adderley (tp) Benny Golson (ts) Bobby Jaspar (fl)

Paul Chambers (b)

Jimmy Cobb (d)

Mal Waldron Mal 4 (1958)

2011-12-10T15:33:00.001-08:00

It seems strange that this, pianist Mal Waldron'sseventh session as a leader, was his first with a group as small as his trio.With the assistance of bassist Addison Farmer and drummer Kenny Dennis, Waldronperforms four standards and three of his moody originals. Hissometimes-brooding style was already quite recognizable and his inventive useof repetition was quite impressive. This recording gives listeners a definitivelook at the early style of Mal Waldron.

Review Scott Yanow

http://www.allmusic.com/album/mal-4-trio-r149614

1. Splidium Dow

2. Like Someone In Love

3. Get Happy

4. J.M.'s Dream Doll

5. Too Close For Comfort

6. By Myself

7. Love Span

Mal Waldron (p) Addison Farmer (b) Kenny Dennis (d)

Art Tatum and Ben Webster The Album (1956)

2011-12-03T14:21:00.001-08:00

1. All The Things You Are

2. Gone With The Wind

3. Have You Met Miss Jones

4. Day And Night

5. Where Or When

6. My Ideal

7. My One And Only Love

8. All The Things You Are (solo take)

9. Gone With The Wind (solo take)

10. Have You Met Miss Jones (solo take)

11. Day And Night (solo take)

12. Where Or When (solo take)

Ben Webster (ts) Art Tatum (p) Red Callender (b) Bill Douglass (d)

Bill Evans Loose Blues (1962)

2011-11-22T17:42:00.001-08:00

Thislong-lost session, not released initially until 1982, features pianist BillEvans, tenor saxophonist Zoot Sims, guitarist Jim Hall, bassist Ron Carter, anddrummer Philly Joe Jones interpreting seven of the pianist's recent originals.Due to some difficulties during the recording process (none of the sidemen werefamiliar with the often complex numbers), the results were originally shelvedand lost for a couple of decades. This CD reissue shows that the music wasactually much better than originally thought. While "TimeRemembered," "Funkallero," and "My Bells" would becomeEvans standards, it is quite interesting to hear such forgotten obscurities as"Loose Bloose" (heard in two versions), "There Came You,""Fun Ride," and "Fudgesickle Built for Four"; a couple ofthe songs could stand to be revived. It is a pity that Evans and Sims (alogical combination) never did record together again.

Review by Scott Yanow

http://www.allmusic.com/album/loose-blues-r159313

1. Loose Blues

2. Loose Blues (altern. take)

3. Time Remebered

4. Funkallero

5. My Bells

6. There Came You

7. Fudgesikle Built For Four

8. Fun Ride

Curtis Amy Mosaic Select: The Complete Pacific Jazz Recordings (1960-1963)

2011-11-21T16:48:00.001-08:00

Ofall the volumes in the Mosaic Select series -- as of this writing there areeight -- none is more welcome or unexpected than this set by the latesaxophonist, composer, and arranger, Curtis Amy. What these three CDs containare Amy's entire six-album output for the Pacific Jazz label which includes hismasterpiece, Katanga!. Amy's star continued to shine in different contextsafter he left the label, as a tough tenor with Gerald Wilson and Ray Charles,as a soloist on the Doors' Soft Parade and L.A. Woman albums, and of course, asan arranger and bandleader in R&B singer Merry Clayton's group (the pairwere married).

Butit is the material here which cements Amy's place in the jazz pantheon. Amyhailed from Houston, and is very much a part of the rich and varied Texas tenortradition. He migrated to Los Angeles to work, and fronted numerous soul-jazzbands there before recording these six albums for Pacific Jazz. The titlesinclude the Blues Message and Meetin' Here (co-led with organist Paul Bryant), Groovin'Blue (co-led with drummer Frank Butler), and Way Down, Tippin' on Through, andKatanga! (the latter three as a solo leader), all of them issued between 1960and 1963. The first three albums in this set offer the view of Amy as abluesed-out soul wailer in a scene dominated by the latter heyday of cooljazzers and West Coast hard boppers. The players on these three recordingsoffered a glimpse into the deep R&B roots of the Sunset Strip jazz clubscene: along with Bryant and Butler, trombonist Roy Brewster, drummer JimmyMiller, Bobby Hutcherson on vibes, and bassists Jimmy Bond and Clarence Jonesplayed on these sessions, all of them stalwarts on that steaming but criminallyundocumented scene. The fourth album in the set, Way Down, features some new faces,most notably Marcus Belgrave before his stint with Charles Mingus, and vibistRoy Ayers before he went solo. Other players on the date include bassist GeorgeMorrow, and pianist Victor Feldman. Tippin' on Through is a Live at theLighthouse date, and Amy pulled out all the stops with Larance Marable,Brewster, Bobby Whitlock, and pianist John Houston. On all of these sessions,Amy is deeply rooted in the rhythm and blues and soul traditions of the Texastenors. His combo work is restricted rhythmically perhaps, but it isharmonically brilliant in the way it stretches these forms to the breakingpoint at the front line, and the pieces on the live set dovetail and turn backon themselves -- dig the large modal frames Houston lays down under Ayers' vibes:Ayers then extrapolates them for the horns to jump off from. Texturally too,the way solos are layered and dovetail and turn back on themselves dynamicallyis quite remarkable, in that many of the New York soul-jazz dates didn't get tothis place until 1966 or so. Finally, Amy was already deeply under the sway ofColtrane on Tippin' on Through: his own solos take the modal approach, and windaround one or two phrases and blow them from the inside out, exploding intotorrents of sound without moving away from the blues.

Katanga!is a case in point all by itself. It remains a jazz classic for its wondrouslyextrapolated and striated harmonics, its knotty sense of interval, and Amy'smelodic sophistication, which was deeply saturated with Latin and African scalarconsiderations. This set also features the trumpet playing of the little-knownand under-recorded Dupree Bolton, the elegant funk of guitarist Ray Crawford,and features Amy on soprano, an instrument that he mastered and became anoriginal voice on, despite the fact that he had played it for such a brief timeprevious to this session. Here, despite the elongated compositional structures,the blues are never out of the limelight entirely. The title track, written byDupree Bolton, and "Lonely Woman" (Amy's version, not OrnetteColeman's) are the highlights here, but there isn't a weak millisecond on thisslab. In all, this collection is its own revelation -- not only of Amy'soverlooked artistry, but of the city of L.A. teeming with fresh sounds and approachesbefore the steamroller of rock and roll overshadowed it.
Review Thom Jurek - allmusic.com

Disc 1

1. Searching

2. Going Down, Catch Me A Woman

3. The Blues Message

4. Come Rain Or Come Shine

5. This Is The Blues

6. Meetin' Here

7. Early In The Morning

8. If I Were A Bell

9. One More Hamhock Please

10. Angel Eyes

11. Just Friends

Disc 2

1.Gone Into It

2. Annsome

3. Bobblin'

4. Groovin' Blues

5. Beautiful You

6. Way Down

7. Liberia

8. 24 Hours Blues

9. Lisa

10. A Soulful Bee, A Soulful Rose

11. All My Life

12. Bells and Horns

Disc 3

1. Tippin' On Through

2. Funk In The Evening

3. For Ayers Only

4. In Your Own Sweet Way

5. Summertime

6. Set Call

7. Katanga

8. Lonely Woman

9. Native Land

10. Amyable

11. You Don't Know What Love Is

12. A Shade Of Brown

13. Very Frank

Hampton Hawes Quartet All Night Sessions Vol. 3 (1956)

2011-11-19T14:12:00.001-08:00

Vol.3 of the Hampton Hawes Quartet's All Night Session contains three spontaneouslyimprovised variations on the blues, one very cool extended rendition of DukeEllington's "Do Nothin' 'Till You Hear from Me" and a strikinglyhandsome treatment of Harold Arlen's "Between the Devil and the Deep BlueSea." The briskly paced "Blues #4" is especially progressive andexciting. Apparently "Blues of a Sort" was a warm-up performance, asvoices are audible (discussing a football game!) in the background during thebass solo. For this one-take marathon late-night session of November 12 and 13,1956, Hawes chose to share the studio with guitarist Jim Hall, bassist RedMitchell and drummer Eldridge "Bruz" Freeman, who had replaced ChuckThompson following that musician's sudden inability to continue touring withthe group earlier that year. "We gave Chuck what money we could and lefthim sitting on a hospital cot in a white bathrobe." This grim image, likemuch of Hawes' autobiography Raise Up Off Me, paints a stark picture of thenarcotics epidemic among jazz musicians during the '50s. Although this was thefirst peak of his career, Hawes later admitted that "during the fall of1956 I was messing up consistently -- showing late on gigs or missing themaltogether." He had lots of offers for work, including the possibility ofproviding music for a film soundtrack: "Wanted to do it, would have paidgood, but at the time I didn't even have the bread to get high enough to get tothe studio to see what they had in mind." One of the great incongruitiesof bop is the fact that Charlie Parker and the musicians who were most directlyinfluenced by him were able to be so creative and prolific while grappling withaddictions that confounded, immobilized, and eventually slew them. All of theseinsights quietly swarm beneath the surface of what added up to more than twohours of exceptionally fine quartet jazz.

Reviewby Arwulf Arwulf

http://www.allmusic.com/album/all-night-session-vol-3-r154503/review

1. Do Nothing Until You Hear From Me

2. Blues # 3

3. Between The Devil And The Sea

4. Blues # 4

5. Blues Of A Sort

Hampton Hawes (p) Jim Hall (g) Red Mitchell (b) Eldridge Freeman (d)

Hampton Hawes Quartet All Night Sessions Vol. 2 (1956)

2011-11-19T13:59:00.001-08:00

Thisis the second of three albums that came about as the result of an all-nightrecording session that took place in Los Angeles on November 12 and 13, 1956.Although Hampton Hawes spontaneously created five original tunes at thisextraordinarily inspired date, everything on Vol. 2 comes directly out of thestandard bop musician's working repertoire. The quartet, with bassist Red Mitchell,guitarist Jim Hall, and drummer Eldridge "Bruz" Freeman, collectivelyimprovise their way through four attractive standards ("I ShouldCare" turned out to be the only slow ballad of the entire session) andthree of Dizzy Gillespie's most refreshing creations. In 1958 Hawes was quotedas saying "It's hard to put into words how good it feels to play jazz whenit's really swinging...I've reached a point where the music fills you up somuch emotionally that you feel like shouting hallelujah -- like people do inchurch when they're converted to God. That's the way I was feeling the night werecorded All Night Session!"

Reviewby Arwulf Arwulf

http://www.allmusic.com/album/all-night-session-vol-2-r140368

1. I'll Remember April

2. I Should Care

3. Woody 'n You

4. Two Bass Hit

5. Will You Still Be Mine

6. April In Paris

7. Blue 'n Boogie

Hampton Hawes (p) Jim Hall (g) Red Mitchell (b) Eldridge Freeman (d)

Hampton Hawes Quartet All Night Sessions Vol. 1 (1956)

2011-11-19T13:36:00.001-08:00

Onthe night of November 12 and into the morning of November 13, 1956, a quartetled by pianist Hampton Hawes recorded enough material to fill threelong-playing phonograph record albums. This studio session contained manyelements associated with a live gig: the work took place during regularnightclub performing hours, the improvisations were mostly extended, and therewere no alternate takes. A remarkable freshness and spontaneity prevailedthroughout the session. Although controversy continues regarding the originalsequence of titles, Duke Jordan's "Jordu" and DizzyGillespie's "Groovin' High" are superb openers for this first ofthree volumes. In addition to an invigorating run down "Broadway," Hawes improvisedtwo original themes: "Takin' Care" and a bluesy walk entitled"Hampton's Pulpit" that stretched out for more than 11 minutes,making it the longest track of the entire all-night session. Collaborating withthe pianist on this historic date were guitarist Jim Hall, bassist RedMitchell, and drummer Eldridge "Bruz" Freeman. The interplaybetween these four men is marvellous, particularly when heard with headphonesor through a sound system allowing for a full appreciation of the stereophonicbalance achieved by the recording engineers.

Reviewby Arwulf Arwulf

http://www.allmusic.com/album/all-night-session-vol-1-r154501/review

1. Jordu

2. Groovin' High

3. Takin' Care

4. Broadway

5. Hampton's Pulpit

Hampton Hawes (p) Jim Hall (g) Red Mitchell (b) Eldridge Freeman (d)

Hampton Hawes The Green Leaves of Summer (1964)

2011-11-15T15:47:00.000-08:00

Pianist HamptonHawes' first recording after serving five years in prisonfinds Hawes evolving a bitfrom a Bud Powell-influenced boppianist to one familiar with more modern trends in jazz. Reissued on CD, thistrio date finds Hawes interactingclosely with bassist MonkMontgomery and drummer SteveEllington (making his recording debut). Hawes had lostnothing of his swinging style while in prison, as can be heard on such numbersas "Vierd Blues," "St. Thomas" and "Secret Love,"and he was just starting to hint at moving beyond bop. Recommended.

ScottYanow

http://www.allmusic.com/album/the-green-leaves-of-summer-r140365

1. Veird Blues

2. The Green Leaves Of Summer

3. Ill Wind

4. St. Thomas

5. Secret Love

6. Blue Skies

7. The More I See You

8. G.K. Blues

Hampton Hawes (p) Monk Montgomery (b) Steve Ellington (d)

Jackie McLean & Co Introducing Ray Draper (1957)

2011-11-13T16:16:00.001-08:00

Althoughaltoist Jackie McLean's Prestige recordings of the 1950s are not as significantas his Blue Notes from the '60s, he did record quite a bit of enjoyable hardbop material during this era. This CD is unusual for, in addition to aconventional quintet (with trumpeter Bill Hardman, pianist Mal Waldron, bassistDoug Watkins and drummer Art Taylor), the young tuba player Ray Draper is heardon three of the five group originals. Draper played his instrument as part ofthe frontline rather than in the rhythm section and, even if he was not on thelevel of McLean and Hardman, he gives some needed color to this set. Waldron,who contributed two of the five selections (the others are by McLean, Watkinsor Draper) really sets the melancholy mood for much of the music and is animportant force behind the scenes. An interesting CD.

ScottYanow

http://www.allmusic.com/album/jackie-mclean-and-co-r143545

1.Flickers

2. Help

3. Minor Dream

4. Beau Jack

5. Mirage

Jackie McLean (as) Bill Hardman (tp) Ray Draper (tuba) Mal Waldron (p)

Dough Watkins (b) Art Taylor (d)

Junior Mance Happy Time (1962)

2011-11-06T16:03:00.000-08:00

PianistJunior Mance was in excellent company on this inspired 1962 session withbassist Ron Carter and drummer Mickey Roker. Its unfortunate this trio onlyrecorded together on this one date as their unity propels the blues, gospel,and bebop ideas Mance consistently feeds them. The program is highlighted bythree Mance originals "Out South," "Taggie's Tune," and thetorrid joy of the opening theme "Happy Time," along with versions of "JitterbugWaltz," "Tin Tin Deo," and Mance at his soulful bluesy best onClark Terry's "The Simple Waltz."

Review by Al Campbell

http://www.allmusic.com/album/happy-time-r143064

1. Happy Time

2. Jitterbug Waltz

3. Out South

4. Tin Tin Deo

5. For Dancers Only

6.Taggie's Tune

7. Azure Te

8. The Simple Waltz

Junior Mance (p) Ron Carter (b) Mickey Rocker (d)

Buddy De Franco Qu4rtet with Sonny Clark Complete Recordings (1954)

2011-11-05T21:31:00.000-07:00

Disc 1

1. Jack The Fielstalker

2. Cable Car

3. I Wish I Knew

4. If I Should Lose You

5. Lover Man

6. Tenderly

7. Deep Purple

8. Monogram

9. Yesterdays

10. Blues In The Closet

11. Mine

12. You Go To My Head

13. Gerry's Tune

14. Now's The Time

15. Titoro

Disc 2

1. Autumn Leaves

2. Titoro

3. The Bright One

5. Sonny's Idea

6. Laura

7. Everything Happen To Me

8. I'll Remember April

9. Willow Weep For Me

10. Minor Incident

11. Foggy Day

12. What Can I say Dear

13. Moe

Buddy De Franco (cl) Sonny Clark (p) Gene Wright (b) Bobby White (d)

Joe Bataan Call My Name (2004)

2011-10-30T20:02:00.000-07:00

JoeBataan is alive and well – and to our ears, the king of Latin Soul is soundingbetter than he has in decades! This tasty little set really takes us back toJoe's classic work for Fania – but it's also got a slightly different twist –one that shows a new younger appreciation of the funk side of Joe's work thatwasn't always able to come to the forefront in earlier years. Joe recorded thealbum at the Daptone Studios in New York – so the sound of the set is spot-onall the way through – perfectly recorded to bring out the soul in Joe's music,and handled with some great touches that make the instrumentation as wonderfulas Joe's classic-styled vocals! And even more than that, there's also a heck ofgreat new songs on the set – tunes that follow very strongly in the spirit ofJoe's older classics, but which have a freshness that makes the album a totallyessential part of Joe's catalog.

DustyGrooves America Inc.

1. Call My Name

2. Chick-A-Boom

3. I'm The Fool (parts 1 & 2)

4. Cycles Of You

5. Secret Girl, My Superfraud

6. Ernestine

7. Chevere Que Chevere

8, Keep The Change

Jack Kerouac Blues and Haikus (1959)

2011-10-28T18:02:00.000-07:00

Inthe spring of 1958, just a few weeks after cutting Poetry for the BeatGeneration, producer Bob Thiele suggested making a second album -- quite adaring notion, considering that the first album would prove so controversialthat it wouldn't reach the public for a year -- and Jack Kerouac agreed.Instead of pianist Steve Allen, however, Kerouac insisted that he beaccompanied this time by two good friends, tenor saxmen Al Cohn and Zoot Sims.With Cohn doubling on piano, the resulting Blues and Haikus is a stunning duetbetween speaker and saxmen, working spontaneously in this peculiar mix of jazzand voice, in which the saxmen do get their solo spots around Kerouac's work.There's much more of a sense on this album of a conscious interaction herebetween Kerouac and his accompanists, and the album is more arch but also moreintense and more imposing than its predecessor.

Reviewby Bruce Elder

http://www.allmusic.com/album/blues-and-haikus-r702179

1. American Haiduk

2. Hard Hearted Old Farmer

3. The last Hotel & Some Of Dharma

4. Poems from The unpublished "Book Of Blues"

5. Old Western Movies

6. Conclusion Of The Railroad Earth

Jack Kerouac (v) Al Cohn (ts, p) Zoot Sims (ts)

FLAC

Kenny Drew Trio (1956)

2011-10-19T20:14:00.000-07:00

KennyDrew, with the assistance of bassist Paul Chambers (whose bowed solos arealways welcome) and drummer Philly Joe Jones, explores six standards and two ofhis originals. Although Drew would have to move to Europe in the early '60s in orderto get the recognition he deserved, it is obvious (in hindsight) from thisenjoyable date that he was already a major improviser.

Reviewby Scott Yanow

http://www.allmusic.com/album/the-kenny-drew-trio-r68916

1. Caravan

2. Come Rain Or Come Shine

3. Ruby, My Dear

4. Weird-O

5. Take A Chance On Love

6. When You Wish Upon A Star

7. Blues For Nica

8. It's Only A Paper Moon

Kenny Drew (p) Paul Chambers (b) Philly Joe Jones (d)

The Billy Taylor Trio with Candido (1954)

2011-10-19T19:34:00.000-07:00

Havingalready dedicated half of 1953's Cross Section to numbers with Machito's band,it was no surprise that Bill Taylor's 1954 follow-up, Trio with Candido, wouldfeature more Latin touches -- this time with star Cuban conga player Candido.In line with fellow jazz pianists George Shearing and Red Garland, Taylordoesn't incorporate the Cuban clavé beat so much as he includes the percussionfor accentuation. In spite of this, Candido offers up some provocative solos,especially on the fast-paced Taylor original "A Live One," whichfeatures the pianist and percussionist trading an energetic set of fours.Medium to slow-tempo Taylor originals, though, dominate the program, including"Bit of Bedlam," where the chaos is decidedly cool. Throughout thealbum, Taylor uses his fleet, Teddy Wilson-informed solo chops to pleasanteffect, even stretching out a bit on "Mambo Inn" to complementCandido's own lengthy workout.

Reviewby Stephen Cook

http://www.allmusic.com/album/the-billy-taylor-trio-with-candido-r148606

1. Mambo Inn

2. Bit of Bedlam

3.Declivity

4. Love For Sale

5. A Live One

5. Different Bell

Billy Taylor (p) Earl May (b) Charlie Smith (d) Candido (Conga)

James Booker New Orleans Piano Wizard: Live! (1977)

2011-10-18T11:49:00.000-07:00

Whyso much of what pianist/vocalist James Booker recorded in the 1970s didn'tsurface until the '90s is a mystery, but that's secondary compared to thegreatness routinely presented on this CD. It contains nine Booker selectionsthat he performed at the 1977 Boogie Woogie and Ragtime Piano Contest held inZurich. His relentless, driving style, ability to switch from a hard-hittingtune to a light, soft one without skipping a beat, and wild mix of sizzlingkeyboard licks and bemused, manic vocals are uniformly impressive. It's a bitshort for a CD at 37 minutes, but it has so much flamboyant music and singingthat it shouldn't be missed. By Ron Wynn

http://www.allmusic.com/album/new-orleans-piano-wizard-live-r122741

1. On The Sunny Side Of The Street

2. Black Night

3. Keep on Gwine

4. Come Rain Or Come Shine

5. Something Stupid

6. Please Send Me someone To Love

7. Tell Me How You Feel

8. Let Them Talk

9. Come In My House

James Booker (p)

Yo! Hot Latin Funk From El Barrio (2002)

2011-10-18T11:46:00.000-07:00

Wonderful Harmless Records compilation long out of print. Fourteen killer tracks from the 1970’s NYC latin funk scene masterfullyput together. It is going to be a battleto pick out the best tunes: the hilarious Cisco Kid cover by La Crema de New York,the groovy middle section of Jimmy’s Yroco or the slick arrangements of Bobby’sYo! Well, when it hits the deck, it’s a dancefloor filler guaranteed! Enjoy!

1. Yroco -Jimmy Sabater

2. I'm Satisfied - Joe Bataan

3. Sing a Simple Song – Mongo Santamaria

4. 110th St. and 5th Ave. – Tito Puente

5. La Verdad (The Truth) – Cortijo & his Machine

6. The Cisco Kid – La Crema de New York

7. You Need Help – Monguito Santamaria

8. Yo – Bobby Valentin

9. Somebody's Son – Eddie Palmieri

10. Return to Spanish Harlem – Tony Middleton &Bobby Matos

11. Besito ConMozancha – Pete Rodriguez y Su Conjunto

12. Lay an Oz on Me Baby – The Latin Blues Band ft.Luis Aviles

13. The New Breed – Luis Ramirez

14. Ponte Duro – Roberto Roena

Hank Jones Here's Love (1963)

2011-10-15T19:49:00.000-07:00

1. Here's Love

2. My Wish

3. You Don't Know What Love Is

4. Dear Mister Santa Claus

5. That Man Over There

6. Arm In Arm

7. The Big Clown Ballon

8. Love, Come Take Me Again

9. Pine Cones and Holly Berries

10. My State, My Kansas, My Home

Hank Jones (p) Kenny Burrell (g) Milt Hinton (b) Elvin Jones (d)

George Wallington Trio and Septet (1949-1951)

2011-10-15T19:17:00.000-07:00

GeorgeWallington's technique was huge. When he played, especially with a trio, hefilled the space around him with tons of piano. He and his instrument werefront and center. But over and above the sheer virtuosity was Wallington'sprofound joy in playing. Across the ten trio tracks on this Savoy CD,Wallington shares that joy with the listener, not only with his playing butwith writing that brims over with melody and invention. Best known as thewriter of Godchild, immortalized on Miles Davis's Birth of the Cool, on thesetracks he contributes eight top-flight originals in a more purely bop vein.Among the standout tracks is the standard "I'll Remember April" doneas a rhumba that quickly shifts into a double-time test for bassist CurleyRussel and drummer Max Roach. "Fine and Dandy," another standard, isan extraordinary feature for Roach's brushwork, both in his playing behind thepianist and in a short, remarkable solo break. Two sextet tracks from 1949 showa more self-effacing Wallington, as he blends behind horn players GerryMulligan, Brew Moore, and Kai Winding on "Igloo" and on his own"Knockout," which has a wonderful scat vocal from Buddy Stewart. It'sthe trio tracks, though, where Wallington's genius shines, with some of thefinest piano that bebop has to offer.

ByJim Todd

http://www.allmusic.com/album/the-george-wallington-trio-savoy-r167591/review

1. Twin

2. Polka Dot

3. I'll Remember April

4. High Score

5. Hyacinth

6. Joey Bell

7. I Didn't Know What Time It Was

8. Fine And Dandy

9. Knockout

10. Igloo

11. Fairyland

12. Racing

George Wallington (p) Curly Russel (b) Charlie Perry (d) Max Roach (d)
Jerry Lloyd (tp) Brew Moore (ts) Kai Winding (tb)
Gerry Mulligan (bars) Buddy Stewart (voc)

Kai Winding & J.J. Johnson - The Great Kai & J.J. (1960)

2011-10-12T20:48:00.000-07:00

1.This Could Be The Start Of Something

2. Georgia On My Mind

3. Blue Monk

4. Judy

5. Alone Together

6. Side By Side

7. I Concentrate On You

8. Theme From Picnic

9. Trixie

10. Goin, Going, Gone

11. Just For A Thrill

Kai Winding (tb) J.J. Johnson (tb) Bill Evans (p) Paul Chambers (b) Tommy Williams (b)

Roy Haynes (d) Art Taylor (d)

J.J. Johnson - J.J. Inc. (1960)

2011-10-12T20:47:00.000-07:00

1. Mohawk

2. Minor List

3. In Walked Horace

4. Fatback

5. Aquarius

6. Shutterbug

7. Blue 'n Boogie

8. Turnpike

9. Fatback (long version)

J.J. Johnson (tb) Freddie Hubbard (tp) Clifford Jordan (ts) Cedar Walton (p)

Arthur Harper (b) Albert "Tootie" Heath (d)

Introducing Carl Perkins (1956)

2011-10-09T13:22:00.000-07:00

Recorded two years before legendary WestCoast pianist's death. With Leroy Vinnegar and Lawrence Marable. Six Perkinsoriginals make this an important document. He is an important sideman. Here asa leader he shows his true worth. A must find/buy.

Michael J. Nastos

allmusic.com

1. Way Cross Town

2. I Don't Know What Love Is

3. The Lady Is A Tramp

4. Marblehead

5. Woody 'n You

6. West Side aka MIA

7. Just Friends

8. It Could Happen To You

9. Why Do I Care

10. Liliacs In The Rain

11. Carl's Blues

12. West Side aka MIA (alternate take)

Carl Perkins (p) Leroy Vinnegar (b) Lawrence Marable (d)

Jack Wilson Easterly Winds (1967)

2011-10-09T13:20:00.000-07:00

Easterly Winds provides an excellentcontrast to Jack Wilson's first Blue Note album, Somethin' Personal. Where hislabel debut was cool and romantic, Easterly Winds is a brassy, funky collectionof soul-jazz and hard bop with instant appealing. Wilson keeps the tone fairlydiverse, both in his originals and covers. After hitting hard with the funkyopening pair "Do It" and "On Children" (both of whichillustrate that he was familiar with contemporary soul), he quiets the moodwith a nice version of Johnny Mandel's "A Time for Love." On thesecond half, he turns in soul-jazz ("Easterly Winds"), straight hardbop ("Frank's Tune") and the charmingly lyrical "Nirvanna."Throughout it all, Wilson is subtle and tasteful, allowing trumpeter Lee Morganand alto saxophonist Jackie McLean their time in the spotlight; trombonistGarnett Brown has a couple of nice moments as well, while bassist Bob Cranshawand Billy Higgins lend solid rhythmic support. It's another impressive,enjoyable effort from one of the most underrated pianists on Blue Note's '60sroster.

1. Do It

1. On Children

3. A Time For Love

4. Easterly Winds

5. Nirvanna

6. Frank's Tune

Jack Wilson (p) Lee Morgan (tp) Jackie McLean (as) Garnett Brown (tb)

Bob Cranshaw (b) Billy Higgins (d)

Ray Draper Quintet Tuba Sounds (1957)

2011-10-07T06:12:00.000-07:00

One of thefirst tuba players to lead his own recording session in a bebop setting, RayDraper was only 16 when he recorded the music on this CD reissue, his debut.Teamed in a sextet with trumpeter Webster Young (also making his recordingdebut), altoist Jackie McLean, pianist Mal Waldron, bassist Spanky DeBrest, anddrummer Ben Dixon, Draper fits in pretty well. His solos are sometimes a touchawkward rhythmically and it takes one a little while to get used to his soundin this setting but, overall, this is a successful effort. The fairly modernsextet performs straight-ahead originals by Draper, Young, and Waldron inaddition to the standard "You're My Thrill."

Review by Scott Yanow - Allmusic.com

1. Terry Anne

2. You're My Thrill

3. Pivot

4. Jackie's Dolly

5. Mimi's Interlude

6. House Of Davis

Ray Draper (tuba) Webster Young (tp) Jackie McLean (as) Mal Waldron (p)

Spanky DeBrest (b) Ben Dixon (d)

Barney Wilen Jazz Sur Seine (1958)

2011-10-03T15:51:00.000-07:00

Tenorsaxophonist Barney Wilen was not quite 21 years old at the time of this meetingwithMilt Jackson, Percy Heath, and Kenny Clarke, three veterans of the ModernJazz Quartet. But the young man is surprising mature and confident throughoutthe session, interpreting several of Django Reinhardt's compositions, along witha few by his French contemporaries and a pair of his own works. What'ssurprising about this session is the rare opportunity to hear Jacksonexclusively as a pianist, as his playing is a bit more reserved than on vibes.The leader digs into his rhythm section's element with his original"B.B.B. (Bag's Barney Blues)," giving them a full chorus beforemaking a convincing statement himself. The quartet's fluid arrangement ofThelonious Monk's "Epistrophy" swings. Percussionist Gana M'Bow isadded for both "Swing 39" and "Minor Swing" to add anexotic touch. Wilen easily holds his own on his first major meeting on a recorddate with major American jazz stars.

Ken Dryden

http://www.allmusic.com/album/jazz-in-paris-jazz-sur-seine-r537868

Barney Wilen (ts) Milt Jackson (p) Percy Heath (b) Kenny Clarke (d)

Gana M'Bow (perc)

1. Swing 39

2.Vamp

3. Menilmontant

4. John's Groove

5. B.B.B. (Bag's Barney Blues)

6. Swingin' Paris Rhythm (Jazz Sur Seine)

7. J'ai Ta Main

8. Nuages

9. La Route Enchantee

10. Que Reste T'il De Nos Amour

11. Minor Swing

12. Epistrophy

Yusef Lateef Live at Pep's Vol.1 (1964)

2011-10-01T16:40:00.000-07:00

This mid-'60s concert was one ofLateef's finest, as it perfectly displayed his multiple influences andinterests. There were hard bop originals, covers of jazz classics like OscarPettiford's "Oscarlypso" (a CD bonus track) and Leonard Feather's"Twelve Tone Blues," as well as an unorthodox but effective versionof Ma Rainey's "See See Rider." On "Sister Mamie,""Number 7," and drummer James Black's "The MagnoliaTriangle," Lateef moved away from strict jazz, although he retained hisimprovisational flair

. Lateef played meaty tenor sax solos and entrancing fluteand bamboo flute offerings, and also had impressive stints on oboe, shenai, andargol. This was a pivotal date in his career, and those unaware of it will geta treat with this disc.

Ron Wynn

http://www.allmusic.com/album/live-at-peps-r142570

1. Sister Mamie

2. Number 7

3. Twelve Tone Blues

4. Oscarlypso

5. Gee Sam Gee

6. Rogi

7. See See Rider

8. The Magnolia Triangle

9. The Weaver

10. Slippin' and Slidin'

Yusef Lateef (ts) Richard Gene Williams (tp) Michael Noch (p)

Ernie Farrow (b) James Black (d)

Steve Kuhn & Gary McFarland The October Suite (1966)

2011-10-01T16:30:00.000-07:00

Composerand arranger Gary McFarland was well known in the 1960s for his film-scoringabilities and his charting skills with midsized bands. McFarland was also,however, a jazz fan, and particularly one of scalar pianist Steve Kuhn. Thisproject features Kuhn in the center of a program made up entirely of McFarlandcompositions, all but two of which were written specifically for the album.Recorded in 1966, it is an anomaly in the Impulse catalog of the time in thatit did not pursue the free jazz realms with the vengeance that most of thelabel's other acts did during that year. It is also significant that it caughtthe attention of a young Manfred Eicher, who later signed Kuhn to his ECM labelbased on the strengths of this recording. Like Keith Jarrett, Kuhn is in thepointillistic school of jazz pianists of the era. Unlike Jarrett, Kuhn does notconsider force in his attack as necessary as his labelmate does.Instrumentally, Kuhn's customary trio situation -- which is dutifully performedwith zeal by Ron Carter and drummer Marty Morell -- is augmented with a stringquartet on half the record and with a wind trio with harp on the other half.The tracks on side one are in some ways less revolutionary, yet more fulfillingbecause Kuhn is clearly at home with the sonorities afforded by the strings.They don't swing, even on "One I Could Have Loved" from the film 13or "St. Tropez Shuttle," a strangely metered bossa tune (in 3/4instead of 4/4). Kuhn's cautious, contemplative improvising concerns itselfwith scalar explorations of melody, color, and harmony rather than rhythm ormodal considerations. His touch is light and airy and therefore mostpronouncedly visible against the strings. The interplay between Carter andMorell is almost instinctual; they couldn't have moved any closer together onthis set if the charts had been written for them -- and they were not. With thewind trio and harp, Kuhn's approach is more physical, but nonetheless strivesto create a palette for the very instruments that are trying to create one forhim. There is some tension in this approach, but it works to the record'sadvantage. In sum, The October Suite.

ThomJurek

http://www.allmusic.com/album/the-october-suite-r261237/review

1. Once I could Have Loved

2. Saint Tropez Shuttle

3. Remember When

4. Traffic Pattern

5. Childhood Dreams

6. Open Highway

Steve Kuhn (p) Ron Carter (b) Marty Morell (d) Gary McFarland (arr. comp.)

Har-You Percussion Group - Sounds of the Ghetto Youth

2011-09-18T14:38:00.000-07:00

Feed Me Good
Ngoma
Oua-Train
Welcome To The Party
Santa Cruz
Tico

MPEG-4

Henry Guedon Early Latin & Boobaloo Recordings

2011-09-18T14:36:00.000-07:00

Guajira Contestacion
Shiga Sing
An Ti Fi
Faut Pas Pousser
Brujeria
Los Antillanos De Paris
Vulcano
Ritmo Moderno
Machapia
Sainte Marie
Concierto De Mi Bongo
Marcel Song
Carnaval Nou
Negro Lucumi
Descaguajira

MPEG-4

The Cabildo's Three - Yuxtaposicion (1972)

2011-09-16T15:20:00.000-07:00

Cabildo (keyboards) Bobby Fares (bass) Max Ronnie (percussions)

1- Yuxtaposition

2- Don't put me in the shades

3- Collection Samba

4- Two types of complexion

5- Hierro forjado

6- Jesus Maria District

7- Africa penta song

8- El sonido soul

9- Castanada drive

10- Akorin

MPEG-4

Lou Blackburn - Complete Imperial Sessions (1963)

2011-09-16T14:33:00.000-07:00

1 - New Frontier

2 - Perception

3 - I Cover the Waterfront

4 - 17 Richmond Park

5 - Harlem Bossa Nova

6 - Luze Blues

7 - The Clan

8 - Scorpio

9 - Jazz-A-Nova

10 -Stella By Starlight

11 -Manha de Carnaval

12 -Jean-Bleu

13 -Blues for Eurydice

14 -Secret Love

15 -Two Note Samba

16 -Gran Prix

17 -Song of Delilah

18 -Dear Stockholm

19 -Ode to Taras

Freddie Hill (tp) Lou Blackburn (tb) Horace Tapscott (p) John Duke (b) Leroy Henderson (d)

MPEG-4

Kora Jazz Trio Part II (2005)

2011-09-12T17:39:00.000-07:00

Djeli Moussa Diawara - Kora

Abdoulaye Diabate - Piano

Moussa Cissoko - Percussions

1 - Djame

2 - Folly

3 - Sunugal

4 - Dadiou

5 - Rythm'ning

6 - Sindi

7 - N'na

8 - Seyo

9 - Teranga

10 - La Mer

11 - Yakar

12 - Djanya

Kenny Dorham & Jackie McLean - Inta Somethin'

2011-06-25T09:10:00.000-07:00

1 Us 7:13

2 It Could Happen To You 6:00

3 Let's Face The Music 6:06

4 No Two People 6:59

5 Lover Man 5:01

6 San Francisco Beat 7:12

Kenny Dorham (tp); Jackie McLean (as); Walter Bishop Jr. (p); Leroy Vinnegar (b); Art Taylor (d)

MPEG-4

Here Comes Frank Foster BN 95750 - George Wallington Showcase BN 5045

2011-06-25T07:53:00.000-07:00

1. Little Red - Frank Foster
2. How I Spent The Night - Frank Foster

3. Blues For Benny - Frank Foster

4. Out Of Nowhere - Frank Foster

5. Gracias - Frank Foster

6. The Heat's On - Frank Foster

7. How I Spent The Night (Alternate Take) - Frank Foster

8. Frankie And Johnnie - George Wallington

9. Baby Grand - George Wallington

10. Christina - George Wallington

11. Summertime - George Wallington

12. Festival - George Wallington

13. Bumpkins - George Wallington

14. Frankie And Johnnie (Alternate Take) - George Wallington

15. Summertime (Alternate Take) - George Wallington

16. Festival (Alternate Take) - George Wallington

17. Bumpkins (Alternate Take) - George Wallington

George Wallington (p);Frank Foster (ts); Danny Bank (bs); Dave Burns (tp); Kenny Clarke (d); Jimmy Cleveland (tb); Percy Heath (b) Quincy Jones (arr); Gildo Mahones (p); Oscar Pettiford (b); Benny Powell (tb)

MPEG-4

Vladimir Vassilieff New Sound in Latin Jazz (1966)

2011-06-17T10:17:00.000-07:00

1- Mambo Moderno

2- St. John's Guaguancò

3- Suzie's Bossa Nova

4- Mambito

5- Mi son cha

6- Chonga

7- Baby Boo Boogaloo

8- Lo que voy a tocar

9- Mambo at the Cave

10- Camelot Cha Cha

Vladimir Vassilieff (p), Bobby Porcelli (as,fl), Many Duran (tp), Bobby Rodriguez (b)

Phil Newsum (timbales), Nick Ramos (Conga)
Harry Rodriguez (Bongò)Vitin Lopez, Santito Colon, Ismael Quintana (vocals)

Alegre Records

MPEG-4

Jack Kerouac and Steve Allen Poetry for the Beat Generation (1959)

2011-06-07T11:43:00.000-07:00

1 – October in the Railroad Earth

2 – Deadbelly

3 – Charlie Parker

4 – The Sounds of the Universe Coming in My Window

5 – One Mother

6 - Goofing at the Table

7 -Bowery Blues

8 – Abraham

9 – Dave Brubeck

10 – I Had a Slouch Hat Too One Time

11 – The Wheel of the Quivering Meat Conception

12 – McDougal Blues

13 – The Moon Her Majesty

14 - I’d Rather Be Thin Than Famous

15 – Readings From “On The Road” and “Vision of Cody”

FLAC

Down Home Reunion Young Men fron Memphis (1959)

2011-06-05T08:11:00.000-07:00

1 - Things ain't what they used to be

2 - Blue n' Boogie

3 - After Hours

4 - Sta Eyes

Booker Little (tp), George Coleman (ts) Louis Smith (tp), Phineas Newborn Jr. (p), Frank Strozier (as), George Joyner (b), Charles Crosby (d), Calvin Newborn (g)

MPEG-4

Wilton "Bogey" Gaynair Africa Calling (1960) Candid

2011-06-05T07:17:00.000-07:00

1 – Kingston By Pass

2 – Blue Ghana

3 – The way you look tonight

4 – Just for Jan

5 – Rianyag

6 – Africa Calling

Wilton Gaynair (ts), Ellsworth "Shake" Keane (tp), Terry Shannon (p),

Jeff Clyne (b), Bill Eyden (d)

MPEG-4

Barry Harris Breakin' It Up (1958) JP Argo Debut Session

2011-06-05T06:47:00.000-07:00

1 - All the Things you are

2 - Ornithology

3 - Bluesy

4 - Passport

5 - Allen's alley

6 - Embraceable you

7 - Sro

8 - Stranger in Paradise

Barry Harris (p), William Austin (b), Frank Gant (d)

MPEG-4

Baby Face Willette Face to Face (1961)

2011-06-02T16:26:00.000-07:00

1. Swingin' At Sugar Ray's

2. Goin' Down

3. Whatever Lola Wants

4. Face To Face

5. Somethin' Strange

6. High 'N Low

7. Face To Face

8. Somethin' Strange

Fred Jackson (ts) Baby Face Willette (org) Grant Green (g) Ben Dixon (d)

MP3 no scans

Andre Previn's Trio Jazz King Size! (1958)

2011-06-02T16:00:00.000-07:00

1. I'll Remember April

2. Much Too Late

3. You'd Be So Nice to Come Home To

4. It Could Happen to You

5. Low and Inside

6. I'm Beginning to See the Light

Andre Previn (p) Red Mitchell (b) Frankie Capp (d)

MPEG-4

Bill Evans - Green Dolphin Street (1959)

2011-06-02T15:07:00.000-07:00

Personnel:

Bill Evans, piano

Paul Chambers, bass

Philly Joe Jones, drums

Tracks:

01 You And the Night And The Music - 7:24

02 My Heart Stood Still - 5:25

03 Green Dolphin Street - 8:12

04 How Am I To Know? - 6:22

05 Woody'N You (take 1) - 4:28

06 Woody'N You (take 2) - 4:13

07 Loose Bloose - 5:36

MP3

Harold Land - The Peacemaker

2011-06-02T13:45:00.000-07:00

Tracks

1 The Peace-Maker (Land)

2 Stylin' (Land)

3 40 Love (Land)

4 Angel Dance (Land)

5 Time Table (Land)

6 Imagine (Cahn, Lal)

7 The Aquarian (Land)

8 One for Nini (Land)

Personnel

Harold Land (ts, fl); Bobby Hutcherson (vib); Joe Sample (p); Buster Williams (b); Donald Bailey (d, harm)

Recording Date & Location

11 Dec 1967; 26 Feb 1968, Hollywood, CA

Flac & Scans