Joe Bataan Call My Name (2004)

Joe Bataan is alive and well – and to our ears, the king of Latin Soul is sounding better than he has in decades! This tasty little set really takes us back to Joe'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 that wasn't always able to come to the forefront in earlier years. Joe recorded the album at the Daptone Studios in New York – so the sound of the set is spot-on all 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 wonderful as Joe's classic-styled vocals! And even more than that, there's also a heck of great new songs on the set – tunes that follow very strongly in the spirit of Joe's older classics, but which have a freshness that makes the album a totally essential part of Joe's catalog.

Dusty Grooves 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)

In the spring of 1958, just a few weeks after cutting Poetry for the Beat Generation, producer Bob Thiele suggested making a second album -- quite a daring notion, considering that the first album would prove so controversial that it wouldn't reach the public for a year -- and Jack Kerouac agreed. Instead of pianist Steve Allen, however, Kerouac insisted that he be accompanied 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 duet between speaker and saxmen, working spontaneously in this peculiar mix of jazz and 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 here between Kerouac and his accompanists, and the album is more arch but also more intense and more imposing than its predecessor.

Review by 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 Poems from The unpublished "Book Of Blues"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)

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

Review by 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)

Having already 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, would feature more Latin touches -- this time with star Cuban conga player Candido. In line with fellow jazz pianists George Shearing and Red Garland, Taylor doesn't incorporate the Cuban clavé beat so much as he includes the percussion for accentuation. In spite of this, Candido offers up some provocative solos, especially on the fast-paced Taylor original "A Live One," which features 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 the album, Taylor uses his fleet, Teddy Wilson-informed solo chops to pleasant effect, even stretching out a bit on "Mambo Inn" to complement Candido's own lengthy workout.

Review by 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)

Why so much of what pianist/vocalist James Booker recorded in the 1970s didn't surface until the '90s is a mystery, but that's secondary compared to the greatness routinely presented on this CD. It contains nine Booker selections that he performed at the 1977 Boogie Woogie and Ragtime Piano Contest held in Zurich. His relentless, driving style, ability to switch from a hard-hitting tune to a light, soft one without skipping a beat, and wild mix of sizzling keyboard licks and bemused, manic vocals are uniformly impressive. It's a bit short for a CD at 37 minutes, but it has so much flamboyant music and singing that 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)

Wonderful Harmless Records compilation long out of print. Fourteen killer tracks from the 1970’s NYC latin funk scene masterfully put together.  It is going to be a battle to 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’s Yo! 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 Con Mozancha – 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)

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)

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

By Jim 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)

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)

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)

Recorded two years before legendary West Coast pianist's death. With Leroy Vinnegar and Lawrence Marable. Six Perkins originals make this an important document. He is an important sideman. Here as a 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)

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

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)

One of the first tuba players to lead his own recording session in a bebop setting, Ray Draper 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 recording debut), altoist Jackie McLean, pianist Mal Waldron, bassist Spanky DeBrest, and drummer Ben Dixon, Draper fits in pretty well. His solos are sometimes a touch awkward rhythmically and it takes one a little while to get used to his sound in this setting but, overall, this is a successful effort. The fairly modern sextet performs straight-ahead originals by Draper, Young, and Waldron in addition 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)

Tenor saxophonist Barney Wilen was not quite 21 years old at the time of this meeting withMilt Jackson, Percy Heath, and Kenny Clarke, three veterans of the Modern Jazz Quartet. But the young man is surprising mature and confident throughout the session, interpreting several of Django Reinhardt's compositions, along with a few by his French contemporaries and a pair of his own works. What's surprising about this session is the rare opportunity to hear Jackson exclusively 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 before making a convincing statement himself. The quartet's fluid arrangement of Thelonious Monk's "Epistrophy" swings. Percussionist Gana M'Bow is added for both "Swing 39" and "Minor Swing" to add an exotic touch. Wilen easily holds his own on his first major meeting on a record date 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)

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

. Lateef played meaty tenor sax solos and entrancing flute and bamboo flute offerings, and also had impressive stints on oboe, shenai, and argol. This was a pivotal date in his career, and those unaware of it will get a 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)

Composer and arranger Gary McFarland was well known in the 1960s for his film-scoring abilities and his charting skills with midsized bands. McFarland was also, however, a jazz fan, and particularly one of scalar pianist Steve Kuhn. This project features Kuhn in the center of a program made up entirely of McFarland compositions, 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 that it did not pursue the free jazz realms with the vengeance that most of the label's other acts did during that year. It is also significant that it caught the attention of a young Manfred Eicher, who later signed Kuhn to his ECM label based on the strengths of this recording. Like Keith Jarrett, Kuhn is in the pointillistic school of jazz pianists of the era. Unlike Jarrett, Kuhn does not consider force in his attack as necessary as his labelmate does. Instrumentally, Kuhn's customary trio situation -- which is dutifully performed with zeal by Ron Carter and drummer Marty Morell -- is augmented with a string quartet 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 fulfilling because 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 13 or "St. Tropez Shuttle," a strangely metered bossa tune (in 3/4 instead of 4/4). Kuhn's cautious, contemplative improvising concerns itself with scalar explorations of melody, color, and harmony rather than rhythm or modal considerations. His touch is light and airy and therefore most pronouncedly visible against the strings. The interplay between Carter and Morell is almost instinctual; they couldn't have moved any closer together on this set if the charts had been written for them -- and they were not. With the wind trio and harp, Kuhn's approach is more physical, but nonetheless strives to create a palette for the very instruments that are trying to create one for him. There is some tension in this approach, but it works to the record's advantage. In sum, The October Suite.

Thom Jurek

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.)