Herman Foster - Explosive Piano of Herman Foster / Have You Heard?

As a thirteen year veteran of Lou Donaldson's band, pianist Herman Foster developed a style of playing that one can only describe as "percussive" and "animated." Foster explores Latin, jazz and blues on these two original Columbia albums from the 1960's.


Personnel:

Herman Foster (piano)
Earl May (bass)
Grassella Oliphant, Drnkie Dunlop (drums)

Recorded in 1960-61. Originally released on Epic (17016) & Epic (17010)

Booker Ervin - TEXBOOK TENOR

Booker Ervin’s Tex Book Tenor finds the tenor saxophonist surrounded by a talented cast consisting of Woody Shaw (trumpet), Kenny Barron (piano), Jan Arnet (piano), and Billy Higgins (drums). Tex Book Tenor is indeed a “textbook” of harmony, rhythm and cohesion. Of course, Ervin shines, but his partners are equally astounding, particularly the delicate notes of Barron on Gichi. Gichi is a swaying, bluesy track that has Ervin and Shaw working congruently while Barron and Arnet lay down the melody. Higgins, the master technician, provides fresh, timely accoutrements while Arnet’s steady bass line maintains a flowing tempo. This track is just over seven minutes, but seems to fly by much too soon thanks to delicious solos by Shaw and Barron.

--Reviewed by Eddie Becton


Personnel:

Booker Ervin – tenor saxophone
Woody Shaw – trumpet
Kenny Barron – piano
Jan Arnet – bass
Billy Higgins – drums

Alice Coltrane - World Galaxy

One of Alice Coltrane's most ambitious albums of the early years -- recorded with a full set of heavenly orchestrations! The core group features Alice on piano, organ, and harp -- alongside Frank Lowe on saxes, Reggie Workman on bass, Leroy Jenkins on violin, and Ben Riley on drums. Added to this combo is a much larger set of strings -- swirling around in a rich musical backdrop that gives Alice's work a sense of majesty and power we could have never imagined. This is the album that really showed the world that she was far far more than just the wife of the late great one -- a true mystical visionary with a sound that demanded to be heard! Side 2 features a recitation by Alice's spiritual mentor, Swami Satchdiananda -- and the album features a wonderful version of "My Favorite Things", done with both organ and harp, plus the tracks "Love Supreme", "Galaxy In Turiya", and "Galaxy In Satchidandana".

---Dusty Groove



Personnel:
Alice Coltrane : percussion, piano (2), organ (1,4,5), harp (1,3,4,5), tamboura (4) Reggie Workman : bass
Ben Riley : drums
Elayne Jones : timpani
Frank Lowe : saxophones, percussion
Swami Satchidananda (5) : voice
Leroy Jenkins (5) : solo violin

STRING ORCHESTRA - David Sackson : concertmaster; Arthur Aaron, Henry Aaron, Julien Barber, Avron Coleman, Harry Glickman, Edward Green, Janet Hill, LeRoy Jenkins, Joan Kalisch, Ronald Lipscomb, Seymour Miroff, Thomas Nickerson, Alan Shulman, Irving Spice, William Stone : strings

Alice Coltrane - Journey in Satchidananda

Direct inspiration for Journey in Satchidananda comes from my meeting and association with someone who is near and dear to me. I am speaking of my own beloved spiritual perceptor, Swami Satchidananda. Swamiji is the first example I have seen in recent years of Universal Love or God in action. He expresses an impersonal love, which encompasses thousands of people. Anyone listening to this selection should try to envision himself floating on an ocean of Satchidanandaji's love, which is literally carrying countless devotees across the vicissitudes and stormy blasts of life to the other shore. Satchidananda means knowledge, existence, bliss.

-Alice Coltrane, from the liner notes to Journey in Satchidananda

Donald Byrd & Booker Little - Third World

Renowned trumpet players on their own, Byrd and Little joined their considerable forces in this musical collaboration of legends. This album, first released in 1959, features session work from other jazz greats such as "Philly" Joe Jones, Curtis Fuller, and Paul Chambers.


Personnel:

Donald Byrd, Booker Little (trumpet)
Curtis Fuller (trombone)
Mal Waldron (piano)
Paul Chambers (bass)
Philly Joe Jones (drums)
Armando Perazo, Willie Rodriguez (congas)

Donald Byrd & Gigi Gryce - Jazz Lab / Modern Jazz Perspective

In 1957, horn player Donald Byrd and alto sax player Gigi Gryce formed the Jazz Lab to experiment with composition and harmony. The pieces in this collection are truly ensemble works which paved the way for the jazz fusion movement.

JAZZ LAB:

Personnel: Donald Byrd (trumpet); Gigi Gryce (alto saxophone); Sahib Shihab (baritone saxophone); Julius Watkins (French horn); Benny Powell, Jimmy Cleveland (trombone); Don Butterfield (tuba); Tommy Flanagan, Wade Legge (piano); Wendell Marshall (bass); Art Taylor (drums).

MODERN JAZZ PERSPECTIVE:

Personnel: Donald Byrd (trumpet); Gigi Gryce (alto saxophone); Jackie Paris (vocals); Sahib Shihab (baritone saxophone); Julius Watkins (French horn); Jimmy Cleveland (trombone); Wynton Kelly (piano); Wendall Marshall (bass); Art Taylor (drums).


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Oscar Pettiford - Another One

Don't let the Another One title make you think this is some passable record that repeats earlier ideas -- because the set is a real gem in the 50s catalog of bassist Oscar Pettiford, and one of his strongest dates as a leader! Pettiford really sparkles here -- leading a great group that features key 50s modernists like Gigi Gryce on alto, Jerome Richardson on tenor, Bob Brookmeyer on trombone, and Donald Byrd on trumpet -- all tightly arranged at most moments, but given enough space on the set to strike out and state their own ideas. Pettiford's bass is wonderfully upfront in the mix, leading off most tunes with a nice sense of force -- and titles include some really wonderful original material -- like "Oscalypso", "Don't Squawk", "Bohemia After Dark", "Minor Seventh Heaven", and "Kamman's A Comin".
---Dusty Groove


**** Some of the Tracks got Misnamed...Sorry ****



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Johnny Griffin & Eddie "Lockjaw" Davis - Lookin' at Monk

When the two tough tenors waxed this record in 1961, the idea of a Thelonious Monk tribute was fresh, daring, and affectionate--not at all the overdone and uninspired exercise that it can often be decades later. Johnny Griffin had already been an integral part of Monk's late-1950s quartet; bassist Larry Gales and drummer Ben Riley would wind up joining Monk's band just three years later. The contrasting but compatible styles of the two leaders teach a valuable lesson in what makes Monk's music special: Davis offers soulful, blues-based, earthbound lines while Griffin tends toward feisty, soaring, far-reaching sounds, but both capture the essence of Monk's compositions. Pianist Junior Mance's chord-feeding isn't as jagged as Monk's, but is no less effective. As fiery as the five hot numbers are, the two ballads--Griffin on "'Round Midnight" and Davis on "Ruby, My Dear"--are just as impressive. Both Davis and Griffin are capable of having their own unique voices shine through while still upholding the spirit of Monk's ideas.
--Marc Greilsamer (Amazon.com)



Personnel:

Johnny Griffin, Eddie "Lockjaw" Davis (tenor saxophone)
Junior Mance (piano)
Larry Gales (bass)
Ben Riley (drums)

Recorded at Plaza Sound Studios, New York, New York on February 7, 1961



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Grassella Oliphant - Grass Roots/Grass is Greener

Two soulful jazz albums on one CD from the vastly underrated Grassella Oliphant. The Grass Roots and The Grass is Greener were released by Atlantic in 1965 and 1967 respectively. Featured tracks include an inspired cover of Duke Ellington's "Mood Indigo" and a groovy rendition of Allen Toussaint's "Get Out Of My Life Woman."


Personnel:

Grassella Oliphant (drums)
Grant Green (guitar)
Harold Ousley (tenor saxophone)
Clark Terry (trumpet)
John Patton (organ)
Bobby Hutcherson (vibraphone)
Major Holley, Ray McKinley (bass guitar)



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Charles Mingus - Timeless

Personnel:

Charles Mingus (bass)
John La Porta (alto saxophone & clarinet)
Shigeo Suzuki (alto saxophone)
Teo Macero (tenor & baritone saxophones)
Bobbie Jones (tenor saxophone, clarinet)
George Barrow (tenor saxophone)
Eddie Preston (trumpet)
Wally Cirrillo, Masahiko Sato (piano)
Rudy Nichols, Kenny Clarke (drums)



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Al Cohn & Zoot Sims - Easy as Pie (Live at the Left Bank)

Al Cohn was initially known in the 1940s for playing in Woody Herman's Second Herd as one of the Four Brothers, along with Zoot Sims, Stan Getz, and Serge Chaloff. Unlike his the better known tenors Sims and Getz, Cohn contributed arrangements to the Herman band. Cohn has a reputation as a lyrical flowing soloist.

Zoot Sims developed into an innovative tenor saxophonist. Throughout his career, he played with renowned bands, including Benny Goodman, Artie Shaw, Stan Kenton, and Buddy Rich. Sims was also one of Woody Herman's "Four Brothers", and he was known among his peers as one of the strongest swingers in the field. He frequently led his own combos and sometimes toured with his friend Gerry Mulligan's sextet, and later with Mulligan's Concert Jazz Band.

In the 1950s and '60s, Sims had a long, successful partnership as co-leader of a quintet with Al Cohn, which recorded under the name "Al and Zoot". That group was a favorite at the New York club "The Half Note." Always fond of the higher register of the tenor sax, Zoot also liked to play alto and late in his career added the soprano saxophone to his performances, while recording a series of albums for the Pablo Records label of impressario Norman Granz.


Personnel:

Al Cohn, Zoot Sims (tenor saxophone)
Dave Frishberg (piano)
Victor Sproles (bass)
Donald McDonald (drums)

Recorded live at the Famous Ballroom, Baltimore, Maryland on October 27, 1968




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Edward "Sonny" Stitt - Deuces Wild

Sonny Stitt was an American jazz saxophonist. He was a quintessential saxophonist of the bebop/hard bop idiom and was also one of the most prolific saxophonists of his generation, recording over 100 records in his lifetime. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern in tribute to his relentless touring and his devotion to jazz. Although his early career was overshadowed by Parker, Stitt was never a copyist. Indeed, his was a highly original musical mind, as became apparent after he switched to tenor and forged a new and appreciative audience for his work.


Personnel:

Sonny Stitt (alto & tenor saxophones)
Robin Kenyatta (soprano & alto saxophones)
Rufus Harley (tenor saxophone, bagpipes)
Wilmer Mosby (organ)
Billy James (drums)

Recorded in 1966



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Benny Green - Soul Stirrin'

One of the more unique recordings in the Blue Note 1500 series, trombonist Bennie Green oversees a cool mix of swing, blues and mambo arrangements, including vocal contributions by the leader himself and the great Babs Gonzales. With his bone tone still rooted in the swing era, Green was starting to take notice and become influenced by the emergence of soul and rhythm and blues. Case in point; inviting Gene Ammons to sit in on tenor. Adding Billy Root as a second tenor creates a front line like no other while the legendary Sonny Clark handles the piano. Ike Isaac’s bass and the brute-drumming of Elvin Jones round out the sextet. Highlights include a forceful “We Wanna’ Cook”, plus heartbreaking takes of the ballads “That’s All” and “Lullaby Of The Doomed”.


Benny Green - Trombone, Vocals
Babs Gonzales - Vocals
Gene Ammons - Tenor
Billy Root - Tenor
Sonny Clark - Piano
Ike Isaac - Bass
Elvin Jones - Drums


www.mediafire.com/?g59ajcwmx2h

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Rahsaan Roland Kirk - Volunteered Slavery

Recorded at Regent Sound Studios, New York, New York in 1969 and The Newport Jazz Festival, Newport, Rhode Island on July 7, 1968. Originally released on Atlantic (1534).

One of Roland Kirk's very best albums, 1969's VOLUNTEERED SLAVERY is a half-studio, half-live smorgasbord that comes closer than possibly any of his dozens of other releases to capturing all of his many musical sides. Opening with the classic call-and-response soul jazz title track, side one features two brilliant pop covers, Stevie Wonder's "Ma Cherie Amour" and a scorching reinterpretation of Bacharach-David's "I Say a Little Prayer," reworked into a eulogy for the recently slain Bobby Kennedy. Between those two comes the brief but stirring "Search for the Reason Why," a gospel-tinged hippiesque singalong that in lesser hands might sound drippy. Side two, recorded at 1968's Newport Jazz Festival, is built around the brilliant "Tribute to John Coltrane," a three-song medley that pays tribute without imitation, and the legendary "Three for the Festival," Kirk's wild yet controlled solo played simultaneously on three different reed instruments. This is a jazz classic.
Entertainment Reviews:

Rolling Stone - 3/7/70, p.48
"...[ROLAND KIRK] is one of the absolute best jazz musicians in the world, as good as the best on all the axes he plays....[he's] got an amazing sense of humor in everything he does..."


Roland Kirk - Saxophone [Tenor], Horns [Stritch, Manzello], Flute, Flute [Nose], Gong, Whistle, Vocals
Roland Kirk Spirit Choir - Vocals
Vernon Martin - Bass
Charles Crosby , Jimmy Hopps , Sonny Brown - Drums
Ron Burton - Piano
Dick Griffin - Trombone
Charles McGhee - Trumpet

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Rahsaan Roland Kirk - We Free Kings

Only his third session as a leader, 1961's WE FREE KINGS finds multi-instrumentalist Roland Kirk (he added the Rahsaan in 1969) transplanted to New York from his native Midwest and signed to Mercury Records, where he'd remain for the next seven years. With this classic album, Kirk shook off detractors who dismissed him as a novelty (for his revival of the vaudeville trick of playing up to three reeds at once) and established himself as a paragon of modern jazz.

Beginning with a typically idiosyncratic reworking of Coltrane's "Blues for Alice," Kirk only occasionally steps into the free jazz style implied by the album's title, notably on the first recorded version of his legendary multi-horn showcase "Three for the Festival." Recorded in two different no-nonsense trio settings, WE FREE KINGS showcases Kirk's astonishingly varied brilliance in a suitably stripped-down context.


* Roland Kirk — saxophone, flute, vocals
* Richard Wyands — piano (3-5, 9)
* Art Davis — bass (3-5, 9)
* Charlie Persip — drums (3-5, 9)
* Hank Jones — piano (1-2, 6-8)
* Wendell Marshall — bass (1-2, 6-8)


www.mediafire.com/?mbm0pyn14tf

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Charlie Parker - South of the Border

Charlie Parker's work with Latin jazz groups departs from his classic bebop playing primarily in its approach to rhythm. The more groove-oriented patterns of Latin jazz are in marked contrast to the sometimes irregular accents of bebop. This collection has each master take from the sessions that featured Parker blowing in front of the great Latin-Jazz percussionists - who provided the alto saxophonist with a perfect environment for him to take off from.

This Verve CD pulls together recordings from 1949-52 that were originally scattered across a handful of 10" LPs. Seven of the tunes here come from the original SOUTH OF THE BORDER 10," which featured a typical Parker ensemble of the period (Walter Bishop, Jr., piano; Teddy Kotick, bass; Roy Haynes or Max Roach, drums) augmented by Latin percussionists Jose Mangual and Luis Miranda. The three opening cuts feature Bird blowing through arrangements played by Machito and His Afro-Cuban Orchestra (originally released on MACHITO JAZZ WITH FLIP AND BIRD); Machito and orchestra return for the extended "Afro-Cuban Jazz Suite" composed by Chico O'Farill.

The small group recordings sound like small group Bird recordings without the driving tempos, ornate melodic structure or reliance on either blues or "I Got Rhythm" chord changes. On "No Noise (Part 1)", one of the shorter Machito tunes, it's particularly interesting to hear Parker stretch out over the simple two-chord vamp. The "Afro-Cuban Jazz Suite" includes solos by Bird but was not written with the altoist in mind. Rather, O'Farill wrote the piece as an extended jazz composition with occasional soloists; Parker was called in during the session to replace Harry "Sweets" Edison.


Personnel:

Charlie Parker (alto saxophone)on all tracks with....


Benny Harris (trumpet); Walter Bishop, Jr. (piano); Teddy Kotick (bass); Roy Haynes, Max Roach (drums)

Machito & His Afro-Cuban Orchestra includes: Machito (maracas); Chico O'Farrill (conductor); Gene Johnson, Fred Skerritt (alto saxophone); Jose Madera, Flip Phillips, Sol Rabinowitz (tenor saxophone); Leslie Johnakins (baritone saxophone); Mario Bauza (trumpet, clarinet); Paquito Davilla, Harry "Sweets" Edison, Al Stewart, Bobby Woodlen (trumpet); Rene Hernandez (piano, bass); Roberto Rodriguez (bass); Buddy Rich (drums); Jose Mangual (bongos); Luis Miranda, Chano Pozo (congas); Ubaldo Nieto (timbales)



P.S. This was on my old blog "The Sly Mongoose", I will be transfering the Jazz from over there to here in the next couple of weeks.



http://www.mediafire.com/?09dmm1mz4bg

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Tito Puente/Woody Herman - Puente's Beat-Herman's Heat

A budget-priced 13-track collection of recordings from Tito Puente and Woody Herman, featuring Charlie Byrd on guitar. PUENTE'S BEAT/HERMAN'S HEAT documents the collaboration of two great talents of 20th century music: Tito Puente and Woody Herman. Puente takes easily to Herman's swinging sound. "Latin Flight" is a highlight, serving as a call to dance that even the most uptight can't ignore. Also noteworthy are "Tito Meets Woody," a swinging mambo, and "Cha-Cha Chick," a slow and sexy swinger. "Mambo Herd" is purely a vehicle for Puente to show off at the timbales, despite its being named after Herman, who is the real star here; it's the Herd's distinctive sound that defines this recording, despite the fact that Puente's touch has a great impact on the final sound.

P.S. I found this cd very, very, mucho, mucho boring!!!! I decided to post it before I get rid of it.


http://www.mediafire.com/?amoycmcvtdj

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Prince Lasha Quintet featuring Sonny Simmons - The Cry

Give a quick listen to this CD and you might be tempted to write off Prince Lasha and Sonny Simmons as Ornette Coleman knockoffs, albeit good ones. The reality is that Lasha had been playing with Coleman since high school, swapping ideas and looking for fellow players in a world that wasn’t quite ready for what they had to offer. Coleman broke through first, and finally people were ready for Lasha; The Cry, one of Lasha and Simmons’ only appearances on record, present them as a fine working unit that never quite garnered that much attention. Both Coleman and Lasha have similar approaches, yet Lasha’s compositions are more accessible than Coleman’s. Unlike Haden and Higgins, the rhythm section is content to follow a very consistent pulse (unusual for Peacock), providing a firm base that allows the two horns to explore all sorts of terrain. The heads (such as they are) are practically hummable and almost pretty. Simmons sounds quite a bit like a Coleman with more precision, and in fact may be using a plastic alto; Lasha prefers a wooden flute, which gives his passages a dark, earthy tone that contrasts well with the bitter, vibratoless sax. One can be forgiven for thinking that this is Simmon’s date; he gets two songs all to himself without Lasha, both of which show that he could have been a major player in the free jazz area if the cards were dealt differently. These guys probably don’t understand harmolodics any more than you do, but are still capable of creating fine free jazz that succeeds at being adventurous without being demanding.

~David Rickert




Prince Lasha : flute (#1, 3-6, 8), bass clarinet (#4)
Sonny Simmons : alto saxophone
Gary Peacock : bass
Mark Proctor : bass (#1, 3-6)
Gene Stone : drums


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Johnny Griffin/Milt Jackson - Griff n' Bags

Chicago tenor great Johnny (”Griff”) Griffin is heard on five tunes and Milt (”Bags”) Jackson, whose intention was to reunite with fellow MJQ founder Kenny Clarke for a Clarke-Boland Big Band project that never materialized, is heard on five different tunes.

Despite slightly inaccurate labeling and packaging that doesn't explain itself until you open it, Griff 'n' Bags is an excellent collection of four Francy Boland-Jimmy Woode-Kenny Clarke sessions recorded between 1967 and 1969. The 16 pieces enclosed here seem to have been recorded when all the members of the sensational, underrated C-BBB were unable to assemble in full.

The first three titles, from 1967 (Woode's “Gamal Sady'n'Em” and “Gyson's Bag” and Neal Hefti's “Lonely Girl”), focus the diverse and interesting rhythmic moxy on what made the C-BBB's engine run so swiftly and smoothly - the trio of Boland, Woode and Clarke. Three horns are added for sessions a year and a half later yielding three superb numbers with standouts including Boland's wondrously Latinesque “The Turk's Bolero,” a feature for Sahib Shihab, and the swinging “Muvaffak's Pad” spotlighting the ever-amazing Boland's piano and the graceful trumpet of Idrees Sulieman. Bags's 1969 pieces are highlighted by his own typically-soulful “Blues For K” and his vocal (no vibes) on “I'm A Fool To Want You.” Griffin, a charter C-BBB member, is brought forward on his 1968 pieces and swings hard and happily on five titles, and in tip-top form on the New Orleans drawl of “Foot Patting” and the Nat Adderley like “Deep Eight.”

The Italian Rearward label is now releasing many of producer Gigi Campi's 1960s sessions in attractive packages with boxes, booklets and typically superb notes by Mike Hennessy. These are all worthwhile, often inspired productions well worth investigating. They're also a testament to the beauty and enduring appeal of European stalwarts like pianist, composer and arranger Francy Boland and American expatriates Sahib Shihab, Idrees Sulieman, Benny Bailey and Johnny Griffin. Despite the slightly misleading packaging here, Griff 'n' Bags is also excellent and highly recommended.


Personnel includes:

Johnny Griffin (tenor saxophone)
Sahib Shihab (baritone saxophone)
Benny Bailey (trumpet, flugelhorn)
Idrees Sulieman (trumpet)
Ake Persson (trombone)
Milt Jackson (vibraphone)
Francy Boland (piano)
Jimmy Woode Jr. (bass)
Kenny Clarke (drums)



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George Russell - Jazz in the Space Age

George Russell's third release as a leader combines two adventurous sessions. The first features two pianists, Bill Evans and Paul Bley, and a large ensemble including Ernie Royal, Dave Baker, Walt Levinsky, Barry Galbraith, Milt Hinton, and Don Lamond, among others. The three-part suite "Chromatic Universe" is an ambitious work which mixes free improvisation with written passages that have not only stood the test of time but still sound very fresh. "The Lydiot" focuses on the soloists, while incorporating elements from "Chromatic Universe" and other Russell compositions. The second session adds trumpeter Marky Markowitz, valve trombonist Bob Brookmeyer, alto saxophonist Hal Mckusick, and drummer Charlie Persip to the earlier group, in the slow, somewhat mysterious "Waltz From Outer Space," which incorporates an Oriental-sounding theme, and "Dimensions," described by its composer as "a sequence of freely associated moods indigenous to jazz." Previously available as an LP and as a two-LP set combined with New York, NY, this CD represents some of George Russell's greatest achievements.

~ Ken Dryden, All Music Guide


Ernie Royal, Al Kiger, Marky Markowitz (Trumpet)
Frank Rehak, David Baker, Bob Brookmeyer (Trombone)
Jimmy Buffington (French Horn)
Hal McKusick (Alto Saxophone)
Dave Young (Tenor Saxophone)
Sol Schlinger (Baritone Saxophone)
Bill Evans, Paul Bley (Piano)
Barry Galbraith, Howard Collins (Guitar)
Milt Hinton (Bass)
Don Lamond, Charlie Persip (Drums)


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Baby Face Willette - Stop and Listen

Probably the greatest set in Baby Face Willette's all-too-slim discography, Stop and Listen matches the organist with the hugely sympathetic team of guitarist Grant Green and drummer Ben Dixon (the same trio lineup who recorded Green's debut LP, Grant's First Stand). With no saxophonist this second time around, it's just Willette and Green in the solo spotlight, and they play marvelously off of one another. As a soloist, Willette has a nimble, airy touch, and though he owes no debt to the modal style of Larry Young, he has a greater melodic imagination than many of his instrument's straight blues players. What's more, his playing is far less in-the-pocket than his inspiration, Jimmy Smith's; Willette can really make a groove percolate, whether he's soloing or adding keen rhythmic interest with his left hand (witness the throbbing slow blues of "Chances Are Few" or the marching beat of "Soul Walk"). Green is in prime form as well, in particular contributing some unbearably lovely solos to the standard "At Last." Nearly every selection is memorable, with other highlights coming from Willette's manic original "Jumpin' Jupiter," a breezy treatment of "Willow Weep for Me," and Nat Adderley's jauntily swinging "Worksong." There's nary a bit of sleepy meandering on this set of grooves; each musician is plugged in and ready to wail. With Blue Note's extraordinary stable of talent, it's a shame that Willette never led another session for the label, which makes Stop and Listen that much more essential for soul-jazz fans.

~ Steve Huey, All Music Guide



Baby Face Willette (Organ)
Ben Dixon (Drums)
Grant Green (Guitar)


http://www.mediafire.com/?dzco2mamb30

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Young-Holt Unlimited - OH GIRL /Slide Hampton Octet - SOMETHIN' SANCTIFIED

2 LPs on 1 CD: Young-Holt Unlimited: OH GIRL (1972)/Slide Hampton Octet: SOMETHIN' SANCTIFIED (1961)


OH GIRL:

Edlee Young (acoustic, 6-string electric & 8-string electric basses)
Isaac "Red" Holt (drums)
Marcus Curry (electric guitar)
Ken Chaney (acoustic & electric pianos)
Bobby Lyle (electric piano)
Richard Tee (organ)
Ralph McDonald (congas, percussion)
Eumir Deodato (conductor)


SOMETHIN' SANCTIFIED:

Slide Hampton (trombone, baritone horn)
George Coleman (tenor saxophone)
Jay Cameron (baritone saxophone, clarinet)
Richard Williams, Hobart Dotson (trumpet)
Charlie Greenlee (trombone, baritone horn)
Laurence Ridley (bass)
Peter Sims (drums)


http://www.mediafire.com/?zmd991xzbht

^^^Oh Girl

http://www.mediafire.com/?2fd79amjqml

^^^Somethin' Sanctified


P.S. FOR MY BEATHEADS...THERE IS A NICE DRUM BREAK ON TRACK 6

Jack McDuff / David "Fathead" Newman - Change Is Gonna Come/Double Barrelled Soul

2 LPs on 1 CD: Jack McDuff: A CHANGE IS GONNA COME (1966)/Jack McDuff/David "Fathead" Newman: DOUBLE BARRELLED SOUL (1968)


A CHANGE IS GONNA COME:

Personnel:

Jack McDuff (organ)
Danny Turner (alto saxophone)
George Coleman, Arthur Clarke (tenor saxophone)
Buddy Lucas (baritone saxophone)
John Grimes, Harold Johnson (trumpet)
Richard Harris (trombone)
Cornell Dupree (guitar, congas)
James Oliver (guitar)
Jimmy Tyrrell (bass)
Bernard Purdie, Joe Dukes (drums)
Warren Smith (percussion)


DOUBLE BARRELLED SOUL:

Personnel:
Jack McDuff (organ)
David Newman, Danny Turner (alto & tenor saxophones, flute)
Leo Johnson (tenor saxophone, flute)
Melvin Sparks (guitar)
Abe Blasingame (drums)


http://www.zshare.net/download/801381075aa2ca/

^^^Change is Gonna Come

http://www.mediafire.com/?i5jn0lbtbjn

^^^DOUBLE BARRELLED SOUL

George Adams - Sound Suggestions

Tenor saxophonist George Adams' third recording as a leader (following two obscure releases for the Italian Horo label) is a little unusual in that the extroverted soloist is heard on the usually introverted ECM label. Adams is teamed with fellow tenor Heinz Sauer (who has a cooler sound), trumpeter Kenny Wheeler, pianist Richard Beirach, bassist Dave Holland and drummer Jack DeJohnette for five group originals. The playing is advanced but not as fiery as most of Adams' later sets.



George Adams (tenor saxophone - right channel)
Heinz Sauer (tenor saxophone - left channel)
Kenny Wheeler (trumpet, flugelhorn)
Richard Beirach (piano)
Dave Holland (bass)
Jack DeJohnette (drums)





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Kenny Dorham - Trompeta Toccata

Trumpeter Kenny Dorham was one of a select few jazz musicians whose career spanned the big band era, the emergence of bebop (he played with Charlie Parker), the institution of hard bop, and the 1960s "New Thing" or avant-garde (on the Andrew Hill classic POINT OF DEPARTURE). His trumpet sound was unparalleled, a melodious middle ground between Freddie Hubbard hot and Chet Baker cool. TRUMPET TOCCATA, from 1964, presents him at the height of his powers as a player, composer (three of the four tunes here are originals), and bandleader (with Richard Davis, young Joe Henderson, and pianist-for-all-seasons Tommy Flanagan).


Personnel:

Kenny Dorham (trumpet)
Joe Henderson (tenor saxophone)
Tommy Flanagan (piano)
Richard Davis (upright bass)
Albert Heath (drums)



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THE DANCE OF THE INFIDELS!!!!!!!

WELCOME ONE AND ALL TO THE DANCE OF THE INFIDELS!!!!

This blog is dedicated entirely to my first love of music JAZZ.