Charles Lloyd Quartet - Love-In (LP-1967)

Genre: Jazz / Avant-garde Jazz | Total Time: 46:14 | Size: 659.34 MB | FLAC
Side A
A1 - Tribal Dance .... 10:03
A2 - Temple Bells .... 2:44
A3 - Is It Really The Same? .... 5:45
A4 - Here There And Everywhere .... 3:40

Side B
B1 - Love-In .... 4:44
B2 - Sunday Morning .... 7:55
B3 - Memphis Dues Again / Island Blues .... 8:57

Charles Lloyd – tenor saxophone, flute
Keith Jarrett – piano
Ron McClure – bass
Jack DeJohnette – drums, percussion

Label: Atlantic – SD 1481
Format: Vinyl, LP, Album, Stereo / Country: US / Released: 1967
Style: Post Bop, Avant-garde Jazz, Modal
Recorded live at the Fillmore Auditorium in San Francisco 1967.
Design [Cover Design] – Stanislaw Zagorski
Photography By [Cover Photo] – Jim Marshall
Liner Notes – George Avakian
Engineer [Recording Engineer] – Wally Heider
Producer – George Avakian
Matrix / Runout (Label Matrix Side 1): ST-A-671029 - A
Matrix / Runout (Label Matrix Side 2): ST-A-671030 - B

Round five decades after the event, saxophonist Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, where his quartet was opening for the Butterfield Blues Band—the first jazz group ever to play that venue, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There and Everywhere," Love-In's semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.

It is likely that more joints were rolled on Love-In's cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders's Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as "the first psychedelic jazz group."

It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis' band (although Jarrett didn't appear at the 1970 gig).

"I play love vibrations," Lloyd told Time Magazine. "Bringing everyone together in a joyous dance."

Love-In was the follow-up to the amazing Dream Weaver, the debut of the Charles Lloyd Quartet. Love-In was recorded after the 1966 summer blowout and showed a temporary personnel change: Cecil McBee had left the group and was replaced by Ron McClure. McClure didn't possess the aggressiveness of McBee, but he more than compensated with his knowledge of the modal techniques used by Coltrane and Coleman in their bands, and possessed an even more intricate lyricism to make up for his more demure physicality. Of the seven selections here, four are by Lloyd, two by pianist Keith Jarrett, and one by Lennon/McCartney ("Here, There and Everywhere"). Certainly the '60s youth movement was making its mark on Lloyd, but he was making his mark on them, too. With young Jarrett in the mix, turning the piano over in search of new harmonic languages with which to engage not only Lloyd as a soloist but the rhythm section as well, things were certainly moving across vast terrains of musical influence and knowledge. Drummer Jack DeJohnette took it all in stride and tried to introduce as many new time signatures into the breaks as he could get away with, allowing the ever-shifting chromatics in Jarrett's playing to be his cue from 7/8 to 9/8 to 12/16 and back to equal fours ("Sunday Morning," "Temple Bells," "Memphis Dues Again"), no matter what the musical style was. And there were plenty, as Lloyd led the excursion from post-bop to modal to blues to Eastern raga to cool and back. On Love-In, everything was jazz for the Charles Lloyd Quartet, and what they made jazz from opened the music up to everybody who heard it. The album is a lasting testament to that cultural ecumenism.


Noah Howard - Patterns (LP-1973)

Genre: Jazz / Free Jazz | Total Time: 36:55 | Size: 361.37 MB | FLAC
Side A
A - Patterns .... 18:41

Side B
B - Patterns (continued) .... 18:45

Composition by Noah Howard

Noah Howard – alto saxophone, bells, tambourine, timpani
Misha Mengelberg – piano
Earl Freeman – bass
Jaap Schoonhoven – electric guitar
Steve Boston – congas
Han Bennink – percussion

Label: Altsax – AMC 1000
Format: Vinyl, LP, Album / Country: US / Released: 1973
Style: Free Jazz, Free Improvisation
Recorded in Hilversum, Holland, October 1971.
Design at Photography – Chas. Baum and Daphne Warburg
Mastered At – Sadler Recording Service
Lacquer Cut At – Bell Sound Studios
Matrix / Runout (Side A, hand-etched): AMC·1000·A Bre 6 - 4 - 73
Matrix / Runout (Side B, hand-etched): AMC.1000·B Bre 6 - 4 - 73

A nice obscure one from Noah Howard, recorded in Holland during his time in Europe, and featuring a great lineup that includes Misha Mengelberg and Han Bennink. The album is one long track – "Patterns" – in which Howard solos in a fairly free, post-Coltrane kind of way, although the other players retain more of their own styles.  (Dusty Groove, Inc.)

Originally issued on his own AltSax label in 1971, the "Patterns" session is one of the great mystery spots in the Noah Howard canon... The blasted opening sequence, which we seem to enter whilst already in-process, is a space duet for conga & electric guitar unprecedented in the annals of jazz & new music. When the rest of the musicians enter there is a heavy attempt to africanize Dutch architecture, a proposition which Mr. Mengelberg seems reluctant to accept. What eventually occurs is a primitivist aerial slugfest that invokes a world of shared experience, then negates its substantiality with hammers of nihilist beauty. Emblematic of the end of Europe's open arms policy towards America's expatriate improvisers, "Patterns" remains a nobly ferocious, confounding ghost.

Joseph Jarman, Famoudou Don Moye - Egwu-Anwu (Sun Song) (2LP-1978)

Genre: Jazz / Free Jazz | Total Time: 1:23:20 | Size: 1.17 GB | FLAC
Side A
A1 - Egwu-Yesi Kipaleta
A2 - Egwu Jilala
A3 - Egwu Ping

Side B
B1 - Ikpa-Azu: Ohnedaruth

Side C      
NKE ALA (THE EARTH) .... 20:30
C1 - Egwu-Erosora Ekou Katah
C2 - Egwu-Tombong Goudiaby
C3 - Egwu Ogotemmeli

Side D
D1 - Lobo
D2 - Ekpokpona-Ye Fai

Joseph Jarman – tenor sax, alto sax, sopranino sax, flute, bass clarinet, conch, vibraphone,
cimbals, gongs and accessories, sonors drums
Famoudou Don Moye – drums, other percussion, bailophone, conch, whistle, horns, marimba,        
cimbals, gongs and accessories, sonors drums

Label: India Navigation – IN 1033, India Navigation 1033
Format: 2 × Vinyl, LP, Album / Country: US / Released: 1978
Style: Free Jazz, Free Improvisation
Recorded live, concert in Woodstock, New York 1978.
Artwork [Cover] – Kenneth Hunter
Liner Notes – Thulani Nkabinde
Producer – India Navigation Company
IBO and UGEB translations – Okah Arikpo
Tehnical Advisor / Instrument setting – Clarence Williams
All Compositions by – Joseph Jarman / Famoudou Don Moye
Matrix / Runout (Side A, etched): IN-1033-A
Matrix / Runout (Side B, etched): IN-1033-B
Matrix / Runout (Side C, etched): IN-1033-C
Matrix / Runout (Side D, etched): IN-1033-D

Egwu-Anwu (Sun Song) is an out-of-print live recording by Joseph Jarman and Famoudou Don Moye. The recording is of a live performance recorded in Woodstock, NY, on January 8, 1978, which was released by India Navigation  (catalogue # IN 1033).

Half of the Art Ensemble make a special live appearance for this wonderful late 70s set – recorded in concert in Woodstock, with a loose, open feel that's as much New York loft jazz as it is Chicago AACM. Jarman plays a variety of reeds – including tenor, alto, and sopranino sax, as well as flute and bass clarinet, and a bit of vibes – and the main percussion is handled by Moye on drums, marimba, and other instruments. The album features a long suite of tracks entitled "The Heavens / And The Earth / The Earth / And The Heavens" – building nicely throughout the extended performance!

Joseph Jarman - As If It Were The Seasons (Delmark-1968 - Re-CD-1996)

Genre: Jazz / Free Jazz | Total Time: 45:11 | Size: 436.23 MB | FLAC
01 - As If It Were The Seasons / Song To Make The Sun Come Up .... 23:59
02 - Song for Christopher .... 21:12

Joseph Jarman – alto sax, basoon, fife, recorder, soprano sax
Charles Clark – bass, cello, koto
Thurman Barker – drums
Sherri Scott – voice
Muhal Richard Abrams – piano, oboe (track 2)
Joel Brandon – flute (track 2)
Fred Anderson – tenor sax (track 2)
John Stubblefield – tenor sax (track 2)
John Jackson – trumpet (track 2)
Lester Lashley – trombone (track 2)

Label: Delmark Records – DD-417
Format: CD, Album, Reissue / Country: US / Released: 27 Aug 1996
Original vinyl released: Delmark Records ?– DS-417 (1968) / A.A.C.M. Jazz Series
Style: Free Jazz, Free Improvisation
Track 1 / Recorded at Ter-Mar Studios, July 17, 1968.
Track 2 / Recorded at Ter-Mar Studios, June 19, 1968.
Design [Cover] – Joseph Jarman, Zbigniew Jastrzebski
Engineer, Remix – Paul Serrano
Producer, Supervised By – Robert G. Koester
Recorded By – Malcolm Chisholm
Reissue Producer – Steve Wagner
All compositions by Joseph Jarman
Remixed and remastered from the original analog tapes.

After the death of Christopher Gaddy, who played piano on his debut album, "Song For", Jarman played with the rhythm section of bassist Charles Clark and drummer Thurman Barker. For concerts he invited guests as Sherri Scott, who adds his voice to the trio for the first pieces in this record. Jarman composed "Song for Christopher", based on incomplete notations by the pianist, as a memorial to Gaddy. The piece was recorded by the group augmented by six musicians. Clark died on April 15, 1969 at twenty- four, he had taken part only in three recordings, Muhal Richard Abrams’s "Levels and Degrees of Light", Jarman’s "Song For" and this album.

As If It Were The Seasons was Joseph Jarman's second album for Delmark records, following his 1966 debut, Song For. Recorded in 1968, it is a rare document of his artistry pre-Art Ensemble of Chicago. Remastered from the original analog tapes, this reissue sheds new light on a seminal free jazz classic.
The album contained two extended compositions; each one filling a side of the original vinyl release. Side one combined the title track with "Song To Make The Sun Come Up," both exercises in restraint and dynamic variation. Accompanied by bassist Charles Clark and drummer Thurman Barker, Jarman alternates between a number of reeds for color and texture. Drifting through patches of meditative silence broken by skittering percussion and breathy supplication, the trio ascends to a cathartic release led by Jarman, who unfurls an alto sax solo bristling with tension and fury.
As the storm subsides, under-recognized vocalist Sherri Scott materializes. Free jazz vocals are generally an acquired taste, but Scott delivers lyrical phrases with pitch control and subtle dynamics worthy of Sarah Vaughan. Blending notes and tones with élan, she dovetails with Jarman's alto as he soars upward with circuitous abandon. Sharing a moment of tender vulnerability toward the end, they float in unison over a haunting landscape of sinuous arco bass and scintillating percussion.

Dedicated to the late pianist Christopher Gaddy, "Song For Christopher" occupied the second side and augmented the quartet with six additional musicians. Pianist Muhal Richard Abrams, and tenor saxophonists Fred Anderson and John Stubblefield would all go on to great acclaim. Flutist Joel Brandon is now best known for his unconventional whistling, but trumpeter John Jackson and trombonist Lester Lashley have unfortunately since faded into obscurity.
Slowly gaining steam until the entire ensemble is in full swing, the episodic composition follows a dramatically unfolding arc. Expanding from a glacially rising vortex of sound into a gorgeous ascending melody, the group harmonizes on a buoyant line full of optimistic verve before tearing into a manic screed rivaling John Coltrane's Ascension (Impulse!, 1965) in density.
In the midst of the fray, Abrams' kinetic piano assault sidesteps Anderson's brawny tenor explosions as the entire group erupts in testimonial cries. The collective climax ends abruptly, yielding a nuanced coda ripe with exotic timbres; Scott's ghostly vocalese drifts through a magical soundscape of Asiatic percussion before fading into the ether.

In league with contemporaneous masterpieces like Roscoe Mitchell's "Sound" (Delmark, 1966) and Anthony Braxton's "3 Compositions of New Jazz" (Delmark, 1968), "As If It Were The Seasons" continues to challenge and reward listeners almost five decades later.


The Jack Quigley Trio - Listen! Quigley (1962)

Genre: Jazz | Total Time: 26:34 | Size: 59.14 MB | MP3 320 kbps
                                            Side 1                                            
                            1. Frankley Speaking           
                                                 2. Lazy                   
                                         3. Night Wind                 
                                   4. Gone Baroque              

Side 2
1. Evan's Heaven
2. Senor Caboose
                                                        3. Lucky Miss Fortune                    
4. Intersection
5. Sihtam's Delight

Recorded in Los Angeles, 1962

Jack Quigley (piano); Buddy Clark (bass); Frank Capp (drums)

The Jack Dieval's Sextet - Music: The Food Of Life (1977)

Genre: Jazz | Total Time: 31:42 | Size: 80.44 MB | MP3 320 kbps
Side A
A1 Quelques Lignes D'Amour
A2 Hi ! Mister Jack
A3 Somewhere In Coxsackie
A4 Around Montparnasse 2000
A5 Waltzing Around The World
A6 Where Are You Mister Maigret
Side B
B1 Moonlight In Conomara
B2 Allan, The Hunter
B3 Rocking Chair
B4 Down Piccadilly Circus
B5 Music, The Food Of Life
B6 Marching To Heaven

The Guitars, Inc. - Invitation (1958)

Genre: Jazz | Total Time: 36:00 | Size: 82.83 MB | MP3 320 kbps
Side 1
1. Let's Get Away From It All
2. The Bad And The Beautiful
3. Lullaby Of Broadway
4. Lullaby Of The Leaves
5. Darn That Dream
6. My Heart Belongs To Daddy

Side 2
1. Invitation
2. All The Things You Are
3. Chloe
4. Pick Yourself Up
5. 'Tis Autumn
6. The Guitars, Inc.

Recorded at Radio Recorders Hollywood April 25, May 25 & June 4, 1958

Tommy Tedesco, Al Hendrickson, Howard Roberts, Bobby Gibbons & Bill Pitman - guitar
Jack Marshall - leader & conductor
Joe Mondragon - bass
Roy Harte [# 6, 8, 10 & 12], Larry Bunker [# 1, 2, 4 & 7], or Mel Lewis [# 3, 5, 9 & 11] - drums
Alvin Stoller - bongo
Jack Marshall, Marty Paich, Jack Montrose Lennie Niehaus, Morty Corb & Brin Bethel - arr.
The Guitars Inc. was a clever idea to put together some of the best studio guitarists and see what they can do with well arranged pieces. For the 1958 sessions, Tommy Tedesco, Al Hendrickson, Howard Roberts, Bobby Gibbons and Bill Pitman got together with a collection of rhythm teams that included Mel Lewis-Larry Bunker-Alvin Stoller/dr and Joe Mondragon-Buddy Clark/b. The clever and nifty arrangements by artists including Mary Paich, Bill Holman and Lennie Niehaus keep the songs in concise forms of 2-3 minutes, but a lot goes on with some wondrous swingers such as “Lullaby of Broadway,” “Get Happy” and a danceable “El Cumbanchero” while the strings float like flakes on “Snowfall” and resign in reflection on “Darn That Dream.” This is a one of a kind team that needs to be brought back to the table!
Fresh Sound Records

Stan Kenton - Adventures In Standards (1961)

Genre: Jazz | Total Time: 33:12 | Size: 75.28 MB | MP3 320 kbps
01. Some Enchanted Evening (Richard Rodgers & Oscar Hammerstein II)
02. Begin The Beguine (Cole Porter)
03. It’s All Right With Me (Cole Porter)
04. Make Someone Happy (Jule Styne, Betty Comden & Adolph Green)
05. Old Devil Moon (Cole Porter)
06. Gigi (Frederick Loewe & Alan Jay Lerner)
07. Come Rain Or Come Shine (Harold Arlen & Johnny Mercer)
08. Almost Like Being In Love (Frederick Loewe & Alan Jay Lerner)
09. Just In Time (Jule Styne, Betty Comden & Adolph Green)
10. If I Were A Bell (Frank Loesser)
11. Bewitched, Bothered and Bewildered (Richard Rodgers & Lorenz Hart)
12. I’ve Grown Accustomed To Her Face (Frederick Loewe & Alan Jay Lerner)

Alto Saxophone – Gabe Baltazar
Tenor Saxophone – Paul Renzi, Buddy Arnold
Baritone Saxophone – Allen Beutler
Bass Saxophone – Joel Kaye
Trumpet – Bob Behrendt, Bob Rolfe, Norman Baltazar, Marv Stamm, Dalton Smith
Trombone - Bob Fitzpatrick, Dee Barton, Bud Parker, Jim Amlotte (b-tb), Dave Wheeler (b-tb, tuba)
Mellophone – Carl Saunders, Dwight Carver, Keith LaMotte, Ray Starling
Piano – Stan Kenton
Bass – Pat Senatore
Drums – Jerry McKenzie
Arranged By – Lennie Niehaus

5-7, 14 December 1961, Capitol Tower Studios, Hollywood

Ray Gomez - Volume (1980)

Genre: Jazz, Fusion | Total Time: 43:45 | Size: 100.15 MB | MP3 320 kbps
01. West Side Boogie (Gomez) - 5:41
02. Waiting for the Big Time (McBurney) - 5:55
03. Make Your Move (Gomez) - 4:30
04. U.S.A. (Gomez) - 4:53
05. Blues for Mez (Walden) - 6:46
06. Love at First Sight (Gomez) - 4:52
07. Summer in the City (Sebastian-Boone-Sebastian) - 5:23
08. The World Will Keep On Turning (Gomez) - 5:48

Ray Gomez - guitar, vocals
Jimmy Haslip - bass
Chris Palmaro - keyboards
Narada Michael Walden, Vinny Appice - drums
with guests:
Will Lee - bass (#3)
David Sancious - keyboards (#6)
Randy Brecker - trumpet (#7)
Michael Brecker, George Young - tenor saxophone (#7)
Sammy Figueroa, Rafael Cruz - percussion (#7)
This is the mysterious (and very rare) CD version of the 1980 vinyl release with a different track listing than the original release. Mysterious because it came in a plain black CD sleeve with no label or catalog number info. It was purchased from JK Lutherie about 10 years ago.

Johnny Smith - Moods (1955)

Genre: Jazz | Total Time: 33:30 | Size: 125.258 MB | MP3 320 kbps
01. What's New ? (Burke / Bob Haggart)
02. I'll Remember April (DePaul, Johnston, Raye)
03. Sophisticated Lady (Ellington, Mills, Parish)
04. Easy to Love (Porter)
05. Autumn in New York (Duke)
06. Walk, Don't Run (Smith)
07. Lover Man (Davis, Ramirez, Sherman)
08. Dancing on the Ceiling (Hart, Rodgers)
09. Blues for Birdland (Garner)
10. Have You Met Miss Jones ? (Hart, Rodgers)
11. Someone to Watch Over Me (Gershwin, Gershwin)
12. How About You (Freed, Lane)

[# 1-4]
Johnny Smith - g
Perry Lopez - rhythm g
Arnold Fishkin - b
Don Lamond - dr
Recorded in New York ; May 9, 1954
[# 5-7, 11 & 12]
Same as above
Recorded in New York ; September 10, 1954
[# 8-10]
Johnny Smith - g
Bob Pancoast - p
George Roumanis - b
Jerry Segal - dr

Recorded in New York ; 1955

Johnny Smith's signature mellow-and-pretty-guitar jazz sound is showcased nicely on his 1953 release Moods. Always choosing to focus on the softer, melodic aspects of jazz, Smith arranges such standards as "Sophisticated Lady," "Have You Met Miss Jones," and others in a chordal-based style. Often crossing the facile boundary between classical music and cool jazz, Smith is an underappreciated musician whose catalog has much more to offer than just his classic recording of "Moonlight in Vermont".

Jiri Stivin - Zodiac (1976)

Genre: Jazz | Total Time: 43:05 | Size: 97.69 MB | MP3 320 kbps
Zivly / The Elements
1. Ohen / The Fire
2. Voda / The Water
3. Vzduch / The Air
4. Zeme / The Earth

Nalady / Moods
5. Flegmatici / The Phlegmatics
6. Sangvinici / The Sanguinics
7. Melancholici / The Melancholics
8. Cholerici / The Cholerics
9. Zverokruh / Zodiac

Chorus – Kuhn Mixed Chorus
Chorus Master – Pavel Kuhn
Flute, Alto Flute, Recorder, Whistle, Alto Saxophone, Baritone Saxophone, Panpipes [Syrinx], Voice, Percussion [Bottles], Electric Bass, Marimba, Drums, Percussion, Composed By – Jiri Stivin
Piano, Electric Piano, Harpsichord – Gabriel Jonas
Strings – Talich Quartet (tracks: B1.1 to B2)

Recorded at Mozarteum Studio, Prague, Czechoslovakia,
October 1976

1977 Supraphon 1 15 2015 Czechoslovakia LP
1997 Bonton 71 0622-2 Czech Republic CD

Jimmy Rowles - Trio '77-'78 (1977-78)

Genre: Jazz | Total Time: 1:06:18 | Size: 267.30 MB | FLAC
1. Jeru 4:28
2. Venu De Milo 2:44
3. Godchild 3:24
4. Darn That Dream 3:28
5. Stars And Strippes Forever 5:26
6. Here's That Rainy Day 5:02
7. We Could Make Such Beautiful Music Together 5:59
8. Medley: How Do You Do Miss Josephine / Three On A Watch 4:48
9. Shake It, But Don't Break It! 5:03
10. I Can't Get Started 7:46
11. In The Still Of The Night 8:19
12. Georgia On My Mind 4:02
13. 'Round Midnight 5:49

Jimmy Rowles, piano on all tracks, plus:

[1-4] Rufus Reid (b), Mickey Roker (d).

Recorded in New York, on November 2-3, 1977.

[5-11] George Mraz (b), Leroy Williams (d).

Recorded in New York, on April 4, 1978.
First time on CD all of Jimmy Rowles 1977 trio tracks. A set of tunes originally played by the Miles Davis "Birth of the Cool" nonet. With Rowles on piano, bassist Rufus Reid and drummer Mickey Roker.

Coupled with this is the trio session from the following year (George Mraz, bass and Leroy Williams, drums). The repertoire is a mix of standard tunes plus an unusual arrangement of "Stars and Stripes Forever"

As bonus tracks, there are a rare solo piece ("Georgia on My Mind") and a beautiful quartet version of "Round Midnight".

Horace Parlan - The Maestro (1979)

Genre: Jazz | Total Time: 49:58 | Size: 114.06 MB | MP3 320 kbps
1. Ruby, My Dear
2. Spring Is Here
3. A Flower Is a Lovesome Thing
4. Peace
5. The Maestro
6. Nardis
7. Alone Together
8. Ill Wind

Horace Parlan – Piano Solo

Recorded November 26, 1979 - the same day as Parlan's Musically Yours were recorded.

Label: SteepleChase ‎– SCS-1167
This is the second volume of Parlan’s solo recording (earlier release Sccd 31141 “Musically Yours ”). Horace Parlan (b. January 19, 1931 in Pittsburgh) after suffering from polio as child learned to play piano as a therapeutic means and developed a strong left hand technique which became his trade-mark as professional musician. “… Horace Parlan performs here 8 titles each one of which is a grand moment of jazz history …” (Midi-Libre)

Horace Parlan - Blue Parlan (1978)

Genre: Jazz | Total Time: 45:53 | Size: 104.40 MB | MP3 320 kbps
1. Goodbye Pork Pie Hat
2. Sunspots
3. Firm Roots
4. Monk's Mood
5. Neicy
6. Night Mist Blues
7. Cynthia's Dance
8. There's No Greater Love

Personnel: Horace Parlan (piano); Wilbur Little (bass); Dannie Richmond (drums)

Label: SteepleChase
Horace Parlan overcame physical disability and thrived as a pianist despite it. His right hand was partially disabled by polio in his childhood, but Parlan made frenetic, highly rhythmic right-hand phrases part of his characteristic style, contrasting them with striking left-hand chords. He also infused blues and R&B influences into his style, playing in a stark, sometimes somber fashion. Parlan always cited Ahmad Jamal and Bud Powell as prime influences. He began playing in R&B bands during the '50s, joining Charles Mingus' group from 1957 to 1959 following a move from Pittsburgh to New York. Mingus aided his career enormously, both through his recordings and his influence. Parlan played with Booker Ervin in 1960 and 1961, then in the Eddie "Lockjaw" Davis-Johnny Griffin quintet in 1962. Parlan played with Rahsaan Roland Kirk from 1963 to 1966, and had a strong series of Blue Note recordings in the '60s. He left America for Copenhagen in 1973, and gained international recognition for some stunning albums on SteepleChase, including a pair of superb duet sessions with Archie Shepp. He also recorded with Dexter Gordon, Red Mitchell, Frank Foster, and Michal Urbaniak, and recorded extensively for Enja and Timeless. He died in Denmark in February 2017 at the age of 86.

George Siravo And His Orchestra - Siravo Swing Session (1957)

Genre: Jazz | Total Time: 32:53 | Size: 82.95 MB | MP3 320 kbps
Side 1
1. Margie
2. My Gal Sal
Songwriter – Paul Dresser
3. Cheerful Little Earful
4. Twelfth Street Rag
Songwriter – Andy Razaf
5. Who's Sorry Now
6. Some Of These Days
Songwriter – Shelton Brooks

Side 2
1. Ida
2. Mary Lou
3. Honeysuckle Rose
Songwriter – Andy Razaf, Fats Waller
4. Sweet Sue
5. I Ain't Got Nobody
6. Somebody Stole My Gal

Tr. A1, A2, B2, B5:
Bernie Glow, Joe Wilder, Lou Oles, Buck Clayton (tp) Urbie Green, Bobby Byrne, Bob Alexander (tb) Toots Mondello, Buster Merkin (as) Romeo Penque, Boomie Richman (ts) George Berg (bar) Buddy Weed (p) Barry Galbraith (g) Frank Siravo (b) Osie Johnson (d) George Siravo (arr, cond)
New York, July 8, 1957

Tr. A5, A6, B4, B6:
Bernie Glow, Doc Severinsen, Buck Clayton (tp) Urbie Green, Bobby Byrne (tb) Peanuts Hucko (cl) Toots Mondello, Hymie Schertzer (as) Boomie Richman, Romeo Penque (ts) George Berg (bar) Buddy Weed (p) Allen Hanlon (g) Frank Siravo (b) Osie Johnson (d) Terry Snyder (vib,xyl)
New York, July 10, 1957

Tr. A3, A4, B1, B3:
Similar pers
New York, 1957
George Siravo (Staten Island, New York, 2 October 1916 - Medford, Oregon, 28 February 2000) was a composer, arranger, conductor, saxophonist, and clarinetist.

During his multi-decade stint as a Columbia Records staff arranger and conductor, George Siravo collaborated with a host of singers including Tony Bennett, Doris Day, and Rosemary Clooney, but he remains best remembered for his work with Frank Sinatra on a pair of now-classic LPs that shepherded the crooner's transformation away from ballads to the swinging, uptempo approach upon which the Ol' Blue Eyes' legend rests. Born October 2, 1916 in Staten Island, New York, Siravo cut his teeth playing alto saxophone, clarinet, and flute in Harry Reser's Cliquot Club Eskimos -- stints in support of bandleaders including Charlie Barnet and Artie Shaw followed, and he also served in Glenn Miller's first orchestra. In 1938 Siravo signed on with Gene Krupa following the drummer's exit from the Benny Goodman ranks, but he soon tired of the road and caught on as a staff arranger with the smash radio program Your Hit Parade. Siravo first worked with Sinatra when he performed on Your Hit Parade, and when the singer was tapped to headline his own radio showcase, Frank Sinatra in Person, he kept Siravo on retainer -- he also worked as a freelance arranger, and in 1944 Sinatra's longtime musical director Axel Stordahl brought him aboard to work on what would prove one of the crooner's signature tunes, "Saturday Night (Is the Loneliest Night of the Week)." After Siravo joined the Columbia staff in 1947, he was the arranger of choice when Sinatra and producer Mitch Miller began formulating an album of upbeat dance tunes. The project was scrapped, however, over concerns about the planned session's possible effect on Sinatra's touring and radio schedule, and Siravo's completed arrangements remain unrecorded.

Swing and Dance with Frank SinatraSiravo and Sinatra finally reconnected for 1950s Swing and Dance with Frank Sinatra, a collection of rhythmic, swing-inspired songs without a ballad in sight; the sessions proved instrumental in pointing toward the new creative direction the singer would pursue during the remainder of his recording career. A follow-up date was planned, but according to legend Siravo convinced Sinatra to scrap the session in favor of boarding a plane to Africa to join then-girlfriend Ava Gardner during filming of the feature Mogambo. In the wake of Sinatra's career-revitalizing Oscar win for From Here to Eternity, he tapped Siravo to handle arranging duties on his first Capitol Records date, the celebrated Songs for Young Lovers, but while Siravo did most of the work, Capitol credited Nelson Riddle instead. (Riddle later apologized to Siravo, and hired him to handle orchestration on Sinatra's 1959 tour of Australia.) Siravo's partnership with Sinatra ended in 1961, when Sinatra called him in New York City to invite him to play in a golf tournament in Las Vegas. Siravo, already stretched thin by a packed studio schedule, reportedly told Sinatra, "You gotta be kidding -- I'm busy," to which Sinatra replied, "I'll send my jet." Siravo's response: "You're out of your mind." Siravo later claimed he never spoke to Sinatra again. He nevertheless remained a premier arranger, charting hits including Doris Day's "It's Magic" and Tony Bennett's "Who Can I Turn To?" He also worked on sessions headlined by Vic Damone, Connie Boswell, and Johnnie Ray. Siravo recorded only a handful of LPs under his own name, most notably Swinging Stereo in Studio A (issued in conjunction with RCA's famed Living Stereo series) and the chamber music-inspired Kapp date Polite Jazz. He died in Medford, OR on February 28, 2000.
Jason Ankeny, AMG

Claude Bolling Sextet - Jazzgang Amadeus Mozart (1965)

Genre: Jazz / Dixieland / Classical | Total Time: 29:05 | Size: 67.86 MB | MP3 320 kbps
01. Eine Kleine Nachtmusik Allegro - 3:24
02. Eine Kleine Nachtmusik Romance - 3:07
03. Eine Kleine Nachtmusik Minuetto - 2:09
04. Eine Kleine Nachtmusik Rondo - 2:43
05. Voi Che Sapete (from 'The Marriage of Figaro') - 3:08
06. Sonate N°11 Rondo Alla Turca - 2:40
07. Sonate N°11 Andante and Variations 1, 2, 3 & 6 - 8:04
08. Overture (from 'The Marriage of Figaro') - 3:54
Label - Philips

Charles Mingus - Tonight At Noon (1964)

Genre: Jazz | Total Time: 38:08 | Size: 144.77 MB | MP3 320 kbps
1. Tonight at Noon
2. Invisible Lady
3. 'Old' Blues For Walt's Torin
4. Peggy's Blue Skylight
5. Passions Of A Woman Loved
Personnel: Charles Mingus, Bass, Piano, Vocals; Shafi Hadi, Alto Saxophone; Doug Watkins, Bass; Dannie Richmond, Drums; Rahsaan Roland Kirk, Saxophones; Wade Legge, Piano; Booker Ervin, Tenor Saxophone; Jimmy Knepper, Trombone.
A valuable reissue for Mingus fans, Tonight at Noon compiles five tunes originally recorded for two of the great bassist's most important album's, 1957's The Clown and 1961's Oh Yeah. Though the two sessions cover somewhat different stylistic ground, they blend together seamlessly and amount to much more than a haphazard assemblage of dusty outtakes. The earlier session is the more restrained of the two, with Mingus and a typically responsive quintet (trombonist Jimmy Knepper, alto saxophonist Shafi Hadi, pianist Wade Legge and drummer Dannie Richmond) expertly weaving a path between the extremes of European impressionism (on the haunting "Passions of a Woman Loved") and hard bop (on the fast-paced title tune). The 1961 date is a more freewheeling journey into the blues and gospel roots of jazz via Duke Ellington, with Mingus switching to piano (an instrument on which he was more than proficient) and handing the bass duties over to Doug Watkins. The hard-swinging group also includes Mingus stalwarts Knepper and Richmond, along with the dynamic saxophone duo of Booker Ervin and Rahsaan Roland Kirk. Though most of the compositions on Tonight at Noon are not well known (with the exception of "Peggy's Blue Skylight" from the 1961 session) and several make their only appearances in the Mingus catalog here, there's certainly nothing second rate about these tunes. Along with the time limitations of the LP era, one gets the impression that, if anything, they were left off the original albums because they were even more provocative than the selected cuts. This is vital, exciting music.

Bud Shank - Girl In Love (1966)

Genre: Jazz | Total Time: 32:43 | Size: 76.55 MB | MP3 320 kbps
01. Lady Jane (M. Jagger/K. Richard)
02. Summer Wind (Mayer/Bradtke/Mercer)
03. The Sun Ain't Gonna Shine (Anymore) (B. Crewe/B. Gaudio)
04. Strangers In The Night (Kaempfert/Singleton/Snyder)
05. When A Man Loves A Woman (Lewis/Wright)
06. Girl In Love (T. King/C. Kelley)
07. Don't Go Breaking My Heart (B. Bacharach/H. David)
08. Everybody Loves Somebody Sometime (Taylor/Lane)
09. Time (M. Merchant)
10. The Shining Sea (J. Mandel/P. Lee)
11. Lara's Theme From Dr. Zhivago (M. Jarre)
12. Solitary Man (N. Diamond)

Personnel: Bud Shank - alto saxophone; Frank Rosolino – trombone; Bob Florence – piano; Dennis Budimir, Herb Ellis, John Pisano – guitar; Bob West – bass; Frank Capp – drums; Victor Feldman - percussion.

Label:World Pacific
Bud Shank began his career pigeonholed as a cool schooler, but those who listened to the altoist progress over the long haul knew that he became one of the hottest, most original players of the immediate post-Parker generation. Lumped in with the limpid-toned West Coast crowd in the '50s, Shank never ceased to evolve; in his later years, he had more in common with Jackie McLean or Phil Woods than with Paul Desmond or Lee Konitz. Shank's keening, blithely melodic, and tonally expressive style was one of the more genuinely distinctive approaches that grew out of the bebop idiom. Shank attended the University of North Carolina from 1944-1946. Early on, he played a variety of woodwinds, including flute, clarinet, and alto and tenor saxes; he began to concentrate on alto and flute in the late '40s. After college, Shank moved to California, where he studied with trumpeter/composer Shorty Rogers and played in the big bands of Charlie Barnet (1947-1948) and Stan Kenton (1950-1951). Shank made a name for himself in the '50s as a central member of the West Coast jazz scene. In addition to those named above, he played and recorded with bassist Howard Rumsey's Lighthouse All-Stars, tenor saxophonist Bob Cooper, and Brazilian guitarist Laurindo Almeida, among others. Shank made a series of albums as a leader for World Pacific in the late '50s and early '60s. Shank ensconced himself in the L.A. studios during the '60s, emerging occasionally to record jazz and bossa nova albums with the likes of Chet Baker and Sergio Mendes. Shank's 1966 album with Baker, Michelle, was something of a popular success, reaching number 56 on the charts. Film scores on which Shank can be heard include The Thomas Crown Affair and The Barefoot Adventure. In the '70s, Shank formed the L.A. Four with Almeida, bassist Ray Brown, and, at various times, drummer Chuck Flores, Shelly Manne, or Jeff Hamilton. Shank had been one of the earliest jazz flutists, but in the mid-'80s he dropped the instrument in order to concentrate on alto full-time. During the last two decades of the 20th century, he recorded small-group albums at a modestly steady pace for the Contemporary, Concord, and Candid labels. Shank's 1997 Milestone album, By Request: Bud Shank Meets the Rhythm Section, presented the altoist in top form, burning down the house with a band of relative youngsters who included neo-bopper pianist Cyrus Chestnut. Three years later, Silver Storm was released. Shank continued performing and recording after the turn of the millennium, undertaking the challenging task of forming the Los Angeles-based Bud Shank Big Band in 2005 and making his recording debut as a big-band leader with Taking the Long Way Home, released the following year by the Jazzed Media label. In 2007 Jazzed Media issued Beyond the Red Door, a duet recording by Shank and pianist Bill Mays. Shank's passion for jazz remained strong to the very last days of his life; he died at his home in Tucson, AZ on April 2, 2009 of a pulmonary embolism shortly after returning from a recording session in San Diego. Shank's doctors had reportedly warned the saxophonist who had moved to Tucson for health reasons that playing the session could be life-threatening. Bud Shank was 82 years old.

Barbara Lea - Lea in Love (1957)

Genre: Jazz | Total Time: 35:54 | Size: 81.52 MB | MP3 320 kbps
1 Will I Find My Love Today ? (Fogarty, Shaw)
2 We Could Make Such Beautiful Music Together (Manners, Sour)
3 You'd Be So Nice to Come Home To (Porter)
4 Am I in Love (Barrett, Ryan)
5 The Very Thought of You (Noble)
6 I've Got My Eyes on You (Burgess, Porter)
7 True Love (Chatman, Porter)
8 Mountain Greenery (Hart, Rodgers)
9 More Than You Know (Eliscu, Rose, Youmans)
10 Ain't Misbehavin' (Brooks, Razaf, Waller)
11 Autumn Leaves (Kosma, Mercer, Prevert)
12 Sleep Peaceful, Mr. Used-To-Be (Arlen, Mercer)

Featuring Dick Cary, Barbara Lea, Johnny Windhurst, Ernie Caceres, Garvin Bushell, Adele Girard, Al Casamenti, Al Hall, Osie Johnson, Jimmy Lyon, Jimmy Raney, Beverly Peer, etc.

Singer Barbara Lea often recalls her idol and friend Lee Wiley on this set of love songs. The backup is uniformly tasteful but changes from song to song with such impressive stylists as trumpeter Johnny Windhurst, baritonist Ernie Caceres, Garvin Bushell (on oboe and bassoon), Dick Cary (the arranger on piano and alto horn), guitarist Jimmy Raney and (on a beautiful version of "True Love") harpist Adele Girard making memorable appearances. Lea's straightforward and heartfelt delivery is heard at its best on such songs as "You'd Be So Nice to Come Home To," "Mountain Greenery," "More than You Know" and "Autumn Leaves" (which is partly taken in French). These interpretations are often touching.


Pharoah Sanders - Tauhid (LP-1968)

Genre: Jazz / Free Jazz | Total Time: 34:59 | Size: 553.38 MB | FLAC

Side A
A1 - Upper Egypt & Lower Egypt .... 16:30

Side B
B1 - Japan .... 3:29
B2 - Aum / Venus / Capricorn Rising .... 14:52

Pharoah Sanders – alto sax, tenor sax, piccolo flute, vocals
Warren "Sonny" Sharrock – guitar
Dave Burrell – piano
Henry Grimes – bass
Roger Blank – drums, percussion
Nat Bettis – percussion

Label: Impulse! – A-9138, ABC Records – AS-9138
Format: Vinyl, LP, Album, Reissue, Stereo / Country: US / Released: 1968
Style: Free Jazz, Free Improvidation
Recorded At Van Gelder Studio, Englewood Cliffs, New Jersey, 11/15/66.
Design – Robert Flynn
Design [Liner] – Joe Lebow
Photography By – Charles Stewart
Engineer – Rudy Van Gelder
Liner Notes – Nat Hentoff
Producer – Bob Thiele
Matrix / Runout (Side A): AS 9138 A LW
Matrix / Runout (Side B): AS 9138 B LW
Matrix / Runout (Side A + B): VAN GELDER (Stamped)
A-9138 on sleeve. AS-9138 on labels and runout. Black and red ABC Impulse! labels 1968.
"A Product Of ABC Records, Inc. New York, N.Y. 10019 Made in USA" on bottom perimeter of label.

A - Upper Egypt and Lower Egypt

The album opens with a collective meditation. Tympani(?), cymbal smashes, Sharrock's new approach to post-Coltrane ballad guitar, twangy and shuddering, Burrell as chordal colourist - a group - sound - and - feel -, not the soloist as free individual striving to be the lone voice...
A brief Henry Grimes bass solo - again concerned with textures and sounds, with the bass's properties as means of producing sound, with timbre and quality, with woozy arco rather than the melodic, horn-like role of La Faro or Gomez with Bill Evans.
Now Sanders' enters for the first time. His delayed entry could be said to either downplay or enhance the individual leader role I hinted at in the first paragraph: by waiting so long, his entry becomes more expected ("this album is under his name - where is he?"), more hoped for, perhaps - but at the same time the delay is a way of saying "you don't - need - to hear me straightaway - these other guys are important too." Playing piccolo, rather than sax, he vocalises through the instrument while playing, as he does on 'To Be', the flute/piccolo duet with Coltrane on 'Expression'. An 'exotic' and still striking sound, it could have become a novelty effect if Sanders had chosen to over-deploy it, but this and 'To Be' are the only recorded instances, I think. Needless to say, it's effect is a little different to Roland Kirk's use of similar techniques...
Drum ritual, low-toned. Almost nine minutes in, and Grimes is about to solo again - no, instead he locks in and begins to build the famous groove that will underpin the rest of the track (I guess we've reached 'Lower Egypt')... In itself, with the emphasis on rhythm (the players' truly functioning as 'rhythm section' here!), this could be seen as part of the 'back to Africa' movement - although (I speak from a position of relative ignorance), with a simplified, totalizing effect that downplays the complexities of actual African tribal music.
And Pharoah's solo, though brief, has such impact. For reasons of context perhaps: it's the first time he's let rip on sax, indeed, the first time we've heard him play sax at all on the album. Once again, the employment of the delaying/ waiting tactic - "that groove's been going on for - three minutes - now - what the hell is going on?" You're about to find out - Pharoah, first, echoing the groove line, three times playing the riff, then some repeated figure, now a note, first clean, now overblown - then, suddenly, WHAAARGH! WHAAARGH! WHAAARGH! I find it hard to restrain a physical reaction to those overblown whorfs of sound when I hear them. They seem so inevitable, so right - so truly the sound of a man as himself, as one with his instrument, as looking at his true centre, his true self. From the liner notes, his quotes resonate: "I don't really see the horn anymore. I'm trying to see myself. And similarly, as to the sounds I get, it's not that I'm trying to scream on my horn, I'm just trying to put all my feelings into the horn. And when you do that, the ntoes go away[...] Why [do] I want clusters [of notes]? So that I [can] get more feeling, more of me, int oevery note I play. You see, everything you do has to mean something, has to be more than just notes. That's behind everything I do - trying to get more ways of getting feeling out."
The subdued vocals that follow, might be a little underwhelming on their own, but are perhaps a necessary coming down, back to earth, back to the groove, to melody, after that solo...

B1 - Japan

At just over three minutes, this is quite clearly an 'interlude' between the two long tracks. Chugging bells and a stately promenade beat, Grimes mixing things up a little by alternating affirmative on-the-beat plucks with melodic counterpoint that goes in a slightly different direction. Sanders then sings the melody a few times, Grimes takes what I suppose one might call a short solo, then it ends.

B2 – a) - Aum

Pharoah had been here before, participating in Coltrane's 'OM' from 1965 (about which, see 'Circling Om', Simon Weill's superb article, available on the All About Jazz website). Things aren't nearly as terrifying here, though this is probably the freest section of the album. Lick-spit-riddling cymbals and hit-hat keep the sound tight, Grimes' immediately perplexing it with fast free walking, Burrell adds boxy ominous chords, then Sanders comes in, sribbling away on alto while Roger Blank switches to the more forceful toms. Off-mike for a moment, we might suppose Pharoah to be in an eye-closed calisthenics of ecstasy; he roils up and down, his tone vocal and gruff (though not as powerful as on tenor). Sawing, see-sawing up and down in motions that lead to a - strain - for volume and air, at the end, of those long notes held before the next darting rally. Highest in the mix behind the sax are the drums - the recording isn't great (they really should release a new mix of the album), but your ear can just about pick up Sonny Sharrock raging behind the Pharoah. Imagine the sonic experience if this had been better recorded! These guys truly had power behind their sound, it was - frightening - ...

B2 – b) - Venus

Sounds like they suddenly turned Sharrock up in the mix because they thought he was going to solo - as it is, Pharoah comes back in almost immediately, on tenor, but we do get to hear a precious few seconds of that guitar squall. Sanders' tone just - radiates - spirituality - later on, perhaps he traded on that a bit too much (by playing even just melodies he could convince), but here the utter sincerity is captivating, the vitality of being and the living of life in sound. Shakers and cymbals, strummed repeated bass notes and finally piano runs that prefigure Lonnie Liston Smith's harp-like arpeggios on 'Hum-Allah'. One might also note that 'Aum/Venus/Capricorn Rising' has the concision 'Hum-Allah' lacks. The three-part structure focusses things, prevents over-reliance on just one groove, one vibe. Sanders' playing of the melody, and variants on it, are the main focus here; either Sharrock's not playing, or he's just really undermiked - I guess guitar in avant-jazz wasn't really too common at the time; maybe producer Bob Theile just didn't know how to deal with it.

B2 – c) - Capricorn Rising

'Capricorn Rising' seems to be a variation on the melody of 'Venus', no less sublime. It's as if Pharoah taps into this stream of melody which is that of the universe - he takes a little fragment, puts it in barlines, turns it into a melody of its own - self-sufficient, but part of a greater whole. And I guess that's the essence of jazz improvisation too - endless variation, and sometimes that reality can include what we'd term noise, fearsome sounds of overblown shrieks - all part of Pharoah's 'Journey to the One'. Earth-bound for transcendence, Pharoah's playing here acknowleges difficulty and struggle; indeed, it - incorporates - them into lyricism, rather than retreating into the slightly drippy peace-and-love sentiment, as with 'The Creator Has a Masterplan'...

So, where does that love 'Tauhid' as a whole? Well, it shows that, for all their reputations, free jazzers wrote damn good tunes... At a relatively brief 34:20, Tauhid has all the elements which characterised Sanders' astral excursions—explicit spiritual references, vocal chants, a rolling bass ostinato, "exotic" percussion, out-there but lyrical tenor saxophone, and extended vamp-based collective jamming—and crucially, was played by an edgier and more challenging band, including guitarist Sonny Sharrock and pianist Dave Burrell, than was assembled for Karma. The later album was made by a distinctly more blissed-out line-up, lacking Sharrock, in which the comfort-zone pianist Lonnie Liston Smith and vocalist Leon Thomas figured large.
Over the next few years, Lonnie Liston Smith, already worryingly jazz-funkish on Karma, played a key role on Sanders' albums, which became increasingly codified and formulaic. In retrospect, the first cut was indeed the deepest, and for many devotees Tauhid remains Sanders' finest (half) hour.

John Coltrane Quintet - Coltrane In Tokyo Vol. 1 (1966 / 2LP-1980)

Genre: Jazz / Free Jazz | Total Time: 1:43:07 | Size: 987.10 MB | FLAC

Side A
A1 - Introduction To My Favorite Things .... 14:40
(Solo By Jimmy Garrison)
A2 - My Favorite Things Part 1 .... 11:36

Side B
B1 - My Favorite Things Part 2 .... 31:20

Side C
C1 - Leo Part 1 .... 17:15

Side D
D1 - Leo Part 2 .... 28:00

John Coltrane – tenor saxophone, alto saxophone, soprano saxophone
Pharoah Sanders – tenor saxophone, alto saxophone, bass clarinet
Alice Coltrane – piano
Jimmy Garrison – bass
Rashied Ali – drums, percussion

Label: MCA Records – MCA VIM-4628–29(M)
MAPS 9764
Format: 2 × Vinyl, LP, Album / Country: Japan / Released: 1980
Style: Free Jazz, Modal, Free Improvisation
Recorded live at Koseinenkin-Hall, Tokyo, on July 22, 1966.
Previously released on Coltrane In Japan (Impulse! ?– IMR-9036C / 3LP-1973)
Album Photography : Tadayuki Naitoh
Album Designed by Hisashi Tominaga
Manufactured By – Victor Musical Industries, Inc.
Matrix / Runout (A-Side Run Out): VIM-4628 - 9764A-1
Matrix / Runout (B-Side Run Out): VIM-4628 - 9764B-2
Matrix / Runout (A-Side Run Out): VIM-4629 - 9764A2-1
Matrix / Runout (B-Side Run Out): VIM-4629 - 9764B2-2

JOHN COLTRANE QUINTET / Coltrane In Tokyo Vol. 1 (1980 Japanese MCA rainbow label 5-track double vinyl LP), recorded live during Coltrane's only tour of Japan at the Koseinenkin Hall, Tokyo on July 22nd 1966 with Pharoah Sanders, Alice Coltrane, Jimmy Garrison and Rashied Ali.

Coltrane In Tokyo is a remarkable set of music, documenting two stints in Tokyo in July of ’66, it shows Coltrane with his newest cronies at some absolutely inspired heights of playing. Their sound is unlike anything that came before it, fed by the fiery push and shove of the more melodic Coltrane and the fractured torment of Pharoah Sanders; Alice Coltrane’s otherworldly piano playing and Rashied Ali’s untraceable flurry of rhythms "powered" by the increasingly dissonant, thumping grooves of Garrison’s masterly interweaving.
Coltrane In Tokyo sees Coltrane climbing towards the height of his gradual evolution, and each document of Coltrane’s journey is seemingly more mind-opening than the last. His explorations into foreign tonal and improvisational ideas with Eric Dolphy on 1962’s Ole Coltrane planted the seed for his mystical brand of intense soul-searching, only to be expanded upon time and time again until it seemed as if the man were ready to explode with ambition for want a higher state of understanding. Coltrane’s thirst for new sounds is fundamentally intertwined with his desire to see the universe from a new, higher perspective, and this is why his music exudes its spiritual, even cosmic aura.

Arriving in July 1966, Coltrane is only one year away from his untimely death, but his fervor for life is at an all-time high. His stream-of-consciousness investigations are more adventurous than ever, and this record encapsulates brilliantly the heart of what makes jazz music so compelling. The opening cut of this set is a wild retelling of an old favorite that everyone knows: “My Favorite Things.” But not everyone knows this version. The main theme is merely alluded to, putting all the focus on the improvisation; and to see the constant re-invention of such a well-known standard from its humble beginnings on Coltrane’s 1961 release to the hour-long epic majesty as presented to Japan on this night is absolutely extraordinary. It’s a testament to the immortality of jazz as an artform and its room for constant reinvention, solely through the unique sensibilities of the musicians telling their own stories.

There’s almost a sense of competition going on here, with Coltrane bumping up the ferocity to match the atonal shrieks of his sideman. The take on “Leo” here, a cut that originally appeared as a sax-drum duet on Interstellar Space illustrates the dynamic fury of the ensemble like nothing else. The addition of the extra horn and Alice Coltrane’s piano adds new dimension to the tune in unexpected ways, coloring it with new shades of ethereal chaos. The highlight may still be when all else goes silent, though, and Rashied Ali’s drum solo takes over. He tears open conventional hard bop style and shows me the song’s rhythm through a kaleidoscope, fracturing my sense of time and momentum. There’s unbelievable power behind his playing, his kick drum pounds like the stomp of a warhorse; his fills tumbling, dynamic, atmospheric. Alice C.’s piano solo immediately thereafter spirals through realms of the unreal and climaxes into a full-on imaginative flight from Coltrane and later Pharoah.

Coltrane liked to open his tunes with extended bass solos, which is evident in both of the near-hour long tracks, “My Favorite Things” and “Crescent”. This technique is something I’ve fallen in love with, as Jimmy Garrison’s bass throughout the album adds gravity to the music, nimbly intermingling with Ali’s schizophrenia, somehow navigating the polyrhythms and outlining the groove. But, stripped of all the other elements, Garrison’s bass delineates the atmosphere of the tune with ad-libbed solos that draw the listener into the world of the song before the rest of the band takes flight, beating around connotations and whispers of a hardbop swing, scaling through hints of motifs and building cleverly with tense chords and transient grooves. When the rest of the band comes tumbling in nearly 15 minutes into “My Favorite Things,” the stage has been set, the lights dimmed, the incense burned...

John Coltrane Quintet - Coltrane In Tokyo Vol. 2 (1966 / 2LP-1980)

Genre: Jazz / Free Jazz | Total Time: 1:34:15 | Size: 888.13 MB | FLAC
Side A
A1 - Afro Blue Part 1 .... 21:50

Side B
B1 - Afro Blue Part 2 .... 17:30

Side C
C1 - Introduction To Crescent .... 13:10
(Solo By Jimmy Garrison)
C2 - Crescent Part 1 .... 12:20

Side D
D1 - Crescent Part 2 .... 27:55
D2 - Short Closing Theme : Leo .... 1:25

John Coltrane – tenor saxophone, soprano saxophone
Pharoah Sanders – tenor saxophone
Alice Coltrane – piano
Jimmy Garrison – bass
Rashied Ali – drums, percussion

Label: MCA Records – MCA VIM-4630–31
MAPS 9765
Format: 2 × Vinyl, LP, Album / Country: Japan / Released: 1980
Style: Free Jazz, Avant-garde Jazz, Free Improvisation
Recorded Live at Sankei-Hall, Tokyo, on July 11, 1966.
Previously released on Second Night In Tokyo (ABC Impulse! ?– YB-8508–10-AI / 3LP-1977)
Album Photography : Tadayuki Naitoh
Album Designed by Hisashi Tominaga
Manufactured By – Victor Musical Industries, Inc.
Matrix / Runout (A-Side Run Out): VIM-4630 - 9765A-1
Matrix / Runout (B-Side Run Out): VIM-4630 - 9765B-2
Matrix / Runout (A-Side Run Out): VIM-4631 - 9765A2-1
Matrix / Runout (B-Side Run Out): VIM-4631 - 9765B2-2

JOHN COLTRANE Coltrane In Tokyo Vol. 2 (1980 Japanese MCA rainbow label 6-track double vinyl LP), recorded live during Coltrane's only tour of Japan at the Sankei-Hall in Tokyo on the 11th of July 1966.

The songs on this album are noted for their very lengthy running time, all during which each player takes long, free solos, and sometimes the melody is not even played but only briefly alluded to.
By this point in his career, Coltrane was firmly enmeshed into the avant-garde style of jazz. Sanders, who was an innovator of free jazz, influenced Coltrane's playing through his technical use of overblowing and fierce vibrations of the reed, and this record is remarkable for its use of multiphonics, overtones, and other extended musical techniques from both players.

The surreal marathon of 40-minute opener “Afro-Blue” on this album is by far the longest Coltrane ever recorded. It opens with the well-known head before Coltrane takes a modest soprano sax solo, getting free but restrained, then passing over the reigns to a fervent Pharoah, whose solo takes it to the edge. He wastes no time getting atonal before transforming into a grand, beautiful cascade of multiphonic despair and ecstatic overtones, shrieking for the entire duration of his 12+ minute solo. Alice C.’s piano solo dances freely with ghostly grace and tempered insanity, only to lead into an unbelievable 18-minue solo from Coltrane, whose warped melodicism creates a psychokinetic energy to match the intensity of Pharoahs’s all-out visceral whirlwind. Coltrane’s interaction with Ali is remarkable, the two always feeding off one another and, no matter how free and unrestrained, staying remarkably tight through the windstorm of free-flowing tempo fluctuations, as if their minds were merged in meditation.
After a 12-minute bass intro, Coltrane's song "Crescent" is kicked off, with both saxophones taking ferocious solos during the almost hour-long version. The performance concludes with a short statement of the theme from "Leo", behind the MC's introduction of the band.
Coltrane’s dive into the avant garde is clearly manifested here, as his group goes to the edge to find the zone and suspend themselves there. The level of intensity, longing, and joy that pervades the collective imagination of this recording gives it a towering stature in the jazz world. It is an album with a presence that cannot be ignored by any music fan...


Pat Riccio Quartet - The Basic Sounds Of The Pat Riccio Quartet (1959)

Genre: Jazz | Total Time: 38:34 | Size: 88.41 MB | MP3 320 kbps

Side 1
1. Baubles, Bangles And Beads
2. Buccaneer Blues
3. Old Spices
4. Sandra's Waltz
5. Pirate's Cove
6. Gold Vein

Side 2
1. Near Blues
2. Pieces Of Eight
3. The Song Is You
4. 'Round About Midnight
5. Blackbeard's Retreat
6. When The Saints Go Marching In

Pat Riccio(as,brs,fl); Herbie Helbig(p); Harold Holmes(b); Billy McCant(dr)
Pat (Patrick Joseph) Riccio. Alto and baritone saxophonist, flutist, arranger, composer, b Port Arthur (Thunder Bay), Ont, 3 Dec 1918, d Toronto 23 Aug 1982. Pat Riccio was raised in Toronto and began his career in 1939. Joining the RCAF in 1941, he served as music director of the RCAF Streamliners, a 15-piece dance band that performed in England for the BBC and, alternating with Glenn Miller's (US) Army Air Force Band, at the Queensbury Club in London. They are said to have been the equal of the dance bands of the US (Glenn Miller) and British (Squadronaires) services.
Returning to Toronto after World War II, Riccio played in, or wrote arrangements for, the local dance bands of Bert Niosi, Mart Kenney, Art Hallman, and others. A pupil of John Weinzweig and Gordon Delamont, Riccio arranged music throughout his career for pop singers (Wally Koster, Patti Lewis, Norma Locke, Billy O'Connor, and others) and for CBC programs. He also wrote songs, jazz themes, and a musical, Pauline.
As a saxophonist, Riccio won polls conducted by CBC radio's 'Jazz Unlimited' in 1947 ('best alto') and 1949 ('best baritone'). He later led big bands and small jazz groups in nightclubs, ballrooms, and concert halls in the Toronto area, and performed with CBC concert parties in Europe and the Middle East. His big band was recorded in 1961 (Arc AS-3001) at the Jubilee Pavilion in Oshawa, its home for several years. His small groups made LPs for Arc, Quality, and CTL; the personnel for the CTL recording (CTLS-071, made in 1965) included the distinguished US jazz musicians Teddy Wilson (piano) and Ed Thigpen (drums), as well as the Toronto bassist Doug Willson.
Riccio's son Pat Riccio Jr played piano in his teens with Bobby Kris and the Imperials, worked during the 1960s in CBC Halifax pop music shows, and was music director 1975-87 for Anne Murray. 

Pat Riccio Quartet - The Basic Sounds Of The Pat Riccio Quartet (1959) 

Sonny Stitt - Blows The Blues (1961)

Genre: Jazz | Total Time: 36:41 | Size: 83.89 MB | MP3 320 kbps
1. Blue Devil Blues
2. Home Free Blues
3. Blue Prelude
4. Frankie And Johnny
5. Birth Of The Blues
6. Blues Offering
7. Hymnal Blues
8. Morning After Blues

Alto Saxophone – Sonny Stitt; Bass – Leroy Vinnegar; Drums – Mel Lewis; Piano – Lou Levy.

Label: Verve Records
Sonny Stitt led a number of excellent record dates in 1959, especially at the end of the year when he produced three LPs for Verve over a span of three sessions with pianist Lou Levy, bassist Leroy Vinnegar, and drummer Mel Lewis. Playing alto sax throughout this album, Stitt hardly sounds like a Charlie Parker clone, something that unfortunately was a frequent claim by tin-eared critics throughout a fair portion of his career. The music includes several potent originals, especially "Hymnal Blues" (which is based on an old hymn) and the slow, powerful "Morning After Blues." Even an old warhorse like "Frankie and Johnnie" (which actually dates back to the early 1800s, according to liner note writer Leonard Feather) sounds fresh in the quartet's hands, with great solos by Stitt, Levy, and Vinnegar.

Frank Wess - Wess Point (1954)

Genre: Jazz | Total Time: 1:03:39 | Size: 145.94 MB | MP3 320 kbps

01. West Point (Frank Wess) (2:14)
02. Some Other Spring (Arthur Herzog, Jr., Teddy Wilson) (4:29)
03. Mishawaka (Olsen) (4:48)
04. Flute Song (Frank Wess, Feather) (3:38)
05. Basie Ain't Here (Frank Wess) (1:59)
06. Basie Ain't Here (alt. take) (Frank Wess) (3:20)
07. You're My Thrill (Gorney, Clare) (2:39)
08. Frankosis (Johnson) (6:00)
09. Pretty Eyes (Bill Reddie, Lunceford, Welsh) (3:15)
10. Wess of the Moon (Johnson) (5:37)
11. I'll Be Around (Alec Wilder) (3:10)
12. Danny's Delight (Frank Wess) (3:18)
13. Romance (Donaldson, Leslie) (3:18)
14. All My Life (Mitchell, Stept) (3:23)
15. Frankly the Blues (Frank Wess) (2:51)
16. Bitty Ditty (Jones) (4:54)*
17. Elusive (Jones) (5:14)*
* - bonus track

Frank Wess Quintet (#1-4): Frank Wess - tenor saxophone, flute; Henry Coker - trombone; Jimmy Jones - piano; Oscar Pettiford - bass; Osie Johnson - drums.
New York, May 8, 1954
(#5-8): Frank Wess - tenor saxophone, flute; Benny Powell - trombone; Jimmy Jones - piano; Oscar Pettiford - bass; Osie Johnson - drums.
Frank Wess Sextet (#9-11): Frank Wess - tenor saxophone, flute; Joe Wilder - trumpet; Henry Coker - trombone; Jimmy Jones - piano; Oscar Pettiford - bass; Osie Johnson - drums.
New York, August 12, 1954
(#12-15): Frank Wess - tenor saxophone, flute; Joe Wilder - trumpet; Urbie Green - trombone; Jimmy Jones - piano; Oscar Pettiford - bass; Osie Johnson - drums.
Thad Jones Quintet (#16-17): Frank Wess - tenor saxophone; Thad Jones - trumpet; Hank Jones - piano; Charles Mingus - bass; Kenny Clarke - drums.
New York, August 11, 1954

Label: Fresh Sound Records – FSR-CD 469 (Spain 2007)

Frank Peters - Vibes In Liberty (1978)

Genre: Jazz | Total Time: 34:53 | Size: 85.28 MB | MP3 320 kbps
Side A
A1 Novotel
A2 Jenny
A3 Nedbeu
A4 Mat
A5 After
A6 Guépard
Side B
B1 Roue Sans Fin
B2 Audrey
B3 Femmes
B4 Shirley
B5 Kitty
B6 Hiram

Donald Byrd - Fuego (1959)

Genre: Jazz / Hard Bop | Total Time: 41:08 | Size: 95.88 MB | MP3 320 kbps
01. Fuego (Donald Byrd) (6:41)
02. Bup a Loup (Donald Byrd) (4:06)
03. Funky Mama (Donald Byrd) (11:01)
04. Low Life (Donald Byrd) (6:04)
05. Lament (Donald Byrd) (8:30)
06. Amen (Donald Byrd) (4:48)

Donald Byrd - Trumpet;
Duke Pearson - Piano;
Jackie McLean - Alto Saxophone;
Doug Watkins - Bass;
Lex Humphries - Drums.

Rudy Van Gelder Studio, Englewood Cliffs, NJ, October 4, 1959.

Label: Blue Note – TOCJ-4026 (Japan 1993)

Carlos Patato Valdes y Eugene Totico Arango - Patato & Totico (1968)

Genre: Latin / Afro-Cuban | Total Time: 35:55 | Size: 98.12 MB | MP3 320 kbps
01. Mas Que Nada
02. Ya Yo E
03. Ingrato Corazon
04. Que Linda Va
05. Nuestro Barrio
06. Aqua La Caer
07. En El Callejon
08. Caridad Malda
09. Rezo Abacua
10. Dilo Como Yo

Carlos "Patato" Valdes - congas, percussion;
Eugenio "Totico" Arango - lead vocal;
Arsenio Rodriguez - tres;
Israel "Cachao" Lopez - bass;
Papaito, Francisco "Panchin" Valdez - sticks;
Hector & Mario Cadavieco, Juan "Curba" Dreke, Tony Mayari, Virgilio Marti - vocals


Wendell Eugene's New Orleans Band - West Indies Blues (1978)

Genre: Jazz / Dixieland | Total Time: 44:25 | Size: 100.91 MB | MP3 320 kbps
1. West Indies Blues
2. Everybody Loves Somebody Sometime
3. Muskrat Ramble
4. Blues
5. Lil' Lisa Jane
6. Pagan Love Song
7. Should I Reveal
8. Bourbon Street Parade
9. Boogie
10. I Can't Give You Anything But Love
11. China Boy
12. Exactly Like You
13. Fidgety Feet

Recorded in New Orleans September 1st 1978

Wendell Eugene, trombone
Albert Walters, trumpet
Raymond Burke, clarinet
Jeanette Kimball, piano
Emanuel Salyes, banjo
Les Muscutt, banjo
Chester Zardis, bass
Chester Jones, drums

Wendell Eugene is an American jazz musician from New Orleans, Louisiana. He is a popular trombonist on the New Orleans jazz scene and has recorded with artists such as Lionel Ferbos, Harold Dejan, and Kermit Ruffins. He is the oldest active jazz musician in New Orleans.

Wendell Eugene's New Orleans Band was oft heard at Preservation Hall in New Orleans in the 1970s. Their style was fresh and exciting and it was decided to record the band for posterity in 1978. This CD is the result of the session at Ultrasonic Studios on Washington Avenue. Enjoy!

Sadik Hakim - Piano Conception (1977)

Genre: Jazz | Total Time: 43:26 | Size: 98.19 MB | MP3 320 kbps
01. Waltz With Me
02. Why So?
03. A Pearl For Errol
04. Prayer For Liliane
05. Monk's Mood
06. Thinking Of You

Bass – Errol Walters
Drums – Taro Okamoto
Piano – Sadik Hakim

Recorded June 21, 1977.

Pete Jolly - Live in LA The Red Chimney & Sherry's Bar Recordings (1961-65)

Genre: Jazz | Total Time: 1:01:30 | Size: 138.07 MB | MP3 320 kbps
01. Oleo
02. Time After Time
03. Red Door
04. Blues In the Night
05. I'm Beginning to See the Light
06. Some Day My Prince Will Come
07. Yeah
08. Whistle While You Work
09. Bluesette

Track 1-2 recorded in 1961 at Sherry's Bar, Los Angeles, CA
track 3 recorded May 29, 1962 at Sherry's Bar, Los Angeles, CA
track 4-6 recorded October 11, 1960 at Sherry's Bar, Los Angeles, CA
track 7-9 recorded February 27, 1965 at The Red Chimney, Los Angeles, CA

Paul Smith Quartet - Plays The Music Man & Other Motion Picture Favorites (1962)

Genre: Jazz | Total Time: 34:20 | Size: 77.21 MB | MP3 320 kbps
01. Seventy- Six Trombones (2:18)
02. Being In Love (2:24)
03. Till There Was You (2:32)
04. Marian The Librarian (3:17)
05. Goodnight, My Someone (2:20)
06. Lida Rose (2:13)
07. Moon River (2:39)
08. Walk On The Wild Side (3:35)
09. Never On Sunday (3:35)
10. Maria (2:15)
11. Lisa (3:05)
12. Love Theme From Loita (2:20)

MGM E-4065 (M)