Freddy Robinson - 1970 - Hot Fun In The Summertime

Freddy Robinson - Hot Fun In The Summertime
Liberty LST-11007
Pacific Jazz PJ 20176
Recorded 1970 in Los Angeles;
 

Freddy Robinson: guitar
unknown: piano
Henry Franklin: acoustic bass
Wilton Felder: electric bass
Paul Humphrey: drums
Al Vescovo: guitar
Bobby Bryant & Freddy Hill: trumpets
Tom Scott: alto sax
Bill Green: sax, poss.
Clydie King, Darlene Love & Edna Wright: vocals
Sid Garp's string section.

01 - Caprice's Green Grass

02 - Moon Glow

03 - I Want To Hold Your Hand

04 - I'm In Love

05 - Hot Fun in the Summertime

06 - Someday We'll Be Together

07 - Becky's Rainbow

08 - The Creeper

Scott Hamilton - 2000 - Ballad Essentials

Scott Hamilton - Ballad Essentials
Original Release Date: February 22, 2000

Label: Concord Records

 01 - Skylark

02 - Everything Happens to Me

03 - My Foolish Heart

04 - That's All

05 - In a Sentimental Mood

06 - I Should Care

07 - Body and Soul

08 - 'Round Midnight

09 - My Romance

10 - Stardust

11 - I'll Be Around

12 - Tonight I Shall Sleep (With a Smile on My Face)

George Shearing - 1974 - The Way We Are

George Shearing - The Way We Are
MPS 1974

The Quintet:
George Shearing - Piano
Andy Simpkins - Bass
Rusty Jones - Drums
Sigi Schwab - Guitar
Heribert Thusek - Vibes

The Amigos;
Chino Valdes - Congas & Bongos
Carmelo Garcia - Timbales

Found in Leicester market along with some other great Jazz lp's that included Thad Jones, Charlie Parker and the Dizzy Gillespie landmark bebop LP 'Champ'. The cover looked vaguely familiar and one of the tracks sounded really familiar by name- "The World Is A Ghetto"!!!! Seeing that it had a cover of "Aquarius" on there and being on MPS it was purchased for the sizeable fee of 50 pence. Connoseirs of the breaks should be aware of this Lp for the 2 aformentioned tracks, Aquarius kicks of with what must be one of the heaviest and most begging to be sampled drum intro on any MPS recording whilst "The World Is A Ghetto" should be very familiar to most.

01 - The Way We Are
02 - Do You Know The Way To San Jose
03 - Killing Me Softly
04 - The World Is a Ghetto
05 - Superstar
06 - Eleanor Rigby
07 - Brian's Song
08 - Aquarius
09 - You Are The Sunshine Of My Life
10 - Alone Again, (Naturally)

Chuck Brooks - Baby Please Don't Set Me Free

Fania All Stars - Our Latin Thing 2 (2006)

Our Latin Thing 2 is part of Fania’s re-issue campaign, Fania being the record label that is to salsa “what Def Jam is to hip hop,” at least according to Louie Vega. It was founded in 1960s New York by Jerry Masucci and Johnny Pacheco Fania and went on to become the home of Celia Cruz, Tuti Puente and Ray Barretto.

The re-issues consist of never heard before material, re-mastered classics, some limited release DJ mixes by the likes of DJ Format, Bugz in the Attic and Ashley Beedles, and a series of samplers such as this.

Our Latin Thing 2 is an intro to the early work of Fania and 1970s New York - a time when soul, jazz and funk were finding a footing in the Latin scene. Tracks such as Ralph Robles’ ‘Come and Get It’ and Monguito Santamaria’s ‘Ne Ne’ simply ooze cool, though in very different ways; the former with its bouncy piano riffs and sexy horns topped with Robles’ smoky vocals, the latter with its bongo rhythms and fast flowing lyrics.
 

01 - Willie Rosario - Last Tango In Paris

02 - Willie Colon - The Hustler

03 - Ralph Robles - Come and Get It

04 - Eddie Palmieri & Cal Tjader - Bamboleate

05 - Johnny Pacheco - Dakar, Punto Final

06 - Monguito Santamaria - Ne Ne

07 - Hector Lavoe - El Todopoderoso

08 - Celia Cruz and Johnny Pacheco - No Mercedes

09 - Ruben Blades and Willie Colon - Pedro Navaja

10 - Joe Bataan - Shaft

Listen

Paul Humphrey - 1969 - Paul Humphrey and The Cool-Aid Chemists

Paul Humphrey and The Cool-Aid Chemists

Lizard/P-Vine (Japan)

1969

Funky drums from the mighty Paul Humphrey, one of the standout studio players of the LA scene of the 60s and 70s, and an even better talent as a leader on this set! Paul's working here in a style that's partly in a funk mode, and partly soul instrumental, supported by small combo instrumentation from other figures on the LA scene, including David T Walker on guitar, Clarence McDonald on keyboards, and Phil Upchurch on bass. The sound is lean and mean, often with a hard-stepping feel that makes many of the cuts sound like some of the more stripped-down blacksploitation numbers from the time! 

01 - Cool Aid

02 - Them Changes

03 - Sack Full Of Dreams

04 - Music Talk

05 - Something

06 - Baby Rice

07 - Detroit

08 - Ain't That Peculiar

09 - Dreams

10 - Funky L.A.

Deep Funk (compilated by me)

This is something i made for those of you who love new heavy raw deep funk.. I got so many albums in my stash and this came out quickly, but i hope to enjoy it every one of you. And another thing , if don't mind, i expect a little comment bout that...

Link

Billy Harper - 1975 - Black Saint

Billy Harper - Title Black Saint

Date of Release: Jul 21, 1975 - Jul 22, 1975

Billy Harper - Sax (Tenor), Cowbell

Malcom Pinson - Drums

Virgil Jones - Trumpet

David Friesen - Bass

Joe Bonner - Piano

Tenor saxophonist Billy Harper helped launch the Italy-based Black Saint jazz label with this 1975 release. And not only does this represent the inaugural outing for the label, it also signifies one of the finest modern jazz releases of the '70s. Influenced by tenor sax giant John Coltrane, Harper proceeded to mold a distinctly personalized sound awash with slight inferences of R&B and hard bop. Additionally, the saxophonist's melodic gifts come to the forefront throughout this often-invigorating studio date. On the opening piece, titled "Dance Eternal Spirits, Dance," the tenor saxophonist fuses an engagingly melodic theme with lightning-fast flurries atop a peppery jazz waltz groove. Harper radiantly executes soul-searching lines atop a loosely based jazz waltz/swing vamp during "Croquet Ballet," as he alternates lower-register voicings with high-pitched, plaintive cries. Here the artist shrewdly reworks the primary melody as he literally interrogates his tenor saxophone. Highlights abound, while trumpeter Virgil Jones and pianist Joe Bonner provide Harper with buoyant frameworks via hearty soloing and intuitive support. Vigorously recommended.

Harper's solos are worth the price of the record alone searing with a raw, post-Coltrane energy as he darts in and out of the voices in the backings.

1. Dance, Eternal Spirits, Dance! (Harper) - 06:52

2. Croquet Ballet (Harper) - 13:02

3. Call of the Wild and Peaceful Heart (Harper) - 21:22

Dexter Gordon - 1961-1978 - Ballads

Dexter Gordon - Ballads
1962-1965. A good collection of cuts from various Gordon Blue Note sessions. Though you can't knock the quality of the material, this remains a troublesome practice.

Along with Gene Ammons and Stanley Turrentine, Dexter Gordon was one of the top ballad players of the '60s. Having already made his name in the bebop era and as an expatriate in Europe, Gordon returned to the States to record a series of fine Blue Note discs during the first half of the decade. This edition of the label's Ballads series features Gordon at his peak and in the company of some of hard bop's best players. Whether melding nicely with trumpeter Donald Byrd from a Paris date in 1964 ("Darn That Dream") or locking in with the stellar rhythm section of Sonny Clark, Butch Warren, and Billy Higgins ("Don't Explain"), Gordon delivers his almost sleepy and smoke-filled solos with regal grace. The same can also be said of the rest of this incredible program, including a latter-day live cut from 1978. A perfect set for those in need of a provocative after-hours session in front of the stereo.

Dexter Gordon - Sax (Tenor)

George Cables - Piano

Sonny Clark - Piano

Kenny Drew - Piano

Barry Harris - Piano

Billy Higgins - Drums

Philly Joe Jones - Drums

Pierre Michelot - Bass

Horace Parlan - Piano

Bud Powell - Piano

Rufus Reid - Bass

Art Taylor - Drums

George Tucker - Bass

Butch Warren - Bass

Al Harewood - Drums

Bob Cranshaw - Bass

Todd Barkan - Producer

Donald Byrd - Trumpet

Paul Chambers - Bass

Kenny Clarke - Drums

1. Darn That Dream (DeLange/VanHeusen) - 7:32

2. Don't Explain (Herzog/Holiday) - 6:06

3. I'm a Fool to Want You (Herron/Sinatra/Wolf) - 6:45

4. Ernie's Tune (Gordon) - 4:16

5. You've Changed (Carey/Fischer) - 7:27

6. Willow Weep for Me (Ronell) - 8:48

7. Guess I'll Hang My Tears Out to Dry (Cahn/Kahn/Styne) - 5:22

8. Body and Soul (Eyton/Eyton/Green/Green/Heyman/Heyman/Sour) - 17:00

Mongo Santamaria - 1968 - Soul Bag

Conguero Mongo Santamaria released this LP in 1968 on Columbia Records, it was produced by David Rubinson, personnel is Mongo Santamaria on congas, Bernard "Pretty" Purdie on drums, Rodgers Grant on piano & organ, Victor Venegas on bass, Hubert Laws on sax & flute, Mauricio Smith on sax & flute, Sonny Fortune on sax, Louis Gasca on trumpet, "Chihuaha" and Ray Maldonado on percussion and Stephen Berrios on timbales & drums. Arrangements by Marty Sheller.

01 - Cold Sweat

02 - Green Onions

04 - Cloud Nine

05 - Chili Beans

06 - Sitting On The Dock Of The Bay

07 - Sing a Simple Song

08 - We Got Latin Soul

John Coltrane - 1965 - Sun Ship

Sun Ship - John Coltrane

Impulse, 1965

An excellent set of tracks that was recorded by Coltrane in 1965, but not released until after his death, when Impulse were going through the vaults, and pulling out some amazing work that ranked with his best official releases of the time.

Other than First Meditations, which was not released at the time, Sun Ship was the final studio album by John Coltrane's classic quartet before Pharoah Sanders joined the band on second tenor. At this point in time, Coltrane was using very short repetitive themes as jumping-off points for explosive improvisations, often centered around one chord and a very specific spiritual mood. Tyner sounds a bit conservative in comparison, but Jones keeps up with Trane's fire (especially on "Amen"). Even in the most intense sections (and much of this music is atonal), there is a logic and thoughtfulness about Coltrane's playing.

Personnel:

John Coltrane - Tenor Saxophone

McCoy Tyner - Piano

Jimmy Garrison - Bass

Elvin Jones - Drums

1. Sun Ship 6:13

2. Dearly Beloved 6:27

3. Amen 8:16

4. Attaining 11:27

5. Ascent 10:05

Charles Sullivan - 1976 - Re-entry

One of the few sessions ever cut as a leader by soul jazz trumpeter Charles Sullivan, a brilliant talent who shone brightly in the mid 70s, working in hip small groups that were very much in the Strata East mode. This rare, previously Japanese-only release has Sullivan working with Rene McLean, Kenny Barron, Buster Williams, and Billy Hart on a tightly crafted set of tunes that share the same lyrical searching quality as some of McLean or Barron's own work from the time. The compositions are incredibly soulful, very much in the mode of some of Billy Harper's genius Japanese recordings.

01 - Re-entry

02 - Body & Soul

03 - Carefree

04 - Waltz For Cricket

05 - Mabe's Way

06 - Body & Soul

07 - Carefree

Herbie Hancock - 1973 - Live In Ultrasonic Studios, Hempstead, New York

HERBIE HANCOCK AND THE HEADHUNTERS

Live at Ultrasonic Recording Studios, Hempstead, NY , October 1st, 1973

PERSONNEL

Herbie Hancock: keyboards

Bennie Maupin: reeds

Paul Jackson: bass

Mike Clark: drums

TRACKS

01. Actual Proof (9.37)

02. Butterfly (12.47)

03. Sly (17.48)

04. Chameleon (15.41)

Herbie Hancock - 1978 - Live At Nakano Sun Plaza. Tokyo

Herbie Hancock - Live At Nakano Sun Plaza.Tokyo

September 29, 1978

4 Brothers Beats

Herbie Hancock - Electric Piano, Keyboards

Bennie Maupin - Soprano & Tenor Saxophones

Webster Lewis - Keyboards

Paul Jackson - Bass

Bill Summers - Percussion

Alphonse Mouzon - Drums

1. Butterfly

2. Sunlight

3. I Thought It Was You

4. Chameleon

5. Shifless Shuffle

George Coleman - 1979 - Playing Changes (Live at Ronnie Scott's Club)

George Coleman
Playing Changes (Live at Ronnie Scott's Club)

1979

George Coleman - Tenor Saxophone

Hilton Ruiz - Piano

Ray Drummond - Bass

Billy Higgins - Drums

01 - Laura

02 - Sierra

03 - Moment's Notice

George Coleman - 1987 - At Yoshi's

George Coleman - At Yoshi's

08/01/1987

Evidence

George Coleman - Sax (Tenor), Producer, Main Performer
Harold Mabern - Piano
Ray Drummond - Bass
Alvin Queen - Drums

When any recording made by George Coleman is issued, it's an instant event. Though Coleman has always been busy performing, writing, and especially teaching, scant few LPs or CDs have come listeners' way. It is especially thrilling to hear him live in concert performance at the initial site of the then newly minted Yoshi's in Oakland, CA, as his extended techniques and heightened sense of tonal ideas come fully to the fore. Coleman and pianist Harold Mabern, both originally from the fertile jazz scene in Memphis, make the perfect tandem, ably supported by super pros in expatriate drummer Alvin Queen and veteran New York bassist Ray Drummond, both of whom Coleman played with when he was in Europe.There are many solemn, laid-back, and reflective moments from Coleman, as both of the opening tracks, "They Say It's Wonderful" and "Good Morning Heartache," warm slowly and simmer at their easily swinging maximum, with the tenor man progressively squeezing out more and more notes in refined fashion.Never far from the soul of his homeland, "Laig Gobblin' Blues" is a refreshing modal original by the leader, a 5/4 beat in a 12-bar idea, with 7/4 tossed in cleverly. The dignity and class of Coleman cannot be overemphasized, as he further displays on his neat and clean composition "Father." A lovely and loping "Soul Eyes" is a perfect closer over its nearly 17 minutes, giving pause to the thought that it was in fact Coleman who influenced John Coltrane. The quick, constantly forward-moving Freddie Hubbard standard waltz "Up Jumped Spring" further shows a relationship between the tenor titans, with the band quoting Trane's "Ole." The talent of Mabern is formidable, tasteful, and exciting, as showcased during his rumbling chords during "Io," a killer modal track written by Paul Arslanian, as Coleman inserts a memorable singsong line and Queen injects some calypso. This one is as definitive a track as Coleman has in his repertoire. Frankly, the whole CD from top to bottom has Coleman and his band inspired to the hilt and playing their best, and At Yoshi's is a highly recommended effort that deserves a space on each and every jazz lover's shelf.

01 - They Say It's Wonderful

02 - Good Morning Heartache

03 - Laig Gobblin' Blues

04 - Io

05 - Up Jumped Spring

06 - Father

07 - Soul Eyes

Bobby Hutcherson - 1970 - San Francisco Featuring Harold Land

Bobby Hutcherson - San Francisco 

Blue Note

Bobby Hutcherson - Vibraphone

Harold Land - Tenor Sax, Flute, Oboe

Joe Sample - Acoustic & Electric Pianos

John Williams - Acoustic & Electric Basses

Mickey Roker - Drums

Produced by Duke Pearson at UA Studios LA

Recording Date: July 15 1970

Bobby Hutcherson's late-'60s partnership with tenor saxophonist Harold Land had always produced soulful results, but not until San Francisco did that translate into a literal flirtation with funk and rock. After watching several advanced post-bop sessions gather dust in the vaults, Hutcherson decided to experiment with his sound a bit, but San Francisco still doesn't wind up the commercial jazz-funk extravaganza that purists might fear. Instead, Hutcherson and Land stake out a warm and engaging middle ground between muscular funk and Coltrane-style modality; in other words, they have their cake and eat it too. Joined by pianist/keyboardist Joe Sample (also of the Jazz Crusaders), acoustic/electric bassist John Williams, and drummer Mickey Roker, Hutcherson and Land cook up a series of spacious, breezy grooves that sound unlike any other record in the vibist's discography (even his more commercial fusion sessions). The selections -- all group-member originals -- often skirt the edges of fusion, but rarely play it as expected; they might float some spare tradeoffs over a loping, heavy bass groove, throw in an oboe solo by Land, or -- as on the slowest piece -- keep time only with intermittently spaced piano chords. It's all done with enough imagination and harmonic sophistication to achieve the rare feat of holding appeal for traditional jazz and rare-groove fans alike. It's a shame Hutcherson didn't explore this direction more, because San Francisco is not only one of his best albums, but also one of his most appealing and accessible.

01. Goin' Down South

02. Prints Tie

03. Jazz

04. Ummh

05. Procession

06. A Night In Barcelona

Harold Land - 1972 - Damisi

Harol Land - Damisi

Mainstream Records, MRL 367

1972

Harold Land : tenor saxophone, oboe

Ndugu (Leon Chancler) : drums

Buster Williams : Fender bass, acoustic bass

Bill Henderson : electric piano, acoustic piano

Oscar Brashear : trumpet, flugelhorn

Bobby Hutcherson : vibraphone (tracks 6 & 7 only)

"Step Right Up From The Bottom" is a straight ahead acoustic cooker by Land with some intriguing changes allowing the soloists to stretch out.

"In The Back etc"has a funky feeling-electric keyboards and bass, Brashaer on flugelhorn and the two horns interweaving in a complex, collectivly improvisational finish.

Land plays Oboe on "Pakistan" and it's exotic tone is well suited to its dark mood. Brashaers muted trumpet and Hendersons Tyneresque piano contribute to the adventurous piece. Back on tenor Land plays Ndugu's" Chocolate Mess" on which brief ensemble statements alternate with a sustained minor vamp.

"Damisi" is an attractive melodic creation, featuring Land at his most intense on two burning solos seperated by trumpet and piano passages.

1. Step Right Up To The Bottom

2. In The Back, In The Corner, In The Dark

3. Pakistan

4. Chocolate Mess

5. Damisi

6. Dark Mood

7. Up and Down

Matthew Halsall

Already following up on his Sending My Love debut, Mancunian trumpeter Matthew Halsall teams up with labelmate Nat Birchall, pianist Adam Fairhall, bass player Gavin Barras and alternating drummers Gaz Hughes and Marek Dorcik for an album of melodic and often meditative jazz. As with its predecessor there's a pleasantly trad feel to all this, taking on the feel and character of a fairly conventional club combo, albeit with an uncommonly heightened sense of composerly intuition. Halsall sounds especially strong during the record's quieter passages, slowing the pulse to stealthy, dulcet levels on 'I've Been Here Before', leaving room for restrained, melancholy intonations counterbalanced by the prickly harpof Rachael Gladwin.

The Compositions by Matthew Halsall - http://www.gondwanarecords.com/

Booker Ervin - 1966 - Structurally Sound

Booker Ervin - Structurally Sound

1966

Booker Ervin (tenor saxophone)

Charles Tolliver (trumpet)

John Hicks (piano)

Red Mitchell (bass)

Lenny McBrowne (drums)

Mixing the dusky romanticism of Dexter Gordon and the progressive tonal ideology of John Coltrane, Booker Ervin is often filed under "A" for amalgam alongside other overlooked tenor masters such as Tina Brooks and Hank Mobley. Structurally Sound is perhaps not Ervin's most provocative album, but a solid and tasty endeavor featuring the "suspended" chord sounds popularized by McCoy Tyner during the late '60s. Here, the chords come via the brilliant pianist John Hicks, who opens the album with funky high-end triplet figures on Randy Weston's "Berkshire Blues." Joining in is a well-selected roster of musicians, many of whom were also overshadowed by their more well-known contemporaries, including Charles Tolliver on trumpet, Red Mitchell on bass, and Lenny McBrowne on drums. Tolliver contributes the original composition "Franess," a Wayne Shorter-influenced affair that features his fat and burnished tone. They also cover Oliver Nelson's blissful standard "Stolen Moments" to good effect. Originally ending with an athletic up-tempo version of "Take the 'A' Train," the Blue Note Connoisseur Series reissue includes a sparkling "Shiny Stockings," featuring an especially inspired chorus by Ervin. An oddball version of "White Christmas" also makes it onto the disc, as do alternate takes of "Franess" and "Deep Night."

01. Berkshire Blues

02. Dancing In The Dark

03. Stolen Moments

04. Franess

05. Boo’s Blues

06. You’re My Everything

07. Deep Night

08. Take The 'A' Train

09. Shiny Stockings

10. White Christmas

11. Franess (alternate take)

12. Deep Night (alternate take)