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)

Sonny Rollins, McCoy Tyner, Ron Carter, Al Foster - 1978 - Milestone Jazzstars In Concert

Milestone Jazz Stars - In Concert

1978

Sonny Rollins - tenor and soprano saxophones

McCoy Tyner - piano

Ron Carter - bass

Al Foster - drums

1. The Cutting Edge

2. Alone Together

3. Continuum

4. Nubia

5. N.O. Blues

6. In A Sentimental Mood

7. A Little Pianissimo

8. Don't Stop The Carnival

Favourites

Syl Johnson - I'm Talkin' Bout Freedom

Lillian Hale - Don't Boom Boom

Bobby Jackson - 1978 - Desiree Song

Bobby Jackson - Desiree Song 

(LP Ninth Note Records, US, 1978) 

Catalog # NNR-0072

Bobby Jackson (piano)

Tony Moreno (drums)

Enrique Mercado Reyes (trombone)

Bobby Hughes (alto saxophone)

John Howard (bass)

I am big fan of Independent Jazz Labels. This album was first made known to me a few years back by a jazz dealer of mine. He wouldn’t sell me his copy though, so I had to look for it myself. A very strong LP - and a must for lovers of spiritual jazz. I was blown away the first time I heard "Desiree Song". The Piano and messy horn bit at the end does my head in every time. Also check out "Modetique" on the album as well: Really nice (even if I do say so myself).

1.Desiree Song

2.Modetique

3.Bunglers Twist

4.Peepin

5.Pressure Funk

Unsung: The Story Of Donny Hathaway

Donny Hathaway was a Prolific Song Writer and Music Composer of the Fabulous Soul Music Era. Donny's rise to Soul Music Prominence made him the standard bearer for today's R&B Male vocalist. Indeed Donny Hathaway is responsible for creating and influencing today's modern R&B vocal style for ALL male vocalist of our time. Before Donny Hathaway, no R&B male singer or performer was singing riffs, incorporating high notes or bringing down the house with soulful, melodic vocals. Donny Hathaway was the FIRST to do it...................not Lurther Vandross, not Stevie Wonder, Not even Marvin Gaye!

Bridge - 1981 - Crying For Love

Bridge - Crying For Love

We all know the group - their mixture of soul, funk, disco and Latin elements made this marvellous grouping a really talented band with the versatility and option to change tempo, the direction and beat at the drop of a hat. Something not many artists can do today. Still, this CD is a collection of the demo cuts that won them a recording deal with the CBS owned Bang label. These songs were recorded in 1981 and were intended to become their album for the label. Sadly this was not to pass, and these songs were to sit and gather dust. As one quick spin off of this CD will show this was a criminal act. Still, First Experience has done the decent thing and has rectified this very sorry situation. 1981 as I have said before, was a vintage year for soul music and this is reflected in every song on this CD. I cannot really pull out any clear favourites on this CD but please, if I may, direct you to a few particular songs, which I think should be given special listening treatment. Vocalists Debravon Lewis and Derick Hughes are superb; the latter is very reminiscent of the sadly missed and masterful Donny Hathaway. Both "Stella" and "Listen" are excellent readings of the 1977 Norman Connors versions, and are here performed by the writers themselves in their own right. "From The Darkness To The Light" is a superb ballad complete with flute and summary percussion background which really does the honours. Continuing the trend is "Fire Burning" which underlines how criminal it was not to have had the material released years ago. The vocals on this song are stunning, with Derick Hughes really laying out the red carpet. Surprisingly, for me, was the "Next To Me" cut that was covered by drummer Kenneth Nash. On his 1986 "Mr Ears" album. These tracks are but a few of the highlights from many gems on here.

01. Crying For Love

02. Stella

03. From The Darkness To The Light

04. Fire Burning

05. Waiting Patiently

06. He Say C. She Say Game

07. Sweet & Wonderful

08. Out There In Space

09. No Where Love Affair

10. Rivers Of Love

11. Turn To Love

12. Next To Me

13. Reach Out

14. Listen

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