Nathan Davis - Two Originals (Happy Girl & The Hip Walk)

Styles: Flute And Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 76:42
Size: 176,3 MB
Art: Front

(4:53)  1. The Flute In The Blues
(7:04)  2. Spring Can Really Hang You Up The Most
(7:18)  3. Happy Girl
(7:15)  4. Evolution
(5:08)  5. Theme From Zoltan
(2:18)  6. Along Came Byrd
(3:21)  7. Mister E.
(7:00)  8. The Hip Walk
(7:23)  9. While Children Sleep
(5:26) 10. Train Of Thought
(2:54) 11. Yesterdays
(7:56) 12. That Kaycee Thing
(3:45) 13. Carmell's Black Forest Waltz
(4:57) 14. B's Blues

Nathan Davis spent some time living and working in Europe in the mid-'60s before returning to the United States to serve in jazz education. His recordings as a leader have been hard to find, so this compilation of two 1965 studio sessions, Happy Girl and Hip Walk, (both originally issued by MPS) will be a welcome discovery for collectors who can find it. In the earlier date he is joined by trumpeter Woody Shaw, Larry Young (on piano rather than organ), bassist Jimmy Woode and drummer Billy Brooks. His happy "The Flute in the Blues" showcases his lighthearted flute playing, accompanied only by bass and drums. His big tone on tenor sax in the standard ballad "Spring Can Really Hang You Up the Most" is somewhat suggestive of John Coltrane, but with a stronger vibrato. His original "Evolution" has an exotic sound like the kind of post-bop material that was recorded by various Blue Note artists a year or two later. Shaw contributed the fascinating "Theme From Zoltan," which showcases Brooks' inventive polyrhythms and Woode's adventurous bass, backing strong solos by the trumpeter and the leader (on tenor sax). The jaunty, angular blues "Along Came Byrd" finds Davis holding his own on soprano sax. The later session retains Woode, but substitutes trumpeter Carmell Jones, pianist Francy Boland and drummer Kenny Clarke. Although the arrangements are equally challenging, things seem looser on this session, suggesting that there was more time to rehearse, though that is unlikely, since Jones was flown in especially for this date. 

The Coltrane influence is again apparent in the ballad "While Children Sleep." It would be easy to imagine Art Blakey tackling the furious "Train of Thought." Davis switches to flute for a haunting take of Jerome Kern's "Yesterdays." This valuable music was reissued in Europe by Motor Music in 1998, though it may very well have already lapsed again from print; it is well-worth investigating.~Ken Dryden http://www.allmusic.com/album/two-originals-happy-girl-hip-walk-mw0000041160

Personnel: Nathan Davis (flute, soprano saxophone, tenor saxophone); Carmell Jones, Woody Shaw (trumpet); Francy Boland, Larry Young (piano); Kenny Clarke, Billy Brooks (drums).

Two Originals (Happy Girl & The Hip Walk)

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Carmell Jones - Jay Hawk Talk

Bitrate: MP3@320K/s
Time: 38:11
Size: 87.4 MB
Styles: Bop, Trumpet jazz
Year: 1965/2000
Art: Front

[5:50] 1. Jay Hawk Talk
[4:56] 2. Willow Weep For Me
[8:56] 3. What Is This Thing Called Love
[5:32] 4. Just In Time
[6:17] 5. Beepdurple
[6:37] 6. Dance Of The Night Child

Bass – George Tucker; Drums – Roger Humphries; Piano – Barry Harris; Tenor Saxophone – Jimmy Heath; Trumpet – Carmell Jones. Recorded May 8, 1965.

Hard bopper Carmell Jones is in fine form on this 1965 outing, Jay Hawk Talk. Together with tenor Jimmy Heath, pianist Barry Harris, bassist George Tucker, and drummer Roger Humphries, Jones confidently tackles a half-dozen tunes. From the piano/bass riff at the beginning of "Jay Hawk Talk" to the Parker-esque kickoff of "Beepdurple," the band holds a steady, driving groove. Both of those instrumentals, plus "Dance of the Night Child," were written by Jones and stand comfortably beside the other selections on this album. Tucker kicks off a particularly affecting version of "Willow Weep for Me," with a simple descending bass run. Jones enters with a full and rich tone for a beautiful, extended solo, and is followed by Harris, who emphasizes the bluesy, late-night feel of the piece. The band turns in a nine-minute version of Porter's "What Is This Thing Called Love?" that pulls out all the stops, and gives Heath plenty of room to show that he can fly as high and play as fast as Charlie Parker himself. Throughout the album, Tucker's bass work adds greatly to the overall texture; Tucker and Humphries together provide a steady pulse with lots of charged rhythm to keep the whole project stimulating. Jay Hawk Talk will remind everyone of Jones' distinctive voice. Like Johnny Griffin, Jones moved to Europe in the '60s, greatly lowering his profile in the United States. This re-release of an old classic should help to familiarize everyone once again with a great trumpeter. ~Ronnie D. Lankford Jr.

Jay Hawk Talk

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Ron Jefferson, Tricky Lofton & Carmell Jones - Love Lifted Me & Brass Bag

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 79:24
Size: 182,3 MB
Art: Front

( 5:52)  1. Ivy League Blues (Newborn)
( 4:42)  2. Love Lifted Me (Trad.)
(10:26)  3. For Carl Perkins (Vinnegar)
( 5:31)  4. Little One (Jefferson)
( 5:57)  5. Flamingo (Grouya-Anderson)
( 6:53)  6. Georges Dilemma (Powell)
( 5:27)  7. Moten Swing (Moten-Moten)
( 5:21)  8. Mood Indigo (Ellington-Bigard-Mills)
( 4:13)  9. Angel Eyes (Dennis-Brent)
( 5:22) 10. Celery Stacks at Midnight (Bradley-Harris)
( 3:48) 11. Brass Bag (Wilson)
( 6:51) 12. Ow! (Gillespie)
( 3:17) 13. Bluer Than That (Wilson)
( 5:39) 14. Canadian Sunset (Heywood-Gimbel)

Ron Jefferson, the sensitive jazz drummer, was something of a paradox: a jazzman who, for several years, labored just below the level of general public recognition in the East, only to find, as a founding member of pianist Les McCanns successful trio, an enthusiastic audience and wholehearted recognition of his talents on the West Coast jazz scene. And with his album Love Lifted Me he also shone as the fine leader of a persuasively swinging and remarkably consistent quintet in which Bobby Hutcherson plays with a joie de vivre that harks back to a young Milt Jackson. Aside from the driving lines of Wilbur Browns tenor, the most provocative soloist is Tricky Lofton, whose blithe, lusty trombone is a refreshing updating of the earthy style of an earlier jazz day. Tricky is also co-leader, with trumpeter Carmell Jones, of the second album here, Brass Bag, on half of which he features with some fullbodied, four-trombone ensemble support, and in the other half shares solos with Lou Blackburn. Jones adds his consistent and lyrical solo voice, and Frank Strazzeris piano contributions are bright and lively, while Gerald Wilsons deft arrangements make effective use of the trombone choirs rich, dark ensemble sound. https://www.freshsoundrecords.com/ron-jefferson-lawrence-tricky-lofton-albums/5829-love-lifted-me-brass-bag-2-lps-on-1-cd.html

Personnel:  Carmell Jones (tp), Lawrence 'Tricky' Lofton, Bob Edmondson, Wayne Henderson, Frank Strong, Lou Blackburn (tb), Wilbur Brown (ts), Bobby Hutcherson (vib), Frank Strazzeri (p), Leroy Vinnegar (b), Ron Jefferson (d), Gerald Wilson (arr)

Love Lifted Me & Brass Bag

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Roy Ayers - West Coast Vibes

Styles: Vibraphone Jazz
Year: 1963
File: MP3@320K/s
Time: 41:58
Size: 97,3 MB
Art: Front

(6:41)  1. Sound And Sense
(3:34)  2. Days Of Wine And Roses
(3:47)  3. Reggie Of Chester
(3:14)  4. It Could Happen To You
(3:12)  5. Donna Lee
(5:02)  6. Ricardo's Dilemma
(3:02)  7. Romeo
(6:25)  8. Out Of Sight
(3:44)  9. Young And Foolish
(3:13) 10. Well You Needn't

Roy Ayers had a career before he had hit records, and this reissue proves the vibraphonist was both well-versed and eloquent within the realm of post-bop jazz. In the company largely of a cast including pianist Jack Wilson and Curtis Amy on tenor and soprano saxophones, Ayers works his way through the kind of programme of standards and originals that was pretty much the order of the day back in the early 1960s. This does not, however, alter the fact that a lot of the musicians here were probably not big names at the time. The passing of time has not changed that situation a great deal, and it's tempting to put this down to the fact that they were not based in New York.Comparison between this reading of Benny Golson's "Reggie Of Chester" and the one on Lee Morgan's Blue Note debut from a few years earlier reveals no great difference in approach, and the way Ayers plays what for the vibes might not have been the easiest of lines is nothing other than joyful listening. The Ayers original "Ricardo's Dilemma" is similar in spirit to the theme for "The Odd Couple," and Curtis Amy's soprano sax playing on it is every bit as distinctive as the soprano work Sonny Criss would commit to posterity a few years after this piece was recorded. If the documentation of underappreciated musicians can be considered as an integral part of this disc, then the presence of alto saxophonist and vocalist Vi Redd on the two bonus tracks is a joy in itself. The same is true of trumpeter Carmell Jones (on the same tracks), who is perhaps the musician who gets close enough to some East Coast ideal to satisfy the pedants. At the same time Redd perhaps inevitably evokes the spirit of Charlie Parker on two of his lines, she also has a sound and conception all her own. Which brings us nicely back to Ayers, for whom that old standby about being his own man might have been invented. On a more profound level, West Coast Vibes is further recorded evidence of the fact that there was a whole lot more to West Coast jazz in its heyday than the stereotypes which came to be associated with it.~ Nic Jones https://www.allaboutjazz.com/west-coast-vibes-roy-ayers-mighty-quinn-productions-review-by-nic-jones.php

Personnel: Roy Ayers: vibes; Curtis Amy: tenor and soprano saxophonees (1,3,6,8,9); Vi Redd: alto saxophone (11,12), vocals (11); Carmell Jones: trumpet (11,12); Jack Wilson: piano (1-10); Russ Freeman: piano (11,12); Bill Plummer: bass (1,3,6,8,9); Vic Gaskin: bass (2,4,5,7,10); Leroy Vinnegar: bass (11, 12); Tony Bazley: drums (1,3,6,8,9); Kenny Dennis: drums (2,4,5,7,10); Richie Goldberg: drums (11,12).

West Coast Vibes

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Charles McPherson - Bebop Revisited

Styles: Saxophone Jazz 
Year: 1964
File: MP3@320K/s
Time: 46:10
Size: 107,2 MB
Art: Front

(7:45)  1. Hot House
(5:25)  2. Nostalgia
(6:58)  3. Variations On A Blues By Bird
(6:07)  4. Wail
(7:41)  5. Embraceable You
(5:53)  6. Si Si
(6:18)  7. If I Loved You (Bonus)

Bebop is the thing on this excellent outing as altoist Charles McPherson and pianist Barry Harris do their interpretations of Charlie Parker and Bud Powell. With trumpeter Carmell Jones, bassist Nelson Boyd and drummer Al "Tootie" Heath completing the quintet, the band romps through such bop classics as "Hot House," "Nostalgia," "Wail" and "Si Si" along with an original blues and "Embraceable You." A previously unissued "If I Love You" is added to the CD reissue. McPherson and Jones make for a potent frontline on these spirited performances, easily recommended to fans of straightahead jazz. ~ Scott Yanow http://www.allmusic.com/album/be-bop-revisited-mw0000276269

Personnel:  Charles McPherson - alto saxophone;  Carmell Jones – trumpet;  Barry Harris – piano;  Nelson Boyd – bass;  Albert Heath - drums

Bebop Revisited

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Carmell Jones - Mosaic Select (3-Disc Set)

Carmell Jones with Harold Land, Gary Peacock, Tricky Lofton, Gerald Wilson, Frank Strazzeri, Red Mitchell, and many others.

I have to claim a special affinity for the music of trumpeter Carmell Jones as documented on this three-disc set. Going back to an interview I conducted with Mosaic’s Michael Cuscuna a few years back, I commented on how much of the Pacific Jazz material that had been reissued up to that point consisted largely of albums from the ‘50s, ignoring the following decade’s trinkets. Cuscuna shared my feelings and expressed his desire to find some way to package items from the Pacific Jazz catalog that might not be as commercially viable as those classic Chet Baker, Gerry Mulligan, and Bud Shank sides. Now we have the Jones set at hand and things seem to be looking up.

Although the misconception exists that the prevailing jazz climate on the West Coast was much cooler than its East Coast counterpart, a quick listen to “I’m Gonna Go Fishin’” from 1961’s The Remarkable Carmell Jones should put that myth to rest. Jones is fluid and fiery throughout, as is tenor saxophonist Harold Land, who contributes some of his most incendiary improvisations. A rare item that fetches high prices on vinyl, this set has been long overdue for reissue, yet even more remarkable is the availability here of two additional Pacific Jazz rarities, Business Meetin’ and Brass Bag. These sets sport large ensemble charts arranged by Gerald Wilson and not only add much to our knowledge of Jones’ work, but also speak to the arranging prowess of Wilson. Little need exists for singling out specific performances as every moment deserves to be savored and the anonymity of these performances simply defies explanation.

Completing this package are two sessions that were not recorded under Jones’ leadership, but prominently feature his contributions. The first of these is a previously unissued 1963 Pacific Jazz date led by Frank Strazzeri. Consisting largely of the pianist’s originals, nothing all that revolutionary occurs, but Jones and tenor man Hadley Caliman form a potent front line and the solo spots are uniformly fine. Harold Land’s Jazz Impressions of Folk Music is entirely something else, an extensive hard bop reworking of public domain ‘oldies’ such as “Hava Na Gila,” “Tom Dooley,” and “On Top of Old Smokey.” To say that Jones and Land whip things into a vibrant froth is an understatement and the album’s inclusion here is an unmitigated bonus. ~Andrew Hovan

Album: Mosaic Select (Disc 1)

Bitrate: MP3@320K/s

Time: 65:26

Size: 149.8 MB

Styles: Bop, Trumpet jazz

Year: 2011

[11:12] 1. I'm Gonna Go Fishin'

[ 4:29] 2. Come Rain Or Come Shine

[ 4:01] 3. Night Tide

[ 5:45] 4. Sad March

[ 9:09] 5. Stellisa

[ 6:37] 6. Full Moon And Empty Arms

[ 6:04] 7. That's Good

[ 7:06] 8. Suearl

[ 5:22] 9. Hip Trolley

[ 5:38] 10. Beautiful Love

Mosaic Select (Disc 1)

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Album: Mosaic Select (Disc 2)

Bitrate: MP3@320K/s

Time: 54:56

Size: 125.8 MB

Styles: Bop, Trumpet jazz

Year: 2011

[4:49] 1. Business Meetin'

[2:33] 2. Stella By Starlight

[3:51] 3. Toddler

[3:53] 4. Cherokee

[3:46] 5. Brass Bag

[4:11] 6. Angel Eyes

[5:20] 7. Celery Stalks At Midnight

[5:19] 8. Mood Indigo

[5:24] 9. Moten Swing

[5:38] 10. Canadian Sunset

[6:49] 11. Ow!

[3:16] 12. Bluer Than That

Mosaic Select (Disc 2)

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Album: Mosaic Selects (Disc 3)

Bitrate: MP3@320K/s

Time: 72:12

Size: 165.3 MB

Styles: Bop, Trumpet jazz

Year: 2011

Art: Front

[5:42] 1. New Orleans

[6:22] 2. Lope In

[4:19] 3. Yvette

[5:45] 4. Huskey

[4:25] 5. Injun Jo

[4:48] 6. Effusion

[2:55] 7. Antler Rock

[6:44] 8. Take This Hammer

[5:12] 9. Hava Na Gila

[6:56] 10. Tom Dooley

[4:06] 11. Scarlet Ribbons

[4:19] 12. The Foggy Dew

[3:51] 13. Kisses Sweeter Than Wine

[2:56] 14. On Top Of Old Smokey

[3:44] 15. Blue Tail Fly

Mosaic Selects (Disc 3)

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Carmell Jones - The Remarkable Carmell Jones / Business Meeting

Bitrate: MP3@320K/s
Time: 76:32
Size: 175.2 MB
Styles: Trumpet jazz
Year: 2010
Art: Front

[11:12] 1. I'm Gonna Go Fishin'
[ 4:27] 2. Come Rain Or Come Shine
[ 3:59] 3. Night Tide
[ 5:45] 4. Sad March
[ 9:09] 5. Stellisa
[ 6:34] 6. Full Moon And Empty Arms
[ 6:04] 7. That's Good
[ 7:06] 8. Suearl
[ 5:21] 9. Hip Trolley
[ 5:36] 10. Beautiful Love
[ 4:50] 11. Business Meetin'
[ 2:33] 12. Stella By Starlight
[ 3:52] 13. Toddler

Twofer: Tracks #1-6, from the album “The Remarkable Carmell Jones” (Pacific Jazz ST-29). Carmell Jones, trumpet; Harold Land, tenor sax; Frank Strazzeri, piano; Gary Peacock, bass; Leon Petties, drums. Recorded at Pacific Enterprises Inc./Rex Studios, Los Angeles, June 13, 1961. Tracks #7-13, from the album “Business Meetin’” (Pacific Jazz ST-53). Tracks #7-10: Same personnel as on “The Remarkable Carmell Jones”, but Donald Dean, drums replaces Leon Petties. Recorded at Pacific Enterprises Inc./Rex Studios, Los Angeles, April 25, 1962. Tracks #11-13: Carmell Jones, trumpet; Bud Shank, Clifford Scott, alto saxes; Harold Land Wilbur Brown, tenor saxes; Don Rafell, baritone sax; Frank Strazzeri, piano Leroy Vinnegar, bass; Ron Jefferson, drums; Gerald Wilson, arranger. Recorded at Pacific Enterprises Inc./Rex Studios, Los Angeles, May 23, 1962

When 26-year-old Carmell Jones left his native Kansas for California in August 1960, he made an immediate impact on the high-calibre West Coast jazz scene. Snapped up exclusively by Pacific Jazz, he recorded his first album as a leader, “The Remarkable Carmell Jones,” the following June.

Using much the same lineup as the celebrated Harold Land-Red Mitchell quintet, it was a stellar entrance for the young trumpeter, whose classy tone, ideas and commanding style recalled Clifford Brown. Land, on tenor, was another inspiration and they made a formidable pairing, but Brownie remained Jones’s primary reference, amply demonstrated throughout his leader debut, particularly on his feature, Come Rain or Come Shine, and on Full Moon and Empty Arms. It was bop with a joyous, West Coast accent, grounded in Jones’s lyrical assurance, Land’s maturity and the solid virtues of pianist Frank Strazzeri, bassist Gary Peacock and drummer Leon Petties.

The second album, “Business Meetin’”, used the same quintet, with Donald Dean in for Petties, and a nonet arranged by Gerald Wilson, including a saxophone section, which elicited an ideally simpatico response from Jones. Both these albums amply demonstrate why musicians were unanimous in their praise of this gifted young trumpeter and his sudden rise to national prominence.

The Remarkable Carmell Jones/Business Meeting

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