Buddy Montgomery - Ties Of Love

Styles: Piano Jazz

Year: 1986

File: MP3@320K/s

Time: 44:07

Size: 101,2 MB

Art: Front

(6:57)  1. Muchissimo

(7:01)  2. Expressions In Blue

(5:24)  3. Darrah

(3:35)  4. All The Things You Are (A)

(5:43)  5. Ties (A/B)

(4:55)  6. Stablemates (B)

(4:33)  7. Rose Marie

(5:55)  8. Soft Earth

By 1986, Buddy Montgomery had not recorded as a leader for many years, and because he is so well-respected, his first Landmark outing became quite an all-star affair. Heard mostly on piano but also switching to vibes for two songs, Montgomery is joined on various tracks by trumpeter Claudio Roditi, David "Fathead" Newman on tenor and flute, guitarist Ted Dunbar, bassists Ron Carter and John Heard, drummers Marvin "Smitty" Smith and Billy Higgins, and a couple of percussionists. In addition, tenor saxophonist Eddie Harris jams on "Stablemates" and "Ties," and Marlena Shaw takes vocals on "Ties" and "All the Things You Are." Despite all of the guests, the leader (who contributed five of the eight songs) does not get buried in the proceedings and holds his own with his friends. ~ Scott Yanow http://www.allmusic.com/album/ties-of-love-mw0000193414

Personnel:  Buddy Montgomery - piano, vibes,  Marlena Shaw - vocal,  Eddie Harris - tenor sax,  Ron Carter - bass,  Ted Dunbar - guitar,  John Heard - bass,  Billy Higgins - drums, Steve Kroon - congas,  David "Fathead" Newman - tenor sax, flute, Claudio Roditi - trumpet, Marvin "Smitty" Smith - drums, Warren Smith - percussion

Ties Of Love

---

Lee Morgan - Sonic Boom

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 74:18
Size: 171,4 MB
Art: Front

(5:47)  1. Sneaky Pete
(7:11)  2. The Mercenary
(6:18)  3. Sonic Boom
(5:27)  4. Fathead
(7:16)  5. I'll Never Be The Same
(5:28)  6. Mumbo Jumbo
(4:50)  7. Free Flow
(5:42)  8. Stormy Weather
(6:09)  9. Mr. Johnson
(5:47) 10. The Stroker
(5:33) 11. Uncle Rough
(3:07) 12. Claw-Til-Da
(5:38) 13. Untitled Boogaloo

A quick inspection of the Lee Morgan discography unearths an obscure album sandwiched between 1966's The Rajah and 1967's The Procrastinator. The album, Sonic Boom, was recorded in 1967 yet remained silent in the Blue Note vaults for twelve years, resurfacing only twice, as an LP in 1979 and eleven years later as a CD. Both times, exposure to the public was brief, making Sonic Boom nearly irrelevant in the trumpeter's overall anthology. Yet the music here is nothing short of vintage Morgan, as evidenced on the latest reissue, a limited edition 24-bit remastered set. Serving his usual heady brew of jazz, blues and funk, the emphasis here is strictly hard-boppin' fun. Accompanying the leader are a stimulating crew that includes Cedar Walton on piano, David "Fathead" Newman on tenor, Ron Carter on bass, and Billy Higgins on drums. Tracks like "Sneaky Pete," "The Mercenary," and "Fathead" provide plenty of straight ahead muscle from the whole band, with Newman's gruff tenor work, in particular, pairing remarkably well with Morgan's horn. The true highlights, though, are in the searing title track and in the exceptionally sweet and sincere interpretation of the ballad "I'll Never Be The Same." While Morgan may best be celebrated for his charged, upbeat solos, his delicate touch on ballads merits equal praise, and, indeed, confirms that Morgan was something else.This latest reissue of Sonic Boom includes an additional seven tracks taken from a 1969 session, originally released on 1978's double LP version of The Procrastinator. 

Employing an entirely different set of musicians, the cast includes Julian Priester on trombone, George Coleman on tenor sax, Harold Mabern on piano, Walter Booker on bass, and Mickey Roker on drums. Though thematically similar, the bonus tracks are more progressive and funkier than the album's first half, with exceptional compositions by Coleman on "Free Flow," Priester on "The Stroker," and Mabern on the jive dance of "Uncle Rough." In comparing the two halves of the album, it is interesting to hear the changes upon the hard-bop idiom over the late 1960s. By 1969, funk and its inherent bass and drumbeats are more prevalent than before. Integrated into jazz, as heard here, the results are joyous. In the final analysis, Sonic Boom is an underrated gem. As such, fans of the trumpeter and of hard bop are advised to check out the album while it's still here. By Germein Linares https://www.allaboutjazz.com/sonic-boom-lee-morgan-blue-note-records-review-by-germein-linares.php

Personnel: Lee Morgan- trumpet; David "Fathead" Newman, George Coleman- tenor sax; Cedar Walton, Harold Mabern- piano; Ron Carter, Walter Booker- bass; Billy Higgins, Mickey Rokerdrums; Julian Priester- trombone

Sonic Boom

---

Roy Hargrove Quintet - The Vibe

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 61:12
Size: 141,7 MB
Art: Front

(6:32)  1. The Vibe
(7:02)  2. Caryisms
(5:02)  3. Where Were You?
(6:33)  4. Alter Ego
(5:07)  5. The Thang
(4:53)  6. Pinocchio
(6:03)  7. Milestones
(5:43)  8. Things We Did Last Summer
(6:27)  9. Blues For Booty Green's
(7:45) 10. Runnin' Out Of Time

The last of trumpeter Roy Hargrove's recordings to feature his longtime altoist Antonio Hart also includes pianist Marc Cary, bassist Rodney Whitaker, drummer Gregory Hutchinson and guest spots for the tenors of Branford Marsalis and David "Fathead" Newman, plus trombonist Frank Lacy and organist Jack McDuff. Hargrove (still just 22) was already on his way to being one of the better hard bop-based trumpeters in jazz, as he shows on group originals, James Williams' "Alter Ego," Wayne Shorter's "Pinocchio," "Milestones," and "The Things We Did Last Summer." A fine example of Hargrove's rapidly emerging style. ~ Scott Yanow https://www.allmusic.com/album/the-vibe-mw0000071800

Personnel: Trumpet – Roy Hargrove; Alto Saxophone – Antonio Maurice Hart; Bass – Rodney Thomas Whitaker; Drums – Gregory Hutchinson; Organ [B3] – 'Cap'n' Jack McDuff; Piano – Marc Anthony Cary; Producer – Larry Clothier; Tenor Saxophone – Branford Marsalis, David "Fathead" Newman; Trombone – Ku-Umba Frank Lacy

The Vibe

---

Hank Crawford - Indigo Blue

Styles: Saxophone, Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 34:55
Size: 81,3 MB
Art: Front

(6:26)  1. All Alone And Blue
(5:31)  2. The Very Thought Of You
(5:22)  3. Things Ain't What They Used To Be
(6:08)  4. Funny
(6:31)  5. Indigo Blue
(4:55)  6. Just For A Thrill

Hank Crawford's Indigo Blue was released in August of 1983, less than a year after his excellent comeback set, Midnight Ramble, and proves that his renewed sense of creativity was no fluke. Here he teams once more with Dr. John on piano and organ and drummer Bernard Purdie. Melvin Sparks took over the guitar chair from Calvin Newborn, and Wilber Bascombe, Jr. holds down the rhythm section on bass. In addition, a horn section that includes David "Fathead" Newman, Danny Moore, Howard Johnson, and Martin Banks, arranged by Crawford, follows the same recipe as Midnight Ramble. The performances here are solid, truly impressive. Crawford plays sweet and slow as well as honking mean in getting at the root source of straight-ahead jazz and soul-jazz: the blues. And speaking of blues, the opener, "All Alone and Blue," is a barrelhouse of nasty guitar and organ work with Crawford's alto walking the bar while playing a mean solo. It's quite a changeup to open a set with but the only other thing you could do is close with it. This is followed by a gorgeous reading of Ray Noble's "The Very Thought of You," all slow, deep, and refined with only Crawford's alto allowed to bring in the edges. But there are more surprises as Crawford and band tackle Willie Nelson's "Funny" and reveal both the blues and jazz roots in the tune. 

The swing between Dr. John and Sparks in the title track is truly canny, and Crawford's response in blowing shows it. This one is in the cut, and the groove is everywhere. The bittersweet ballad "Just for a Thrill" ends the set, with some of the sweetest and most lyrical piano and alto playing either man had done on a record until that time. Indigo Blue is a winner; it's hungry and elegant, sophisticated and swaggering. It's a trademark recording by Hank Crawford. ~ Thom Jurek https://www.allmusic.com/album/indigo-blue-mw0000187873

Personnel: Hank Crawford - alto saxophone, electric piano, arranger, conductor; Dr. John - piano, organ; Melvin Sparks - guitar; Wilbur Bascomb - bass;  Bernard Purdie - drums;  David "Fathead" Newman - tenor saxophone;  Howard Johnson - baritone saxophone; Martin Banks - trumpet; Danny Moore - trumpet.

Indigo Blue

---

David 'Fathead' Newman - Captain Buckles

Styles: Saxophone, Flute Jazz
Year: 2000
File: MP3@320K/s
Time: 33:51
Size: 78,1 MB
Art: Front

(4:38)  1. Captain Buckles
(4:19)  2. Joel's Domain
(3:43)  3. Something
(4:25)  4. Blue Caper
(6:20)  5. The Clincher
(5:07)  6. I Didn't Know What Time It Was
(5:16)  7. Negus

An improvement over David Newman's preceding projects, this soulful but relatively straight-ahead effort teams him with trumpeter Blue Mitchell, guitarist Eric Gale, bassist Steve Novosel and drummer Bernard Purdie in a pianoless quintet. 

Switching between tenor, alto and flute, Newman performs four originals, a song by Mitchell, George Harrison's "Something," and the standard "I Didn't Know What Time It Was." Captain Buckles was reissued on CD in 2000 on Label M. ~ Scott Yanow https://www.allmusic.com/album/captain-buckles-mw0000105503

Personnel:  David "Fathead" Newman - tenor saxophone, alto saxophone, flute; Blue Mitchell - trumpet; Eric Gale - electric guitar, acoustic guitar; Steve Novosel - bass; Bernard Purdie - drums

Captain Buckles

---

David Newman - The Weapon

Styles: Saxophone And Flute Jazz
Year: 1972
File: MP3@320K/s
Time: 32:43
Size: 76,2 MB
Art: Front

(5:29)  1. Missy
(4:22)  2. Seems Like I Gotta Do Wrong
(7:00)  3. You Can't Always Get What You Want
(3:50)  4. Yes We Can Can
(4:00)  5. Happy Times
(4:36)  6. Drown In My Own Tears
(3:23)  7. Freedom For The Stallion

David "Fathead" Newman was never a jazz purist. The big-toned saxman held jazz and R&B in equally high regard, and he was as comfortable playing hard bop and soul-jazz as he was backing Aretha Franklin or Ray Charles. Newman recorded more than his share of commercial projects in the 1970s; one of the more memorable ones was 1973's The Weapon, which was produced by Joel Dorn and finds the Texan on tenor and alto sax as well as flute. 

Far from a bop album, this instrumental soul-jazz LP isn't for jazz purists. But from a soul-jazz perspective, The Weapon is generally enjoyable. Unfortunately, Dorn tends to overproduce, and Newman would have been better off without all the excessive string arrangements that William Eaton burdens him with. But even so, Newman really lets loose on the funky "Missy" and gets in some meaty, memorable solos on "Drown in My Own Tears," the Rolling Stones' "You Can't Always Get What You Want," and the Pointer Sisters' "Yes We Can Can." Despite its flaws and imperfections, The Weapon is recommended to those who like their jazz laced with a lot of R&B. ~ Alex Henderson https://www.allmusic.com/album/the-weapon-mw0001881821

Personnel:  David Newman - tenor saxophone, alto saxophone, flute; Mac Rebennack - piano, organ; Richard Tee - organ; Cornell Dupree, David Spinozza - guitar; Chuck Rainey - electric bass; Charles Collins, Jimmy Johnson, Bernard Purdie - drums; Ernie Royal (tracks 5 & 6), Joe Wilder (tracks 5 & 6), Wilmer Wise (track 3) - trumpet; Daniel Orlock - cornet (track 3); Robert Moore - trombone (track 3); Paul Ingraham - French horn (track 3); Jonathan Dorn - tuba (track 3); Frank Wess - alto saxophone (tracks 5 & 6); Seldon Powell - tenor saxophone (tracks 5 & 6); The Sweet Inspirations: Jeanette Brown, Judy Clay, Myrna Smith, Sylvia Shemwell - backing vocals (tracks 2-4 & 7)

The Weapon

---

David 'Fathead' Newman - Davey Blue

Styles: Flute And Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 53:39
Size: 123,0 MB
Art: Front

( 6:10)  1. Cellar Groove
( 6:47)  2. Cristo Redentor
( 5:33)  3. For Stanley
( 5:49)  4. A Child is Born
( 5:34)  5. Black
( 4:17)  6. Amandla
(13:00)  7. Davey Blue
( 6:26)  8. Freedom Jazz Dance

This excellent session does a fine job of showing off David "Fathead" Newman's jazz talents. Newman is heard on tenor sax on four selections, taking two songs apiece on flute and alto. Joined by pianist Cedar Walton, the fine if underrated vibraphonist Bryan Carrott, bassist David Williams, and drummer Kenny Washington, Newman stretches out on such numbers as "Cellar Groove," "Cristo Redentor," "Freedom Jazz Dance," and a tribute to Stanley Turrentine, "For Stanley," sounding at his prime on each of his instruments. Recommended. ~ Scott Yanow https://www.allmusic.com/album/davey-blue-mw0000657383

Personnel:   David "Fathead" Newman - flute, alto saxophone, tenor saxophone, producer;  Bryan Carrott - vibraphone;   Cedar Walton - piano;  David Williams - bass;   Kenny Washington - drums

Davey Blue

---

David Newman - Bigger & Better

Styles: Saxophone And Flute Jazz 
Year: 1968
File: MP3@320K/s
Time: 31:50
Size: 75,0 MB
Art: Front

(4:04)  1. Yesterday
(5:46)  2. And I Love Her
(5:56)  3. The Thirteenth Floor
(3:46)  4. Ain't That Good News
(5:35)  5. A Change Is Gonna Come
(6:41)  6. For Sylvia

As a teenager, David Newman played professionally around Dallas and Fort Worth with Charlie Parker's mentor, Buster Smith, and also with Ornette Coleman in a band led by tenor saxophonist Red Connors. In the early '50s, Newman worked locally with such R&B musicians as Lowell Fulson and T-Bone Walker. In 1952, Newman formed his longest-lasting and most important musical association with Ray Charles, who had played piano in Fulson's group. Newman stayed with Charles' band from 1954-1964, while concurrently recording as a leader and a sideman with, among others, his hometown associate, tenor saxophonist James Clay. Upon leaving Charles, Newman stayed in Dallas for two years. He then moved to New York, where he recorded under King Curtis and Eddie Harris; he also played many commercial and soul dates. Newman returned to Charles for a brief time in 1970-1971; from 1972-1974 he played with Red Garland and Herbie Mann. Newman parlayed the renown he gained from his experience with Charles into a fairly successful recording career. In the '60s and '70s, he recorded a series of heavily orchestrated, pop-oriented sides for Atlantic and in the '80s he led the occasional hard bop session, but Newman's métier was as an ace accompanist. Throughout his career, he recorded with a variety of non-jazz artists; Newman's brawny, arrogant tenor sound graced the albums of Aretha Franklin, Dr. John, and many others. It is, in fact, Newman's terse, earthy improvisations with Charles that remain his most characteristic work. Newman began a productive relationship with HighNote Records at the close of the 1990s, releasing an impressive series of albums, including Chillin' (1999), Keep the Spirits Singing (2001), Davey Blue (2001), The Gift (2003), Song for the New Man (2004), I Remember Brother Ray (a moving tribute to Ray Charles released in 2005), Cityscape (2006), and Life (2007). Diamondhead followed in 2008. Newman passed on January 20, 2009, from pancreatic cancer. ~ Chris Kelsey https://itunes.apple.com/us/album/bigger-better/70268480

Personnel:  David Newman - tenor saxophone, alto saxophone, flute;  Melvin Lastie (tracks 1-5), Joe Newman (tracks 1 & 2), Jimmy Owens (tracks 3-5) - trumpet;  Benny Powell - trombone (tracks 1-5);  Seldon Powell - tenor saxophone (tracks 1-5);  Henry Haywood (tracks 1 & 2), Jerome Richardson (tracks 3-5) - baritone saxophone;  George Stubbs - piano (track 6);  Billy Butler (tracks 1, 2 & 6), Eric Gale (tracks 3-6) - guitar;  Richard Davis - bass (tracks 1-5);  Chuck Rainey - electric bass;  Bernard Purdie - drums;  Winston Collymore, Leo Cruczek, Richard Elias, Emanuel Green, Leo Kahn, Gene Orloff, Matthew Raimondi - violin (tracks 1-3, 5 7 6);  Alfred Brown, Selwart Clarke - viola (tracks 1-3, 5 & 6);  Kermit Moore - cello (tracks 1-3, 5 & 6).

Bigger & Better

---

David 'Fathead' Newman - I Remember Brother Ray

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 50:44
Size: 116,4 MB
Art: Front

(5:44)  1. Hit the Road Jack
(7:20)  2. Georgia on My Mind
(5:05)  3. When Your Lover Has Gone
(6:16)  4. Drown in My Tears
(5:27)  5. Deed I Do
(5:32)  6. It Had to Be You
(9:44)  7. Ruby
(5:32)  8. Them That Got (I Ain't Got Nothing Yet)

When Ray Charles passed away last June, his influence was so far reaching that there was little doubt all manner of tributes would soon follow. While there are bound to be attempts to capitalize on his death, nothing could be further from the truth in this case. Saxophonist David "Fathead" Newman got his first big break with Charles in the early '50s, playing in his band from '54 through '64 and making numerous guest appearances in the years to come. And so "Fathead" a nickname Charles never liked, preferring to call him "Brains" entered the studio of another legend engineer Rudy van Gelder just two months after Charles' death to record I Remember Brother Ray, a tribute to the jazzier side of a man who always regarded himself as a jazz singer anyway.  Some music is meant to stretch boundaries, and some is meant purely as a salve for the soul. Newman has never been considered a particularly adventurous tenor player, yet his warm tone, occasionally terse phrasing, and always heartfelt delivery has placed him in high demand by artists as diverse as B.B. King, Herbie Mann, Jane Monheit, and Gregg Allman. In fact, one look at his discography and it becomes evident that his career has been marked more by appearances as a guest than as a leader. Still, with over twenty recordings to his name, I Remember Brother Ray stands as an understated highlight, a record that doesn't so much jump out at you as it does gently sidle up beside you and caress you with its warmth and affability. Like saxophonist Houston Person, who coproduces the disc with Newman and delivered his own heartfelt tribute to longtime collaborator Etta Jones last year with To Etta With Love, I Remember Brother Ray evokes the ambience of a smoky bar in the early hours of the morning. 

Never getting much past a medium tempo "Hit the Road Jack" is about as lively as things get, and even then, it's more a finger-snapping number than a foot-moving one Newman has assembled a quintet as comfortable with the tender balladry of "Georgia on My Mind" as it is the soul-drenched blues of "Drown in My Tears." Charles believed that the ability to play jazz permits the ability to cross over into other genres, and the playing on I Remember Brother Ray clearly supports his conviction. One sometimes forgets that vibraphonist Steve Nelson, heard most often these days in the more modernistic Dave Holland Quintet and Big Band, comes from a mainstream background, but his playing on the relaxed swing of "Ruby" and "It Had to Be You" proves that even the most forward-thinking of players have to have roots. While there will undoubtedly be many tributes in the near future, few discs will equal I Remember Brother Ray for its grace, honesty, and pure connection to the true essence of Charles' legacy.~ John Kelman https://www.allaboutjazz.com/i-remember-brother-ray-david-fathead-newman-highnote-records-review-by-john-kelman.php

Personnel:  Tenor Saxophone – David "Fathead" Newman;  Bass – John Menegon;  Drums – Winard Harper;  Piano – John Hicks;  Vibraphone – Steve Nelson

I Remember Brother Ray

---

David 'Fathead' Newman - The Blessing

Styles: Saxophone And Flute Jazz
Year: 2009
File: MP3@320K/s
Time: 55:10
Size: 138,7 MB
Art: Front

(6:23)  1. SKJ
(5:47)  2. Someone To Watch Over Me
(4:55)  3. As Time Goes By
(5:27)  4. Manha De Carnival
(6:33)  5. Smile
(7:31)  6. Romantic Night
(5:59)  7. Chelsea Bridge
(5:24)  8. Whispers Of Contentment
(7:07)  9. The Blessing

What an apt name The Blessing is for David Newman's final recording before his death ended a long career last January (2009). He played for more than a decade with Ray Charles and alongside Herbie Mann, Aretha Franklin and Roy Ayers, among many others. For this last studio session he was in fine form. A Milt Jackson gem, "SKJ," is the set's opener, Steve Nelson's vibes providing glowing cascades before Newman swings in with a solo as brief in its measured warmth as it is satisfying. Here too and throughout the set Peter Bernstein's guitar is vigorous in a style that is direct as it mixes blues and bebop. In Newman's blues-drenched take on Gershwin's "Someone To Watch Over Me" (which in moments has echoes of Duke Ellington's "In A Sentimental Mood"), again there is a dazzling display of colors and tones. He begins with a statement of the original tune, albeit with little turns, pauses and a warm, floating, utterly romantic sound.

Nelson is always there with just the subtlest echoes of the melody. Newman's tenor saxophone is as gentle as it is full-bodied, with nary a superfluous embellishment. David Leonhardt's piano solo leads perfectly into Newman's bridge and the final bars. It must be noted that Newman's brand of romanticism is never mushy or sentimental. His version of "As Times Goes By" is abetted by the brisk, crystal warmth of Nelson's vibes on the bridge. Newman is authoritative and yet relaxed and it segues into "Manha de Carnival," on which his sax, Nelson's vibes and Leonhardt's piano effect a subtle tension by both anticipating and playing after the beat. It is Leonhardt's own composition, "Romantic Night," that showcases Newman at a peak on the recording and brings out the best from all hands. 

Shifting between major and minor modes, it's a beautifully structured performance. Newman gives a textbook example of a veteran player who swings easily as he makes it feel so good, yet without ever allowing things to get too cozy. The closer is the title track, Newman's own tune, this time with him on flute. It's a gospel-tinged piece that closes the set on a funky, upbeat note. As with all of Newman's music, this piece could as aptly have been called "a gift."~ Andrew Velez https://www.allaboutjazz.com/the-blessing-david-fathead-newman-highnote-records-review-by-andrew-velez.php

Personnel: David "Fathead" Newman: tenor saxophone, flute;  Steve Nelson: vibes;  David Leonhardt: piano;  Peter Bernstein: guitar;  John Menegon: bass;  Yoron Israel: drums.

The Blessing

---

Bluesiana Triangle - S/T

Bitrate: MP3@320K/s
Time: 42:56
Size: 98.3 MB
Styles: Jazz, Blues, R&B
Year: 1990
Art: Front

[ 5:43] 1. Heads Up
[ 5:34] 2. Life's A One Way Ticket
[10:12] 3. Shoo Fly Don't Bother Me
[ 3:41] 4. Need To Be Loved
[ 4:47] 5. Next Time You See Me
[ 6:18] 6. When The Saints Go Marchin' In
[ 6:36] 7. For All We Know

Backing Vocals – David Newman (tracks: 3), Essiet Okon Essiet (tracks: 3); Bass – Essiet Okon Essiet; Drums – Art Blakey, Joe Bonadio (tracks: 7); Organ [Hammond], Guitar – Dr. John; Percussion – Joe Bonadio; Piano – Art Blakey (tracks: 7), Dr. John; Saxophone, Flute – David Newman; Vocals – Art Blakey, Dr. John. Recorded And Mixed At Acme Studios, Mamaroneck, NY (March 1990).

Three veteran greats combine efforts on this recording for a back-to-basics album of blues-oriented material. In a classic jam session format, Art Blakey, Dr. John and David “Fathead” Newman join forces in a diverse and frolicsome encounter of three virtuosos. Coming from three different musical backgrounds, the triumvirate finds common ground in the blues and milks it for all it’s worth. From swing to second-line, ballads to boogie, funk, modern jazz, honky-tonk…Blakey, Dr. John and Newman create a soulful spectrum of tunes.

In the spirit of a true jam session, the album was recorded in just two days, with the artists running through each number until they were comfortable with it. Producer Joe Ferry then caught the artists live without a lot of overdubbing to bring out the true spirit of the sessions.

All three brought material to the session. More notable tracks include Dr. John’s arrangement of “Shoo Fly Don’t Bother Me.” With a laid-back, second-line funk groove, the vocals are done as a call-and-response with Dr. John’s lazy, fuzzy phrasing answered by the tune’s refrain. Fathead plays a mean flute solo and the bass vamps on the groove for the last several minutes as Blakey and percussionist Joe Bonadio exchange licks, releasing the thunder they’ve been building up. ~Anthony Clark

Bluesiana Triangle   

---

David Newman - Mr. Fathead

Bitrate: MP3@320K/s
Time: 39:46
Size: 91.0 MB
Styles: Jazz/Funk/Soul
Year: 1976/2010
Art: Front

[3:54] 1. Dance With Me
[5:50] 2. Groovin' To The Music
[4:34] 3. You Got Style
[5:29] 4. Ebo Man
[4:04] 5. Shiki
[4:30] 6. Promise Me Your Love
[6:12] 7. I Love Music
[5:09] 8. Mashooganah

At its best, soul-jazz has successfully blended the accessibility of R&B with the freedom and spontaneity of jazz. Many of David "Fathead" Newman's more commercial recordings of the 1960s and 1970s fit that description, like Hank Crawford, Grover Washington, Jr., Stanley Turrentine, and David Sanborn, Newman showed a lot of R&B fans that improvisatory horn solos weren't something to be afraid of. Improvisation, however, isn't something that you will hear a lot of on 1976's disappointing Mr. Fathead, which was produced by Joel and Jonathan Dorn. For the most part, this erratic and unfocused LP isn't soul-jazz, most of the material is either disco-funk or lightweight instrumental pop. A few of the tunes are OK; "Groovin' to the Music" is a catchy disco-funk item along the lines of the Brass Construction and the Crown Heights Affair, and the gritty, infectious "Mashooganah" is somewhere between soul-jazz and fusion. But for the most part, Mr. Fathead wastes Newman's considerable talents. This record is strictly for completists. ~Alex Henderson

First time on CD for this 1976 album from the Jazz saxophonist. Originally issued on Warner Brothers records, it features jazz luminaries Ron Carter, Jimmy Johnson, Pat Rebillot, Anthony Jackson, Ralph MacDonald and Patti Austin.

Mr. Fathead mc
Mr. Fathead zippy

---

David Newman - House Of David

Bitrate: MP3@320K/s
Time: 38:05
Size: 87.2 MB
Styles: Soul jazz, Saxophone jazz
Year: 1967/2005
Art: Front

[6:06] 1. I Wish You Love
[1:35] 2. One Room Paradise
[8:18] 3. Little Sister
[2:26] 4. Miss Minnie
[4:32] 5. Just Like A Woman
[3:45] 6. House Of David
[3:58] 7. Blue New
[7:21] 8. The Holy Land

Drums – Milt Turner; Guitar – Ted Dunbar; Organ – Kossie Gardner; Tenor Saxophone, Flute – David Newman.

The House of David was David "Fathead" Newman's comeback album of sorts, marking his first release after the end of his association with Ray Charles and a few years spent with his family in his hometown of Dallas. Organist Kossie Gardner, guitarist Ted Dunbar, and drummer Milt Turner support Newman's gritty "Texas tenor" sound, which captures the straightforwardness of R&B pop and the improvisational elements of jazz. Newman plays the flute on the spunky "Miss Minnie," but one of the most interesting songs on the album is the untypical rendition of a Bob Dylan tune, "Just Like a Woman." the artist's warm tenor lifts this song to angelic heights, and it's fathomed that he had only heard the song a few times before laying down this recording. Other standouts on the album include the Cedar Walton penned closer, "The Holy Land," and the original blues numbers such as the title track and "New Blues." This album boils with inventive hooks and the soulful combination of organ and guitar that would become more pop-oriented on subsequent Newman recordings. ~Jeff Schwachter

House Of David mc
House Of David zippy

---

Paul Bollenback - Brightness of Being

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 68:16
Size: 156,7 MB
Art: Front

(6:42)  1. Together
(9:00)  2. Unchain My Heart
(6:57)  3. Don't You Worry 'Bout a Thing
(6:01)  4. Breathe
(4:50)  5. You Don't Know Me
(5:48)  6. A.M. Special
(6:41)  7. El Desierto
(3:12)  8. Dark Eyes of Floria Tosca, Pt. 1
(5:32)  9. Dark Eyes of Floria Tosca, Pt. 2
(2:11) 10. Dark Eyes of Floria Tosca, Pt. 3
(3:38) 11. Philadelphia
(7:38) 12. Siberian Passages

Good music is where you find it, and breadth of stylistic interest needn't dilute a distinguishable voice. Like Bill Frisell's East/West (Nonesuch, 2005), guitarist Paul Bollenback's Brightness of Being brings these points home most effectively. While Bollenback and Vic Juris are two very different players (Bollenbeck is also younger), both remain sadly underappreciated, despite their ability to elevate every project into something special. Looking at Bollenback's substantial catalogue of recorded work, one can find the same pattern emerging which is really a distinct lack of pattern. While unequivocally mainstream, Brightness of Being is no retro relic. There's nary a standard to be found, although Bollenback places some contemporary songs into straight-ahead but fluidly open contexts. Saxophonist David "Fathead Newman appears on two tributes to the late Ray Charles: "Unchain My Heart, which has a '60s Blue Note soul-jazz vibe; and "You Don't Know Me, which Bollenback relocates from country juke joint to late night smoky bar. But Bollenback interprets even familiar material with an open-minded and unencumbered approach. He constructs his solos every bit as well as Pat Metheny does, but they somehow feel looser. He thinks fast on his feet, effortlessly shifting from clean lines to complex chordal passages, yet always relying on a clear conception and strong narrative development.

Bollenback reinvents Stevie Wonder's "Don't You Worry 'Bout a Thing, which also features saxophonists Gary Thomas and Tim Garland. Opening almost unrecognizably, the three players enter a heated exchange, ultimately finding their way to the complex chord changes that bridge the chorus and verse. They respect Wonder's melodicism, but Bollenback proves adept at improvising in ways that might seem reckless if they didn't make so much sense. The song ultimately ends as it began Bollenback, Garland and Thomas in virtual free fall, with bassist James Genus and drummer Terri-Lyne Carrington offering intuitive and responsive support. Bollenback's ability to envision greater possibilities is especially vivid in his adaptation of Garcia de Leon's "El Desierto, which starts as a gentle tone poem but then picks up steam for his solo. Again, he skirts the edges of abandon but never loses focus a characteristic equally applicable to Garland's nimble soprano solo. Bollenback's imaginative three-part adaptation of Puccini's "Dark Eyes of Floria from Tosca moves from freedom to form, temporal elasticity to loose swing, change-based improvisation to more open-ended modality. Bollenback's writing demonstrates similar adaptability. "Together may sound straightforward, but its inherent complexity challenges everyone to find common melodic threads. The gently Latin-inflected "Breathe, where Bollenback plays classical guitar, features Chris McNulty's sultry tone in a Norma Winstone-like wordless vocal. The set closes with "Siberian Passages, another deceptive piece where McNulty again mirrors Bollenback, who manages to make the elaborate flow with ease while retaining a simmering intensity. No one album can tell the whole story on Paul Bollenback. But certainly more than any record he's led to date, Brightness of Being demonstrates an out-of-the-box thinker working freely in a compositionally refined yet wholly accessible mainstream context. ~ John Kelman https://www.allaboutjazz.com/brightness-of-being-paul-bollenback-elefant-dreams-records-review-by-john-kelman.php

Personnel: Paul Bollenback: guitar; David "Fathead" Newman: tenor saxophone; Tim Garland: soprano saxophone, tenor saxophone, bass clarinet; Gary Thomas: tenor saxophone; James Genus: bass; Terri-Lyne Carrington: drums; Ari Hoenig: drums; Chris McNulty: vocals.

Brightness of Being

---

David Newman - Under a Woodstock Moon

Styles: Flute and Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 59:39
Size: 137,3 MB
Art: Front

(4:39)  1. Nature Boy
(5:18)  2. Amandla
(4:29)  3. Up Jumped Spring
(5:14)  4. Spring Can Really Hang You Up the Most
(4:40)  5. Autumn in New York
(2:58)  6. Sky Blues
(4:59)  7. Another Kentucky Sunset
(4:58)  8. Summertime
(5:38)  9. Sunrise
(6:16) 10. A Nightingale Sang in Berkeley Square
(4:52) 11. Skylark
(5:32) 12. Under a Woodstock Moon

Veteran David Newman is heard in fine form on his excellent CD, switching between tenor, alto and flute. He is joined by a supportive rhythm section (which includes vibraphonist Brian Carrott and pianist David Leonhardt) and occasionally four strings for a cheerful set of ballads and originals. The project is listed as "a personal tribute to the rhythms of Mother Nature," and all of the song titles (other than the original calypso "Amandla") have something to do with either the seasons or the sky, but fortunately, the date is far from being a reverent set of new age music. In fact, despite the mostly relaxed tempos, it is one of David Newman's stronger straight-ahead efforts and is easily recommended, particularly for Newman's appealing tenor playing. Highlights include "Up Jumped Spring," "Spring Can Really Hang You Up the Most," "A Nightingale Sang In Berkeley Square," and the title cut. ~ Scott Yanow https://www.allmusic.com/album/under-a-woodstock-moon-mw0000597801

Personnel: David "Fathead" Newman (flute, alto saxophone, tenor saxophone); Matthew Raimondi (strings); David Leonhardt (piano); Bryan Carrott (vibraphone); Winard Harper (drums).

Under a Woodstock Moon

---

Hank Crawford - Midnight Ramble

Styles: Saxophone Jazz
Year: 1983
File: MP3@320K/s
Time: 39:30
Size: 96,0 MB
Art: Front

(6:09)  1. Midnight Ramble
(5:35)  2. Forever Mine
(5:55)  3. Theme For Basie
(5:57)  4. Mister C
(5:09)  5. Street Of Dreams
(4:50)  6. Next Time You See Me
(5:52)  7. Deep River

Midnight Ramble, released in 1983 on Milestone, was saxophonist Hank Crawford's return to recording after a four-year break following his departure from Kudu. It was the beginning of a decades-long relationship with the prestigious jazz label. Crawford, a veteran of Ray Charles, had long been associated with soul-jazz groove-oriented music. On this date, he delivers a solid, straight-ahead session with some notable surprises. 

The first is that he plays not only his trademark alto saxophone, but also electric piano. Next is his rhythm section: Dr. John on piano and organ, Charles "Flip" Greene on bass, guitarist Calvin Newborn (brother of Phineas), and stone-cold soul-jazz drummer Bernard Purdie. But that isn't all. Crawford also includes five other horns: two trumpets, trombone, bass saxophone, and David "Fathead" Newman on tenor. Needless to say, Crawford's idea of "straight-ahead" still contains plenty, plenty soul. The program is solid, top to bottom; it's amiable, relaxed, and deeply rooted in the blues. Phineas Newborn's "Theme for Basie" and the saxophonist's own composition of the title track are highlights, as is the gospel-oriented blues of "Deep River," with Dr. John's piano leading the band. Among his better offerings, Midnight Ramble stands as one of the more inspired records Crawford cut after leaving Atlantic in 1969, and reveals that the extended downtime had helped him to regain his focus and his power (both imaginatively and compositionally) as one of the great soul and blues-oriented jazzmen in history. ~ Thom Jurek http://www.allmusic.com/album/midnight-ramble-mw0000674658

Personnel: Hank Crawford (alto saxophone, electric piano); David "Fathead" Newman (tenor saxophone); Howard Johnson (baritone saxophone); Waymon Reed, Charlie Miller (trumpet); Dick Griffin (trombone); Dr. John (piano, organ); Calvin Newborne (guitar); Charles "Flip" Greene (bass); Bernard Purdie (drums).

Midnight Ramble

---

Various - Atlantic Jazz: Best Of The '50s

Bitrate: MP3@320K/s
Time: 68:19
Size: 156.4 MB
Styles: Bop, Soul-jazz, R&B, Vocal jazz
Year: 2006
Art: Front

[ 4:36] 1. The Modern Jazz Quartet - Django
[ 2:48] 2. Chris Connor - All About Ronnie
[ 7:56] 3. Shorty Rogers - Martians Go Home
[ 6:45] 4. Art Blakey & The Jazz Messengers - Evidence
[ 4:41] 5. Lavern Baker - Back Water Blues
[ 5:46] 6. John Coltrane - Cousin Mary
[ 3:32] 7. Jimmy Giuffre - The Train And The River
[ 7:16] 8. Big Joe Turner - Wee Baby Blues
[10:33] 9. Charles Mingus - Pithecanthropus Erectus
[ 5:21] 10. David Newman - Fathead
[ 5:21] 11. Lennie Tristano - You Go To My Head
[ 3:39] 12. Ray Charles - Come Rain Or Come Shine

Although there were plenty of early-'50s examples of Atlantic's commitment to jazz, the Ertegun brothers allegedly didn't get serious about establishing a full jazz line until 1955 when the twelve-inch LP was starting to take hold. Hence the half-decade span of this Rhino sampler that helped launch its repackaging of the Atlantic jazz caatalogue in 1993. In the space of one disc, Rhino touches upon most of the leading Atlantic jazz folk of the time, beginning with Shorty Rogers' inimitable "Martians Go Home" and running through to Chris Connor's live "All About Ronnie." Along the way, we hear samples of the MJQ (though there is no solo Milt Jackson), Art Blakey, LaVern Baker, John Coltrane ("Cousin Mary"), Jimmy Giuffre, Joe Turner, Charles Mingus, David "Fathead" Newman, Lennie Tristano, and some string-laden Ray Charles ("Come Rain Or Come Shine"). If quibble we must, there is nothing of the Dixieland resurgence that Atlantic was cultivating then, and most glaring of all, there is no Ornette Coleman, whose first two groundbreaking Atlantic albums were made in 1959. Otherwise casual jazz shoppers will find much to stimulate their appetites in this collection, better described as "best of the late-'50s." ~Richard S. Ginnell

Atlantic Jazz: Best Of The '50s

---

Jimmy Scott - All the Way

Styles: Vocal, Jazz
Year: 1992
File: MP3@320K/s
Time: 47:10
Size: 109,2 MB
Art: Front

(4:59)  1. All the Way
(5:08)  2. Embraceable You
(5:15)  3. Angel Eyes
(4:53)  4. At Last
(5:31)  5. Someone to Watch over Me
(5:14)  6. Ev'ry Time We Say Goodbye
(4:38)  7. I'll Be Around
(5:23)  8. My Foolish Heart
(6:06)  9. I'm Getting Sentimental over You

The recording history of Little Jimmy Scott is peppered with long hiatuses from the studio. He was absent for a period of seven years from 1962 to 1969 and then for more than 15 years from 1975 to 1990. Bordering on singing in the range of a counter tenor, Scott brings a distinctive, immediately recognizable sound and sensitivity to material he sings. It is hard to find any other vocalist, other than Billie Holiday, who matches Scott's depth of emotion that he applies to the classic standards he favors. All the Way was recorded more than 40 years after Scott made his first album for Roost. Over those years, even with his long absences, he has been able to command the services of top of the line musicians. He is one of those rare vocalists that jazz musicians like to be on the stage or in the studio with. And this album is no exception, featuring an all-star lineup that includes Kenny Barron, Ron Carter, and Grady Tate on rhythm. David "Fathead" Newman's soulful sax on such cuts as "All the Way" compliments Scott's delivery perfectly. Like Scott, Newman leaves abundant room between the measures to allow the song to breathe, the listeners to gain the full flavor of what he has played and to anticipate what's to follow in a second or two. On such tunes as "Angel Eyes" and "At Last," Scott's delivery goes beyond mere poignancy, and moves close to reverence, such respect he has for the classics he has put in the song list. This is good stuff. Strings magically appear on some tracks. But they are done tastefully and don't get in the way. Jimmy McDonough's knowledgeable highlights of Scott's career are a welcome added attraction. ~ Dave Nathan http://www.allmusic.com/album/all-the-way-mw0000079980

Personnel: Jimmy Scott (vocals); Johnny Mandel (arranger); David "Fathead" Newman (saxophone); Kenny Barron (piano); John Pisano (guitar); Ron Carter (bass); Grady Tate (drums).

All the Way

---

Ray Brown Jr. - Friends And Family

Bitrate: MP3@320K/s
Time: 56:47
Size: 130.0 MB
Styles: R&B/Jazz/Soul
Year: 2008
Art: Front

[4:44] 1. Can’t Take My Eyes Off You (Feat. Jane Monheit)
[2:42] 2. I’m Beginning To See The Light (Feat. Melba Moore & Terry Gibbs)
[3:46] 3. Sunny Side Of The Street (Feat. James Moody)
[4:33] 4. Too Close For Comfort (Feat. Maria Muldaur)
[4:36] 5. I Wish You Love (Feat. Dionne Warwick & David Fathead Newman)
[3:30] 6. Lullaby Of Birdland (Feat. Freda Payne & Terry Gibbs)
[4:23] 7. Up On The Roof (Feat. Sophie B. Hawkins)
[4:27] 8. Ordinary Fool (Feat. Paul Williams)
[2:11] 9. A-Tisket-A-Tasket (Feat. Haylee)
[3:18] 10. Something’s Gotta Give (Feat. Freda Payne)
[4:03] 11. Everybody’s Cryin’ Mercy (Feat. Dr. Lonnie Smith)
[3:43] 12. Girls On The Beach (Feat. Dave Somerville)
[3:55] 13. Laughter In The Rain (Feat. Kim Hoyer)
[3:22] 14. I Thought About You (Feat. Sally Kellerman)
[3:27] 15. How High The Moon (Feat. Ella Fitzgerald & Ray Brown Sr)

If you’re expecting any vocal similarity between Ray Brown Jr. and his mother, Ella Fitzgerald, you’ll be disappointed. Brown is, after all, not her natural son, but was adopted by Fitzgerald and Ray Brown in 1949, midway through their six-year marriage. But if his parents’ acute musicality isn’t in his genes, then he must have absorbed it, because Jr. is a first-rate performer with a deep, slightly raspy sound that suggests a blend of Bobby Short and Michael McDonald, plus a soupcon of Billy Eckstine.

The 59-year-old scion started out in the music business in the ’70s, toying with rock and then country before setting into a pop/soul groove. Friends and Family is his fourth album, but the first that inches toward jazz. The “friends” are an eclectic bunch, spanning young (Jane Monheit, Sophie B. Hawkins), old (septuagenarian David Somerville, one-time lead singer of the ’50s group the Diamonds), iconic (James Moody, Dr. Lonnie Smith, Dionne Warwick), obscure (little-known but impressive jazz chanteuse Kim Hoyer) and unexpected (Oscar-nominated M*A*S*H actress Sally Kellerman).

The results are generally excellent—particularly a funky “Memphis” featuring both Smith and Dr. John, a slow and sexy “Too Close for Comfort” with Maria Muldaur and a scorching “I’m Beginning to See the Light” with Melba Moore and Terry Gibbs. Unfortunately, the “family” portion of the program proves less rewarding. Brown teams with daughter Haylee for a rendition of “A-Tisket, A-Tasket” that zooms way past cute toward cloyingly sticky-sweet. Most disappointing is the disc-closing attempt at a family reunion, with Jr. awkwardly wedged into the middle of a muddy, old recording of mom and dad performing “How High the Moon.” ~Christopher Loudon

Friends And Family

---

Stevie Holland - Restless Willow

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 39:36
Size: 91,2 MB
Art: Front

(2:31)  1. It Might As Well Be Spring
(3:53)  2. Love Is Strong Far Than We
(3:03)  3. Summertime
(4:16)  4. How Long Has This Been Going On?
(3:43)  5. One Touch
(2:57)  6. Sunny Skies
(4:38)  7. Lush Life
(3:20)  8. Jeg Elsker Dig
(3:31)  9. Here's That Rainy Day
(2:48) 10. Zoot Walks In
(4:51) 11. Stardust

Stevie Holland has a beautiful and flexible voice. Her CD constantly varies the personnel (sometimes featuring pianist George Small and at other times guitarist Sean Harkness) and covers a few different styles. The music includes standards at a variety of tempos, some songs that sound close to show tunes, and heartfelt ballads. There are also guest appearances (one apiece) by Rubén Flores (who sings a duet with Holland on "One Touch"), flutist Joe Mennonna, and tenor saxophonist David "Fathead" Newman (who swings on "Zoot Walks In"). Among the most memorable selections are a happy interpretation of "It Might As Well Be Spring," an uptempo "Summertime," and a wonderful version of "Stardust" in which Holland's voice is backed by just Harkness' guitar. All in all, this is an impressive effort. ~ Scott Yanow http://www.allmusic.com/album/restless-willow-mw0000633409

Personnel: Stevie Holland (vocals); Joe Mennonna (flute); David "Fathead" Newman (saxophone, tenor saxophone); George Small (piano); Sean Harkness (guitar); Kenny Washington (drums); Steve Kroon (percussion).

Restless Willow

---