Silky Denims: Frank Foster

Showing posts with label Frank Foster. Show all posts

Saturday, April 15, 2023

Count Basie and His Orchestra - April in Paris

Styles: Piano Jazz, Big Band
Year: 1955
File: MP3@320K/s
Time: 69:02
Size: 159,0 MB
Art: Front

(3:51) 1. April in Paris
(5:18) 2. Corner Pocket
(4:46) 3. Didn't You?
(4:01) 4. Sweetie Cakes
(3:09) 5. Magic
(5:17) 6. Shiny Stockings
(3:24) 7. What Am I Here For?
(3:16) 8. Midgets
(3:26) 9. Mambo Inn
(3:17) 10. Dinner with Friends
(3:55) 11. April In Paris (Alternate Take)
(5:07) 12. Corner Pocket (Alternate Take)
(4:58) 13. Didn't You? (Alternate Take)
(3:50) 14. Magic (Alternate Take 1)
(3:55) 15. Magic (Alternate Take 2)
(4:12) 16. What Am I Here For? (Alternate Take)
(3:11) 17. Midgets (Alternate Take)

One of the staples in the Count Basie discography, April in Paris is one of those rare albums that makes its mark as an almost instant classic in the jazz pantheon. April in Paris represents the reassembly of the original Count Basie orchestra that define swing in the 1930s and 1940s. The title track has come to define elegance in orchestral jazz.

Though only ten tracks in its original release, seven alternate takes have now been incorporated into Verve's re-release of the original session tapes. Other key tracks include "Corner Pocket" and "Magic," both of which are also featured in the alternate takes. Recorded in 1955 and 1956, April in Paris proved Count Basie's ability to grow through modern jazz changes while keeping the traditional jazz orchestra vital and alive. By Christopher Fielder https://www.allmusic.com/album/april-in-paris-mw0000191459

Personnel: Count Basie - piano; Wendell Culley (tracks 1-7 & 9–16), Reunald Jones (tracks 1-7 & 9–16), Thad Jones (tracks 1-7 & 9–16), Joe Newman - trumpet; Henry Coker, Bill Hughes, Benny Powell - trombone (tracks 1-7 & 9–16); Marshall Royal - alto saxophone, clarinet (tracks 1-7 & 9–16); Bill Graham - alto saxophone (tracks 1-7 & 9–16); Frank Wess - alto saxophone, tenor saxophone, flute, clarinet; Frank Foster - tenor saxophone, clarinet (tracks 1-7 & 9–16); Charlie Fowlkes - baritone saxophone, bass clarinet (tracks 1-7 & 9–16); Freddie Green - guitar; Eddie Jones - bass; Sonny Payne - drums; José Mangual, Sr., Ubaldo Nieto - percussion (track 9); William "Wild Bill" Davis (tracks 1 & 11), Neal Hefti (track 10), Frank Foster (tracks 3, 6, 7, 9, 13 & 16), Joe Newman (tracks 8 & 17), Ernie Wilkins (track 2, 4, 12) - arranger

April in Paris

Tuesday, January 10, 2023

Julius Watkins Sextet - Volumes 1 & 2

Styles: Jazz, Bop
Year: 1998
File: MP3@320K/s
Time: 42:18
Size: 97,7 MB
Art: Front

(5:21) 1. Linda Delia
(5:09) 2. Perpetuation
(4:28) 3. I Have Known
(4:53) 4. Leete
(4:45) 5. Garden Delights
(3:35) 6. Julie Ann
(4:18) 7. Sparkling Burgundy
(5:00) 8. B And B
(4:45) 9. Jor-du

Before the rise of bebop, the French horn was never heard as an improvising instrument in jazz. John Graas, who worked with Stan Kenton and Shorty Rogers, was the first jazz French horn player to lead his own record date, in 1953. However, Julius Watkins soon surpassed him as a major soloist and would be the top jazz French horn player to emerge until the 1990s. He appeared as a soloist on a Thelonious Monk date in 1953 next to Sonny Rollins, and in 1954-1955 recorded music for a pair of very rare Blue Note 10" LPs. All of the latter performances are on this CD reissue.

The 42 minutes of music find Watkins heading sextets with either Frank Foster or Hank Mobley on tenor, guitarist Perry Lopez, George Butcher or Duke Jordan on piano, bassist Oscar Pettiford, and Kenny Clarke or Art Blakey on drums. The French horn/tenor front line is an attractive sound (substitute Watkins for a trombonist, and one has the Jazz Crusaders); when Watkins formed Les Jazz Modes (which lasted for five years) a few years later, he would use Charlie Rouse as his tenor.

The French horn might be a difficult instrument, but Watkins played it with the warmth of a trombone and nearly the fluidity of a trumpet. All nine straight-ahead selections on his CD are group originals, with Duke Jordan's future standard "Jordu" being heard in one of its earliest versions. Overall, the music fits into the modern mainstream of the period. This early effort by Julius Watkins is easily recommended.By Scott Yanow
https://www.allmusic.com/album/julius-watkins-sextet-vols-1-2-mw0000601261

Personnel: French Horn – Julius Watkins; Bass – Oscar Pettiford; Drums – Art Blakey (tracks: 5 to 9), Kenny Clarke (tracks: 1 to 4); ; Guitar – Perry Lopez; Piano – Duke Jordan (tracks: 5 to 9), George Butcher (tracks: 1 to 4); Tenor Saxophone – Frank Foster (tracks: 1 to 4), Hank Mobley (tracks: 5 to 9)

Sextet Volumes 1 & 2

Saturday, April 23, 2022

Frank Foster - The Frank Foster Non Electric Company

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 64:14
Size: 147,5 MB
Art: Front

(12:34) 1. Chiquito Loco
(10:04) 2. Theme for Ernie
( 8:17) 3. Joy Spring
(10:40) 4. Shiny Stockings
(12:43) 5. A Blues Ain't Nothing But a Trip
( 9:54) 6. Simone

Frank Foster, a saxophonist and composer/arranger best known for his longtime association with the Count Basie Orchestra, has died. He passed away in his sleep early Tuesday morning at his home in Chesapeake, Va., according to his widow and manager, Cecilia Foster. He was 82. Foster was a key member of the "New Testament" Basie band the large ensemble Basie led in the 1950s and beyond. In addition to his playing on tenor saxophone and other woodwinds, he contributed many melodies and arrangements. At least one of those tunes, "Shiny Stockings," became a jazz standard. "One of the core things about that band was that wonderful reed section, the saxophone section," says Dan Morgenstern, director of the Institute of Jazz Studies. "That was such a wonderful sound that that section had, and Frank was so much a part of that."

Foster was born Sept. 23, 1928, and raised in Cincinnati, Ohio. After playing in local dance bands as a teenager, he spent some years at Wilberforce University and moved to Detroit, where many future jazz stars were evolving concurrently with a new musical language called bebop. Foster was later conscripted into the Korean War. Not long after returning to Detroit, Foster was conscripted by an employer he much preferred: William "Count" Basie. He spent 11 years with the Basie band the first go-round; he later led the Count Basie Orchestra after Basie's death for nine years, winning two Grammy awards in the process. In between, he found work as a freelance saxophonist, composer/arranger and music educator.

Foster also convened his own ensembles, including a big band, which sometimes used the name Loud Minority. He said he was especially proud of his work writing for large ensembles. "I want to make the biggest statement with the biggest group, the big band, because that's just something that's in my blood from the time I was coming up," Foster said in an interview for the Smithsonian's Jazz Oral History Program. "It has never left. I don't care what the economic conditions of the nation or the world become, or how they affect how we live and work and whatever. I have to make a statement with a big band, or there ain't going to be no statement."

In 2002, Foster was named an NEA Jazz Master. In recent years, after he again left the Basie band, NPR has followed Foster's career. After a 2001 stroke left him unable to perform, he was left with minimal pension and Social Security benefits, the result of many years of being paid in cash for his services. Additionally, Foster had given away many of his publishing rights in youthful ignorance, which deprived him of substantial royalty payments over the years. Last year, a team from Rutgers School of Law helped him win back his rights to collect royalties for his compositions, including "Shiny Stockings." Now, the family Frank Foster worried about for so many years will finally be able to collect on the fruits of his legacy. https://www.npr.org/sections/ablogsupreme/2011/07/27/138722196/frank-foster-jazz-saxophonist-and-arranger-has-died

Personnel: Tenor Saxophone – Frank Foster; Bass – Earl May; Drums – Billy Hart; Guitar – Ted Dumbar ; Piano – Mickey Tucker

The Frank Foster Non Electric Company

Tuesday, February 22, 2022

Frank Wess - Suprise, Surprise (Disc 1), (Disc 2)

Album: Suprise, Surprise (Disc 1)

Styles: Saxophone, Flute Jazz
Year: 1998
File: MP3@320K/s
Time: 73:09
Size: 168,5 MB
Art: Front

(11:06) 1. All Or Nothing At All
( 8:05) 2. A Beautiful Friendship
(18:14) 3. My Funny Valentine
(11:15) 4. Estoril Sol
( 8:23) 5. One For Amos
( 7:38) 6. Firm Roots
( 8:25) 7. Nada Mas

Album: Suprise, Surprise (Disc 2)

Time: 57:33
Size: 132,5 MB

(11:14) 1. It Could Happen To You
(14:33) 2. All The Things You Are
(12:56) 3. On Green Dolphin Street
( 8:27) 4. Cottontail
(10:21) 5. Surprise, Surprise

This double CD comprises organized tunes from Wess with his quartet as well as some loose jam sessions withguest soloists over a span of four days aboard the S/S Norway for the Floating Jazz Festival. Wess himself has never sounded better, on tenor sax and especially on flute. Master piano accompanist Richard Wyands lifts the music to a higher level, Lynn Seaton is rock-solid rhythmically and unique amongst melodically oriented bassists, and drummer Winard Harper gives it his all throughout, yielding world-class, swinging results. Beginning with a pair of of good swingers to warm up, "All or Nothing at All" and "A Beautiful Friendship" establish the leader in firm control. Fellow tenor saxophonist Frank Foster then steps up for the tour de force ballad "My Funny Valentine," running over 18 minutes.

Then Wess and the trio take over for the remainder of the side: a Sam Jones-written quick bopper on flute, "One for Amos," with Seaton's grinding vocals á la Slam Stewart on Howlin' Wolf vitamins; the classic Cedar Walton piece "Firm Roots" and Wess' composition "Nada Mas," on which flute dances to a bossa beat. On the second disc it's time to stretch out and improvise at length. Wess and Foster work out on tenors for the romping, stomping "It Could Happen to You." Flip Phillips joins Wess on tenors for the flailing, hard-swinging "Cottontail," Phillips' tart-sweet sound contrasting the more ribald feeling of the leader. Then, with Wess on tenor for the title track finale - another original by Wess -- the quartet dishes out an easy swinger signifying the end of a show. His light blue tenor is chirping brightly, indicating he has plenty left for some other time.~Michael G.Nastoshttps://www.allmusic.com/album/surprise-surprise%21-live-at-the-1996-floating-jazz-festival-mw0000039309

Personnel: Frank Wess, tenor sax, flute; Richard Wyands, piano; Lynn Seaton, bass; Winard Harper, drums

Special guests: Frank Foster, Jimmy Heath and Flip Phillips, tenor sax.

Suprise, Surprise (Disc 1),(Disc 2)

Tuesday, January 11, 2022

Frank Foster & SDR Big Band - A Fresh Taste Of The Blues

Styles: Big Band, Swing
Year: 1996
File: MP3@320K/s
Time: 66:36
Size: 153,3 MB
Art: Front

(6:38) 1. Victorious Blues
(7:51) 2. Easin' It
(5:00) 3. Love Handles
(8:11) 4. Mirror Lake
(6:16) 5. Brotherly Shove
(8:02) 6. Lady In Lace
(5:22) 7. Didn' You
(5:18) 8. Ode To Joe Newman
(5:10) 9. Winners
(8:45) 10. A Fresh Taste Of The Blues

Frank Foster (b. 21 September 1928) is an American tenor and soprano saxophonist, arranger, and composer, who is best known for his work in different periods with the Count Basie orchestra, as well as under his own name. His playing style has been influenced by that of John Coltrane, but has remained very much his own.

Foster was born in Cincinnati, Ohio, and educated at Wilberforce University. In 1949 he played in Detroit with local musicians such as Wardell Gray, and on finishing his military service in 1953 he joined Basie's big band. Aside from his tenor playing, Foster contributed both arrangements and originals to the band's book (his best-known composition being "Shiny Stockings"), and when he left Basie in 1964, he worked as a freelance composer, providing material for such stars as Sarah Vaughan and Frank Sinatra. His time with Basie had also seen him work outside the band, most significantly a session with Thelonious Monk in 1954.

From 1970 to 1972 (and on occasional later dates) he played with Elvin Jones, and in 1972 and 1975 with the Thad Jones Mel Lewis big band. He has also led small groups, as well as the Living Color and The Loud Minority big bands, with which he toured Europe and Japan. He co-led a quintet with Frank Wess in 1983, and toured Europe as a member of Jimmy Smith's quintet in 1985. In 1986, Foster succeeded Thad Jones as leader of the Basie band, with which he stayed until 1995, since which he has led various small groups and revived The Loud Minority. User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL. https://www.jazzmusicarchives.com/artist/frank-foster

Personnel: Frank Foster (sax, cond, arr); Thomas Vogel (tp); Don Rader (tp); Karl Farrent (tp); Lubomir Rezanina (tp); Rudolf Reindl (tp); Marc Godfroid (tb); Ludwig Nub (tb); Ian Cumming (tb); Georg Maus (tb); Bernd Rabe (sax); Axel Kuhn (sax); Peter Weniger (sax); Andreas Maile (sax); Rainer Heute (sax); Klaus Wagenleiter (p, el-p); Henning Sieverts (b ); Klaus-Peter Schopfer (g); Keith Copeland (ds)

A Fresh Taste Of The Blues

Friday, January 7, 2022

Roy Haynes, Rene Thomas, Frank Foster, Henri Renaud - The 1954 Paris Sessions

Styles: Jazz, Bop
Year: 1954
File: MP3@320K/s
Time: 78:22
Size: 180,7 MB
Art: Front

(3:52) 1. Red Rose
(4:35) 2. A Mountain Sunset
(2:42) 3. Laffin' and Cryin'
(5:08) 4. Minor Encamp
(3:02) 5. Subscription
(3:34) 6. Dillon
(5:09) 7. Burt's Pad
(2:52) 8. Chicago
(3:00) 9. Autobuzz
(2:03) 10. Indiana
(3:30) 11. Get Ou Of Town
(4:28) 12. 'Tis Autumn
(4:27) 13. Thomasia
(6:08) 14. My Heart Stood Still
(4:53) 15. Fat Shoes
(5:25) 16. I'll Take Romance
(4:42) 17. Escale A Victoria
(4:03) 18. The Things We Did Last Summer
(4:40) 19. Just 40 Bars

A veteran drummer long overshadowed by others, but finally gaining recognition for his talents and versatility, Roy Haynes has been a major player since the 1940s. He worked early on with the Sabby Lewis big band, Frankie Newton, Luis Russell (1945-1947), and Lester Young (1947-1949). After some engagements with Kai Winding, Haynes was a member of the Charlie Parker Quintet (1949-1952); he also recorded during this era with Bud Powell, Wardell Gray, and Stan Getz. Haynes toured the world with Sarah Vaughan (1953-1958); played with Thelonious Monk in 1958; led his own group; and gigged with George Shearing, Lennie Tristano, Eric Dolphy, and Getz (1961). He was Elvin Jones' occasional substitute with John Coltrane's classic quartet during 1961-1965, toured with Getz (1965-1967), and was with Gary Burton (1967-1968). In addition to touring with Chick Corea (1981 and 1984) and Pat Metheny (1989-1990), Haynes has led his own Hip Ensemble on and off during the past several decades. When one considers that he has also gigged with Miles Davis, Art Pepper, Horace Tapscott, and Dizzy Gillespie, it is fair to say that Haynes has played with about everyone.

He led dates for EmArcy and Swing (both in 1954), New Jazz (1958 and 1960), Impulse (a 1962 quartet album with Roland Kirk), Pacific Jazz, Mainstream, Galaxy, Dreyfus, Evidence, and Storyville. In 1994, Haynes was awarded the Danish Jazzpar prize, and two years later, he received the prestigious French Chevalier des l'Ordres Artes et des Lettres. In the late '90s, Haynes formed a trio with pianist Danilo Perez and bassist John Pattitucci, and they released their debut album, The Roy Haynes Trio Featuring Danilo Perez & John Pattitucci, in early 2000 on Verve. Haynes' son Graham is an excellent cornetist. Haynes paid tribute to Charlie Parker in 2001 with Birds of a Feather, his fourth release for the Dreyfus Jazz label, which was subsequently nominated for a Grammy in 2002; Fountain of Youth followed two years later. Also released in 2004, Quiet Fire compiled two of his prior releases for Galaxy (1977's Thank You Thank You and 1978's Vistalite) into one back-to-back record. Whereas appeared in mid-2006, and it earned Haynes a Grammy nomination for Best Jazz Instrumental Solo.~Scott Yanowhttps://www.allmusic.com/artist/roy-haynes-mn0000290464/biography

Personnel: Baritone Saxophone – Jay Cameron; Bass – Jean-Marie Ingrand, Joe Benjamin; Drums – Jean-Louis Viale, Roy Haynes; Guitar – Jimmy Gourley , René Thomas; Piano – Henri Renaud; Tenor Saxophone – Barney Wilen, Frank Foster; Trumpet – Buzz Gardner

The 1954 Paris Sessions

Thursday, December 30, 2021

Frank Foster - No Count

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 35:39
Size: 89,4 MB
Art: Front

(6:04) 1. Stop Gap
(5:14) 2. Excursion
(6:33) 3. Casa Del Marcel
(3:55) 4. Apron Strings
(8:58) 5. Alternative
(4:52) 6. Serenata

No Freddie Green either, but that's okay; the four horns carved out from the Count Basie band for this Frank Foster-led date get along just fine with drummer Kenny Clarke, bassist Eddie Jones, and guitarist Kenny Burrell. The set is a companion to Frank Wess' North, South, East...Wess, recorded by the same players at the same sessions. No Count, however, stays closer to Kansas City swing than the Wess release, which attempted, not altogether successfully, to update the sound with some nods to hard bop. Foster's charts provide for lots of interplay and counterpoint between the two trombones and two tenors. This gets around the potential for the similar ranges of the horns to bog down in tonal homogeneity. The natural, yet sophisticated, blues-based swing players spin out long, masterful lines. Trombonists Henry Coker and Bennie Powell are most effective in supporting roles. The rhythm section is what makes this date, though. The poised Clarke balances the blues feeling of the arrangements with a cool bopping, cymbal-driven pulse. Jones, too, is effective, even if he is a bit far down in the mix. Then there's Burrell, who pretty much steals the show, covering for the absent Count and Basie guitarist Freddie Green with some of the finest rhythm work to be heard anywhere. À la the Count, he also takes the occasional brief but impressive solo. ~ Jim Todd http://www.allmusic.com/album/no-count-mw0000100132

Personnel: Frank Foster (tenor saxophone); Frank Wess (tenor saxophone, flute); Bennie Powell, Henry Coker (trombone); Kenny Burrell (guitar); Eddie Jones (bass); Kenny Clarke (drums).

No Count

Saturday, December 18, 2021

Frank Foster Loud Minority Big Band - We Do It Diff'rent

Styles: Jazz, Big Band
Year: 2003
File: MP3@320K/s
Time: 67:56
Size: 156,1 MB
Art: Front

( 4:35) 1. G'on an' Git It Y'all
( 7:39) 2. Stella by Starlight
( 7:03) 3. WLD Women Don't Worry
( 4:46) 4. Fos' Alarm
( 6:43) 5. Lover
(11:30) 6. Shiny Stockings
( 4:12) 7. Where or When
( 9:40) 8. Cecilia Is Love
( 6:27) 9. You Go to My Head
( 5:16) 10. Skull-Doug-Ery

Frank Foster’s Loud Minority Big Band is more limber than loud although it doesn’t shrink from shouting whenever that’s appropriate on this persuasive in-concert album recorded in June ‘02 at NYC’s Jazz Standard, when the seventy-three-year-old Foster was recovering from a stroke that immobilized his left arm and left leg and limited his role to that of emcee. As one would expect from an old hand who joined the Count Basie Orchestra half a century ago and fronted the band for nine years (1986-95), Foster salutes the Count’s buoyant spirit in almost every way save repeating well-traveled numbers from the Basie book (with one exception, his classic “Shiny Stockings,” handsomely renovated for the occasion). Foster’s other originals (“G’on an’ Git It Y’all,” “Fos’ Alarm,” “Cecilia Is Love,” “Skull-Doug-Ery”) were written especially for the seven-year-old Loud Minority ensemble. Completing the program are four standards (“Stella by Starlight,” “Lover,” “You Go to My Head,” “Where or When”) and one blues, “Wild Women Don’t Worry,” the last three featuring the seductive baritone of special guest and ex-Basie vocalist Dennis Rowland.

Foster’s other guest, trumpeter Jon Faddis, shakes the rafters on “Wild Women” and “Cecilia,” and trumpeters Jeremy Pelt and Cecil Bridgewater glisten and glow on “Stella” and “Stockings,” respectively. Baritone saxophonist James Stewart is showcased on “Fos’ Alarm,” tenor Bill Saxton and drummer Sylvia Cuenca (a last-minute replacement whose forceful timekeeping earned her a permanent gig with band) on “Lover,” tenor Keith Loftis on “Skull-Doug-Ery,” while pianist Daniel Mixon has a number of engaging ideas to impart on “G’on an’ Git It,” “Cecilia,” “Skull-Doug-Ery” and (uncredited) “Shiny Stockings.” There are some other minor errors on the playlist, with trombonist Clark Gaton listed as trumpet soloist on “G’on an’ Git It,” trumpeter Derrick Gardner as trombonist on “You Go to My Head,” Rowland as vocalist (he’s not) on “Shiny Stockings.” Echoing Basie’s philosophy, Foster writes that “you can’t keep a band of brilliant players together and burning without challenging them with a constant stream of fresh new music.” Let’s hope that Foster keeps challenging the Loud Minority for years to come.~ Jack Bowershttps://www.allaboutjazz.com/we-do-it-diffrent-frank-foster-mapleshade-recordings-review-by-jack-bowers

Personnel: Frank Foster, leader, arranger; Bruce Williams, Joe Ford, alto sax; Bill Saxton, Keith Loftis, tenor sax; James Stewart, baritone sax; Frank Greene, Derrick Gardner, Kenyatta Beasley, Jeremy Pelt, Cecil Bridgewater, trumpet; Vincent Gardner, Clark Gaton, Stafford Hunter, trombone; Bill Lowe, bass trombone, tuba; Daniel Mixon, piano; Earl May, bass; Sylvia Cuenca, drums.

We Do It Diff'rent

Sunday, December 12, 2021

James Moody & Frank Foster - Sax Talk

Styles: Saxophone Jazz
Year: 1951
File: MP3@320K/s
Time: 73:52
Size: 170,1 MB
Art: Front

(3:43) 1. Bootsie
(3:08) 2. I Cover The Waterfront
(2:55) 3. Deep Purple
(4:37) 4. Lover Come Back To Me
(3:11) 5. That's My Desire
(3:12) 6. More Than You Know
(2:42) 7. Moody's Mode
(3:35) 8. This Is Always
(3:29) 9. Les Feuilles Mortes (Autumn Leaves)
(2:26) 10. Chanter Pour Toi
(2:49) 11. Bedelia
(2:41) 12. Aimer Comme Je T'aime
(2:28) 13. Si Jolie
(2:57) 14. September Serenade
(6:08) 15. My Heart Stood Still
(4:52) 16. Fat Shoes
(5:25) 17. I'll Take Romance
(4:44) 18. Escale A Victoria
(4:03) 19. The Things We Did Last Summer
(4:36) 20. Just 40 Bars

James Moody was an institution in jazz from the late '40s into the 21st century, whether on tenor, flute, occasional alto, or yodeling his way through his "Moody's Mood for Love." After serving in the Air Force (1943-1946), he joined Dizzy Gillespie's bebop orchestra and began a lifelong friendship with the trumpeter. Moody toured Europe with Gillespie and then stayed overseas for several years, working with Miles Davis, Max Roach, and top European players. His 1949 recording of "I'm in the Mood for Love" became a hit in 1952 under the title of "Moody's Mood for Love" with classic vocalese lyrics written by Eddie Jefferson and a best-selling recording by King Pleasure. After returning to the U.S., Moody formed a septet that lasted for five years, recorded extensively for Prestige and Argo, took up the flute, and then from 1963-1968, was a member of Dizzy Gillespie's quintet.

He worked in Las Vegas show bands during much of the 1970s before returning to jazz, playing occasionally with Gillespie, mostly working as a leader and recording with Lionel Hampton's Golden Men of Jazz. Moody, who alternated between tenor (which he preferred) and alto throughout his career, had an original sound on both horns. He was also one of the best flutists in jazz. Moody recorded as a leader for numerous labels, including Blue Note, Xanadu, Vogue, Prestige, EmArcy, Mercury, Argo, DJM, Milestone, Perception, MPS, Muse, Vanguard, and Novus. He died of complications from pancreatic cancer on December 9, 2010 in San Diego, CA. James Moody was 85 years old.~Scott Yanow https://www.allmusic.com/artist/james-moody-mn0000786080/biography

Personnel: Tenor Saxophone, Alto Saxophone – James Moody; Tenor Saxophone, Alto Saxophone – James Moody; Bass – Jean-Marie Ingrand, Pierre Michelot; Drums – Jean-Louis Viale, Pierre Lamarchand Drums, Strings, Woodwind – Pepito Riebe; Piano – Henri Renaud, Raymond Fol; Tenor Saxophone – Frank Foster; Trumpet – Roger Guérin

Sax Talk

Saturday, December 11, 2021

Frank Foster & George Wallington - Here Comes

Styles: Saxophone And Piano Jazz
Year: 1954
File: MP3@320K/s
Time: 68:07
Size: 156,2 MB
Art: Front

(3:55) 1. Little Red
(5:01) 2. How I Spent The Night
(3:49) 3. Blues for Benny
(3:37) 4. Out Of Nowhere
(4:15) 5. Gracias
(3:48) 6. The Heat's On
(4:19) 7. How I Spent The Night (alt. take)
(4:08) 8. Frankie and Johnnie
(4:03) 9. Baby Grand
(3:39) 10. Christina
(3:55) 11. Summertime
(4:01) 12. Festival
(3:51) 13. Bumpkins
(4:06) 14. Frankie and Johnnie (alt. take)
(3:55) 15. Summertime (alt. take)
(3:53) 16. Festival
(3:43) 17. Bumpkins (alt. take)

This double reissue combines saxophonist Frank Foster's first U.S. recording and a session led by pianist George Wallington that took place one week later with Foster sitting in. Recorded for Blue Note in Hackensack, NJ, on May 5, 1954, Here Comes Frank Foster (also issued as New Faces, New Sounds) was only Foster's second album as a leader. His debut album was recorded one month earlier for the Vogue label in Paris, France. Here Comes Frank Foster fits neatly with other albums from the mid-'50s Blue Note catalog. Foster shares the spotlight with trombonist Benny Powell, and the rhythm section of Gildo Mahones, Percy Heath, and Kenny Clarke is superb. On tracks eight through 17, Foster is heard as a member of the George Wallington Showcase band, recorded for Blue Note on May 12, 1954. This solid little organization included James Moody's ace trumpeter Dave Burns, trombonist Jimmy Cleveland, baritone saxophonist Danny Bank, bassist Oscar Pettiford, and, once again, drummer Kenny "Klook" Clarke. Arrangements were scored by Quincy Jones. This straight-ahead hard bop is tasty and stimulating. Use the four alternate takes for a chaser.

Personnel: Tenor Saxophone – Frank Foster; Piano – George Wallington, Gildo Mahones; Baritone Saxophone – Danny Bank; Bass – Oscar Pettiford, Percy Heath; Drums – Kenny Clarke; Flute – Danny Bank; Trombone – Benny Powell , Jimmy Cleveland; Trumpet – Dave Burns

Here Comes

Wednesday, December 1, 2021

Frank Foster And The Loud Minority - Shiny Stockings

Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 65:22
Size: 151,7 MB
Art: Front
( 9:15) 1. Shiny Stockings
(10:33) 2. Thruway Traffic
( 8:28) 3. Dayspring
( 9:41) 4. Four Five Six
(11:10) 5. Hills Of The North Rejoice
( 9:02) 6. Manhattan Fever
( 7:10) 7. Tomorrow's Blues Today

Frank Foster's Loud Minority big band was formed in the early 1970s, and made a raucous, politically oriented funk-fusion type recording for the Mainstream label. As the Black Nationalist movement was pronounced in those days, the Loud Minority fit in quite well, and spoke to a generation of listeners who were prone to accept their protestations against racism, oppression, and the immoral Vietnam War. This version, recorded a handful of years later, was a more refined and hard swinging musical effort, leaving the vocal outspokenness to the side, concentrating on the highly composed and arranged instrumental charts of Foster's making. Two recording sessions done a full year apart with slightly different 21 piece lineups feature Foster's still fearless approach to modern and progressive big-band music, accented by a multi-layered precept that in some ways reflects his time with Count Basie, but speaks more to the advanced Tadd Dameron/Oliver Nelson/Thad Jones-Mel Lewis sound distinctly rooted in Duke Ellington.

Foster is ever mindful of how the individual voices of his bandmembers shape the music, but solos are reserved only for the leader's tenor or soprano saxophone, as well as trumpeter Sinclair Acey and trombonist Kiane Zawadi. The famous "Shiny Stockings" is treated here in a joyous holiday flair with all the trimmings, whether in bright flute flashes, arpeggiated piano riffs from Mickey Tucker, or rich brass burnishings, and that's all in just the melody. A paraphrase of "I'm Beginning to See the Light" is added by Foster's tenor. The New York City strut 6/8 time signature of "Manhattan Fever," initially done when Foster was leading small group sessions for the Blue Note label, is done here and expanded to big-band fare, with brilliant call and response variations that bear repeat listenings. "Thruway Traffic" is also distinctly urban and hip, evocative of the multi-dimensional-sounding rat race life in the big city. The most startling piece, "Dayspring," is only loosely based on Clifford Brown's "Joyspring." It churns with dazzling layers of counterpointed modality, flavored by the Afro-Cuban congas of Roger Blank, and has Tucker driving the juggernaut express with three simple piano chords as the horns have a field day on this most sumptuous chart one of Foster's all-time best.

The subtle side is represented by his arrangement of the traditional piece "Hills of the North Rejoice," theme music for a rural vista, with tambourine, Foster's slightly sharp tenor, and Tucker's repeat, rolling hills chorus. Never forgetting the blues via his roots in his native Cincinnati or his home for an important time in Detroit, "Four, Five, Six" has that Basie or Oliver Nelson abstract truth feel while mixing in the simple melodic style of "Bags Groove," while "Tomorrow's Blues Today" is a steady and cool late-night clubbin' cruiser. There's absolutely no filler, no wasted motion or excess, and nothing but solid musicianship on this guaranteed gold recording that ranks with the very best that modern big-band jazz has to offer. It belongs in every collection period!

~ Michael G. Nastos http://www.cduniverse.com/productinfo.asp?pid=4740519&style=music&fulldesc=T

Personnel: Frank Foster (soprano saxophone, tenor saxophone); Ted Dumper, Ted Dunbar (guitar); William Saxton, Charles Williams (alto saxophone, tenor saxophone); Leroy Barton (alto saxophone); William Cody, Doug Harris, Bill Cody, Bill Saxton (tenor saxophone); Kenny Rogers (baritone saxophone); Joe Gardner, Robert Rutledge, Robert Ruthledge, Chris Albert, Don McIntosh, Sinclair Acey, Virgil Jones (trumpet); Janice Robinson, Emmet McDonald, Kiane Zawadi, Charles Stephens (trombone); Bill Lowe (bass trombone); Bill Davis , Willie J. Davis (tuba); Mike Tucker (piano); Mary Earl (electric bass); Charlie Persip (drums); Babafume Akunyun, Roger Blank (percussion).

Shiny Stockings

Tuesday, November 30, 2021

Frank Foster & The Loud Minority Band - Well Water

Styles: Saxophone Jazz, Big Band
Year: 1977
File: MP3@320K/s
Time: 58:10
Size: 133,5 MB
Art: Front

( 7:19) 1. Joy Spring
( 9:51) 2. Cecilia Is Love
( 9:10) 3. Simone
( 6:11) 4. There'll Be A Time
(10:17) 5. Someone's Rocking My Jazz Boat
( 7:33) 6. Well Water
( 7:46) 7. Three Card Molly

The music on Well Water sat unreleased for 30 years but was worth the wait. Frank Foster's Loud Minority Orchestra only made a few records during its decade or so of existence and Well Water is one of its best. Listeners expecting the music to be similar to that of Foster's former boss Count Basie should realize that Foster's playing by 1977 was more strongly influenced by John Coltrane than by Lester Young, and that his writing is much more modern than that usually heard in the Basie band or even in the Thad Jones/Mel Lewis Orchestra. The performances do swing in their own way and include dynamic solos by the altoist C.I. Williams, both Foster and Bill Saxton on tenors, trumpeter Charles Sullivan and pianist Mickey Tucker. With Elvin Jones (making one of his few appearances with a big band) driving the ensembles and inspiring the soloists, this is an exciting effort. The closing number, "Three Card Molly," is a Foster quintet feature in which the leader switched to soprano. Highly recommended.~Scott Yanow https://www.allmusic.com/album/well-water-mw0000572228

Personnel: Tenor Saxophone, Soprano Saxophone – Frank Foster; Acoustic Bass, Electric Bass – Earl May; Alto Saxophone, Flute – C.I. Williams, Leroy Barton; Baritone Saxophone – Kenneth Rogers; Drums – Elvin Jones; Piano – Mickey Tucker; Tenor Saxophone, Flute – Doug Harris; Tenor Saxophone, Flute, Piccolo Flute – Bill Cody ; Tenor Saxophone, Flute, Soprano Saxophone – Bill Saxton; Trombone – Bill Lowe, Charles Stephens, Janice Robinson , Kiane Zawadi; Trumpet – Cecil Bridgewater, Don McIntosh, Joe Gardner, Kamau Adilifu, Sinclair Acey

Well Water

Thursday, October 28, 2021

Frank Foster & Frank Wess - Frankly Speaking

Styles: Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 49:38
Size: 114,5 MB
Art: Front

( 6:32) 1. An' All Such Stuff As'Dat
( 6:47) 2. The Summer Knows
( 7:12) 3. When Did You Leave Heaven?
( 4:44) 4. Up And Coming
( 5:01) 5. One Morning In May
( 3:09) 6. Two Franks
(10:22) 7. This Is All I Ask
( 5:47) 8. Blues Backstage

Using the same personnel as the previous year's Two for the Blues (Frank Foster on tenor and soprano, Frank Wess on tenor and flute, pianist Kenny Barron, bassist Rufus Reid, and drummer Marvin "Smitty" Smith), this set gets the slight edge and is an excellent introduction to the playing of the two Count Basie saxophonists. Foster contributes two originals (including the classic "Blues Backstage"), Wess brings in "Up and Coming," and the quintet also performs five jazz standards including "When Did You Leave Heaven," Hoagy Carmichael's "One Morning in May," and Neal Hefti's "Two Franks." Recommended.~Scott Yanow https://www.allmusic.com/album/frankly-speaking-mw0000649518

Personnel: Tenor Saxophone, Soprano Saxophone – Frank Foster; Bass – Rufus Reid; Drums – Marvin "Smitty" Smith; Flute, Tenor Saxophone – Frank Wess; Piano – Kenny Barron

Frankly Speaking

Wednesday, October 27, 2021

Frank Foster & Frank Wess - Two for the blues

Styles: Saxophone, Flute Jazz
Year: 1984
File: MP3@256K/s
Time: 45:54
Size: 84,7 MB
Art: Front

(6:41) 1. Two For The Blues
(6:18) 2. Send In The Clowns
(4:12) 3. Your Beauty Is A Song Of Love
(4:18) 4. But For The Likes Of You
(5:44) 5. Heat Of Winter
(4:16) 6. Nancy With The Laughing Face
(5:03) 7. Spring Can Really Hang You Up The Most
(5:32) 8. A Time For Love
(3:46) 9. Traccia 09

This CD reissue of a Pablo date features Frank Foster (on tenor and soprano) and Frank Wess (tenor, flute and alto) at their best. They perform three Wess originals, one by Foster, and a variety of mostly underplayed standards (including Neal Hefti's "Two for the Blues," plus "Spring Can Really Hang You Up the Most") and a surprisingly uptempo "Send In the Clowns." With pianist Kenny Barron, bassist Rufus Reid and drummer Marvin "Smitty" Smith offering stimulating support, this is an excellent showcase for the two Franks. A follow-up Concord set (Frankly Speaking) used the same personnel.

~ Scott Yanow https://www.allmusic.com/album/two-for-the-blues-mw0000267573

Personnel: Tenor Saxophone, Soprano Saxophone – Frank Foster; Tenor Saxophone, Alto Saxophone, Flute – Frank Wess; Bass – Rufus Reid; Drums – Marvin Smith; Piano – Kenny Barron

Two for the blues

Monday, August 23, 2021

Frank Foster - Soul Outing!

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 35:52
Size: 83,1 MB
Art: Front

(5:54) 1. Show The Good Side
(4:23) 2. While The City Sleeps
(7:55) 3. Skankaroony
(8:54) 4. Chiquito Loco
(8:45) 5. Night Song

This 1966 session lives up to its title, offering the strong, comfortable appeal of a solid Lee Morgan record. Soul Outing was Foster's second Prestige record after concluding an 11-year stint in the Count Basie band in 1964 (the first, Fearless, was also recently issued on CD). Although he'd developed a reputation as an ace arranger, Foster spotlights his own warm, muscular tenor soulfulness here.

He's in a compatible quintet performing three originals and two numbers from the Broadway play Golden Boy. Foster's "Show the Good Side" has the gospel soul of a Bobby Timmons number. And the Lee Morgan stamp is all over the Sidewinder-swing of Foster's "Skankaroony" and the Latin lilt of "Night Song." The two covers get muscular samba readings and trumpeter Virgil Jones makes a good foil as Lee Morgan to Foster's Hank Mobley. Guitarist Billy Butler is also featured in a small rhythm role on "Show The Good Side" and "Night Song."

Foster went on to form his own jazz orchestra, the Loud Minority, and a stint with Elvin Jones before returning as director of the Basie orchestra. Today he's back to making strong, terrific music like this strong, timeless jazz classic. Recommended.~ Douglas Payne https://www.allaboutjazz.com/soul-outing-frank-foster-fantasy-jazz-review-by-douglas-payne.php

Personnel: Frank Foster: tenor sax; Virgil Jones: trumpet; Pat Rebillot: piano; Billy Butler: guitar; Bob Cunningham: bass; Richard Davis: bass; Alan Dawson: drums, congas.

Soul Outing!

Wednesday, March 20, 2019

Donald Byrd - Timeless

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 42:32
Size: 97,7 MB
Art: Front

(4:31) 1. Long Green
(7:49) 2. Star Eyes
(7:39) 3. Someone to Watch over Me
(7:36) 4. Honeylike
(7:43) 5. Orpheus
(7:11) 6. Winterset

Timeless Donald Byrd combines most of the trumpeter's 1955 Savoy session Byrd's Word and two tracks from alto saxophonist John Jenkins' 1957 Savoy release Jazz Eyes.

Both albums are solid examples of mid-'50s mainstream jazz and represent both artists well. Given that these albums go in and out of print, the Timeless compilations are welcome additions to the artists' catalogs, though diehards will still want to seek out the original albums. ~ Matt Collar https://www.allmusic.com/album/timeless-donald-byrd-mw0000661040

Personnel: Trumpet – Donald Byrd; Alto Saxophone – John Jenkins; Bass – Doug Watkins, Paul Chambers; Drums – Art Taylor, Kenny Clarke; Piano – Hank Jones, Tommy Flanagan; Tenor Saxophone – Frank Foster; Trombone – Curtis Fuller

Timeless

Saturday, February 23, 2019

Duke Pearson - I Don't Care Who Knows It

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 60:00
Size: 138,7 MB
Art: Front

(3:11) 1. I Don't Care Who Knows It
(7:40) 2. Bloos
(6:38) 3. A Beautiful Friendship
(5:53) 4. Horn In
(6:38) 5. Canto Ossanha
(6:33) 6. Xibaba - Remastered
(6:58) 7. I Don't Know
(5:22) 8. O Amor En Paz (Once I Loved)
(1:59) 9. Upa Neguinho
(5:47) 10. Captain Bicardi
(3:17) 11. Theme From Rosemary's Baby

The sessions that comprise I Don't Care Who Knows It date from 1969 and 1970 (with one stray track from a 1968 session with Bobby Hutcherson), when Duke Pearson was experimenting with Latin jazz, soul-jazz, and funk; they are also the second-to-last dates the pianist ever recorded for Blue Note. Working with a fairly large group that included bassist Ron Carter, drummer Mickey Roker, saxophonists Jerry Dodgion, Frank Foster, Lew Tabackin, trumpeter Burt Collins, trombonist Kenny Rupp, and occasionally vocalist Andy Bey, Pearson plays the electric piano throughout the majority of the album. As expected, the music swings with an understated funk, with the band alternating between standard hard-bop and mellow, soulful grooves. On the whole, I Don't Care Who Knows It is fairly uneven the sessions don't set well together, but work well as individual sets. Nevertheless, there is enough good material here to make it worthwhile for soul-jazz, Latin-jazz and, especially, Pearson aficionados. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/i-dont-care-who-knows-it-mw0000181100

Personnel: Duke Pearson - piano, electric piano, arranger; Burt Collins - trumpet (tracks 1-6 & 8); Kenny Rupp - trombone (tracks 1-5); Jerry Dodgion - flute, alto flute, alto saxophone (tracks 1-8, 10 & 11); Al Gibbons - flute (tracks 6 & 8); Lew Tabackin - tenor saxophone, flute (tracks 1-5, 7 & 10); Frank Foster - tenor saxophone, alto clarinet (tracks 1-5); Bobby Hutcherson - vibes (tracks 6-8, 10 & 11); Sam Brown (track 11), Ralph Towner (tracks 7 & 10) - acoustic guitar; Dorio Ferreira - guitar, percussion (track 9); Al Gafa (tracks 6-8 & 10), Wally Richardson (tracks 7 & 10) - guitar; Bob Cranshaw - bass (tracks 6-8, 10 & 11); Ron Carter - bass (tracks 1-5); Bebeto Jose Souza - bass (track 9); Mickey Roker - drums (tracks 1-8, 10 & 11), percussion (track 9); Airto Moreira - percussion, vocals (track 5-8, & 10), drums (track 9); Stella Mars - vocals (track 8); Andy Bey - vocals (track 1); Flora Purim - vocals (track 9)

I Don't Care Who Knows It

Monday, November 19, 2018

Carmen Bradford - Finally Yours

Styles: Vocal
Year: 1997
File: MP3@320K/s
Time: 40:45
Size: 93,7 MB
Art: Front

(1:49) 1. Destiny (Prelude)
(4:56) 2. Destiny
(5:42) 3. Maybe September
(3:08) 4. Rough Ridin'
(3:48) 5. The Right To Love
(3:36) 6. I Believe In My Soul
(5:21) 7. I Love You More Than You Know
(3:18) 8. Chicago Hell
(5:54) 9. You Must Believe In Spring
(3:07) 10. More Than A Trial

Originally issued in 1992 on the Amazon label and then reissued five years later under the larger Evidence cover, this is Austin, TX, native Carmen Bradford's first album under her own name. Endowed with a powerful, expressive, wide-ranged voice, Bradford seasons her jazz vocalizing with soul and blues as she delivers on a play list of familiar and not so familiar material embossed with a variety of tempi. There's "Destiny," done with a Latin rhythm at an up-tempo pace and featuring the guitar of Charlton Johnson (who also composed the tune). She dips into the Lionel Hampton songbook for one of his hardly ever heard tunes, "Chicago Hello," showing off her swinging aptitude, this time with Bill Easley and Steve Greenfield sharing the solo spotlight on tenor, making it one of the more engaging tracks on the CD. Memories of Motown are recalled with Ray Charles' "I Believe to My Soul," done with Aretha Franklin in mind. Bradford shows she is at home with pure romantic ballads on a very heartfelt "The Right to Love," with James Polk carrying the bulk of the accompanist load. In fact, "heartfelt" may be the one best word that characterizes what is going on at this session. Bradford throws everything she has into each tune, leaving no emotion untouched. Even the Ella Fitzgerald classic "Rough Ridin'" gets a demonstrative reading, as the band offers a couple of quotes from the familiar racetrack call to colors. Backed by topflight jazz personages, who she uses very effectively, this is a more than credible first outing and a solid harbinger of good things to come by Bradford. ~ Dave Nathan https://www.allmusic.com/album/finally-yours-mw0000024152

Personnel: Vocals – Carmen Bradford; Bass – Darryl Jones, Earl May; Drums, Percussion – Marvin Smith; Flute – Steve Greenfield; Guitar – Charlton Johnson; Piano – George Caldwell , James Polk; Saxophone [Baritone & Alto] – Steve Greenfield; Saxophone [Tenor] – Bill Easley, Frank Foster; Trumpet – Byron Stripling

Finally Yours

Thursday, August 30, 2018

Elmo Hope Sextet And Trio - Homecoming!

Styles: Piano Jazz

Year: 1961

File: MP3@320K/s

Time: 50:26

Size: 116,6 MB

Art: Front

(5:56) 1. Moe, Jr. (take 4)

(4:41) 2. Moe, Jr. (take 2)

(3:14) 3. La Berthe

(6:33) 4. Eyes So Beautiful As Yours

(5:15) 5. Homecoming

(6:48) 6. One Mo' Blues

(5:33) 7. A Kiss For My Love (take 5)

(5:39) 8. A Kiss For My Love (take 4)

(6:43) 9. Imagination

Homecoming! is a particularly high-spirited record for this stage in Hope's troubled career. Following an extended stay in Los Angeles, a number of the day's top players helped welcome a refreshed Hope back to New York on this session. Tenor saxophonists Frank Foster and Jimmy Heath, as well as trumpeter Blue Mitchell, form the front line on the sextet numbers, while on all tracks Hope is joined by the rhythm section of Percy Heath and Philly Joe Jones. Four of the album's (original) seven tracks are sextet performances and the two alternate takes only appear on the Fantasy Original Jazz Classics CD reissue. The Dameron-esque bop numbers sizzle and weave and the tenor work of Frank Foster is especially rewarding on the album's bouncing opener, "Moe, Jr.," take four on the CD. The three ballads are equally fresh and less doom-ridden than comparable performances found elsewhere in his catalog. Expect fine performances by all. This great hard bop record is highly recommended. ~ Brandon Burke https://www.allmusic.com/album/homecoming%21-mw0000093981

Personnel: Elmo Hope - piano; Blue Mitchell - trumpet (tracks 1, 2, 4, 7 & 8); Frank Foster, Jimmy Heath - tenor saxophone (tracks 1, 2, 4, 7 & 8); Percy Heath - bass; Philly Joe Jones - drums

Homecoming!

Tuesday, July 31, 2018

Illinois Jacquet - The Soul Explosion

Styles: Saxophone Jazz
Year: 1969
File: MP3@320K/s
Time: 36:41
Size: 85,5 MB
Art: Front

(9:19) 1. The Soul Explosion
(7:35) 2. After Hours
(3:09) 3. St. Louis Blues
(8:54) 4. I'm A Fool To Want You
(3:33) 5. The Eighteenth Hole
(4:09) 6. Still King

The great tenor Illinois Jacquet is joined by a ten-piece group that includes trumpeter Joe Newman and Milt Buckner on piano and organ for this 1969 Prestige studio session which has been reissued on CD by the OJC series.

Jacquet is in prime form, particularly on "The Soul Explosion" (which benefits from a Jimmy Mundy arrangement), a definitive "After Hours" and a previously unissued version of "Still King." This blues-based set is full of soul but often swings quite hard with the focus on Jacquet's exciting tenor throughout.~Scott Yanow https://www.allmusic.com/album/the-soul-explosion-mw0000276486

Personnel: Illinois Jacquet – tenor saxophone; Russell Jacquet, Joe Newman, Ernie Royal – trumpet; Matthew Gee – trombone; Frank Foster – tenor saxophone; Cecil Payne – baritone saxophone; Milt Buckner – organ, piano, arranger; Wally Richardson – guitar; Al Lucas – bass, electric bass; Al Foster – drums; Jimmy Mundy – arranger.

The Soul Explosion