Silky Denims: Frank Wess

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Monday, February 26, 2024

Milt Hinton - The Basement Tapes

Styles: Jazz, Post Bop
Year: 1989
File: MP3@320K/s
Time: 62:54
Size: 145,7 MB
Art: Front

(3:04) 1. Raincheck
(6:04) 2. A Time For Love
(4:11) 3. Johnny Comes Lately
(4:02) 4. Fascinating Rhythm
(4:35) 5. Blessed Assurance
(6:26) 6. Mona's Feeling Lonely
(3:55) 7. Order In The Court
(3:27) 8. Wade In The Water
(3:23) 9. Night And Day
(3:56) 10. As Long As I Live
(4:04) 11. Love Me Or Leave Me
(3:40) 12. Old Man Time
(6:26) 13. Summertime
(5:35) 14. Travelin' All Alone

In recent years, much of the attention given to late bass great Milt Hinton's career and legacy has been directed at his prowess as a jazz photographer. Nevertheless, we must not forget that behind those extraordinary photographs was an equally extraordinary musician. With Chiaroscuro's recent release of The Basement Tapes, jazz fans will find a welcome reaffirmation of Hinton's formidable gifts as both timekeeper and soloist. Composed of previously shelved material, the disc's 14 tracks offer up a broad slice of the spectrum of styles Hinton encountered over his illustrious career. On the swingin' side of things are two Billy Strayhorn pieces, "Raincheck" and "Johnny Come Lately" - taken at pace by Hinton with the help of Warren Vaché on trumpet and pianist Janice Friedman.

Both Vaché and Friedman offer keen lyrical insight and, with able hands, tend to Strayhorn's touching melodies. Hinton, meanwhile, occupies himself with tempo and swing. His bass walks - nay, runs - deftly across the rolling passes of the tunes, stopping only for an exquisite pair of solos. On "Fascinating Rhythm," a duet with drummer Kenny Washington, the listener is again dazzled by a prodigious display of rhythmic dexterity. Throughout the piece, Washington's traps snap, crackle and pop like the burning coals of a campfire, while Hinton's fat tone casts rounded shapes and bold colors over the playfully erratic Gershwin composition. Other highlights include a burning version of Frank Wess' "Order in the Court" and "Old Man Time," complete with Hinton's lighthearted vocals, Kenny Davern's mood-ified clarinet, guitarist Howard Alden's infectious strums (à la Freddie Green), and drummer Jackie Williams' strokes of skilled brushwork. Above all else, The Basement Tapes is a glaring testament to Hinton's rhythmic reliability. Like a monument at the center of town, his bass stands tall and firm carrying with it an unmistakable air of steadiness and permanency. ~Riel Lazarus https://www.allaboutjazz.com/the-basement-tapes-milt-hinton-chiaroscuro-records-review-by-riel-lazarus.php

Personnel: Milt Hinton - Bass; Howard Alden - Guitar; Kenny Davern - Clarinet; Warren Vache - Trumpet; Sylvia Syms - Vocals; Kenny Washington - Drums; Frank Wess - Flute, Tenor Sax; Jackie Williams - Drums; Janice Friedman - Piano; James Williams - Piano.

The Basement Tapes

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

Wednesday, December 14, 2022

Akiko Tsuruga - Harlem Dreams

Styles: Jazz
Year: 2004
File: MP3@320K/s
Time: 67:25
Size: 155,5 MB
Art: Front

(5:16) 1. Rapid Shave
(6:44) 2. The Breeze and I
(4:41) 3. Peachie
(6:14) 4. Harlem Nocturne
(3:41) 5. Kiko
(6:34) 6. Let's Hang Together
(6:05) 7. When A Man Loves A Woman
(5:31) 8. Cisco
(6:02) 9. These Are Soulful Days
(5:38) 10. Jitterbug Waltz
(4:34) 11. If Ever I Would Leave You
(6:21) 12. Geogia On My Mind

New York City based Hammond Organist and pianist, Akiko Tsuruga, has established herself as an 'in demand' player since arriving from her home town of Osaka, Japan in 2001. Akiko began Organ lessons at age three, and starting performing professionally throughout Japan after graduating from Osaka College Of Music. While performing in Japan, she encountered and played with many noted American musicians, Roy Hargrove, Jeff "Tain" Watts and Grady Tate to name a few. Grady Tate has been most influential in her career. He played on her debut CD, "Harlem Dreams" and encouraged her to move to New York. After arriving in New York Akiko established herself as one of area's top organist / pianist. Her trio featuring guitarist Eric Johnson and drummer Vincent Ector has been one of the area's top groups, working many jazz nightclubs including, Dizzy's (at Lincoln center) and The Blue Note. Her trio also plays private parties and summer outdoor concerts. Her long awaited debut CD, "Harlem Dreams" featuring Grady Tate and Frank Wess was released in Japan on the M&I label on May 19, 2004. Akiko's CD is so popular in Japan she has returned twice to perform. Her CD release tour featured Grady Tate on drums and guitarist Satoshi Inoue in August 2004.

In September 2005, she returned to Japan with guitarist Eric Johnson and drummer Fukushi Tainaka. It was this trip that caught the eyes and ears of Hammond Suzuki officials. The group was invited to the factory and Mr. Suzuki personally awarded her a Hammond XK-3 organ and endorsement. Among her accomplishments is an organ jazz instructional book "Hammond Organ Complete" (Berklee Press) which was translated from English to Japanese and has been published in Japan. When she's not leading her trio, she still enjoys working as a featured sideman in Grady Tate's vocal group and with saxophonist Jerry Weldon and many others. Akiko is currently working on a new CD to be released in January 2007.
~Editorial Reviews http://www.amazon.com/Harlem-Dreams-Akiko-Trio-Tsuruga/dp/B0001Z2YY4

Personnel: Satoshi Inoue Guitar; Grady Tate Drums; Akiko Tsuruga Hammond B3; Frank Wess Tenor sax

Harlem Dreams

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)

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

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

Tuesday, April 6, 2021

Thad Jones - The Fabulous Thad Jones

Styles: Trumpet Jazz
Year: 1958
File: MP3@320K/s
Time: 63:36
Size: 146,3 MB
Art: Front

(8:47) 1. Get Out Of Town
(7:33) 2. One More
(4:56) 3. Bitty Ditty
(5:16) 4. More Of The Same
(5:15) 5. Elusive
(2:50) 6. Sombre Intrusion
(6:08) 7. I Can't Get Started
(3:51) 8. I'll Remember April
(3:33) 9. You Don't Know What Love Is
(3:45) 10. Chazzanova
(7:33) 11. Get Out Of Town (Alternate Take)
(4:03) 12. One More (Alternate Take)

Trumpeter Thad Jones made his debut as a leader for Charles Mingus' Debut label during 1954-55, music that has been reissued as a single CD in the OJC series and as part of a huge 12-CD Mingus Debut box set. The 12 performances (which include two alternate takes) really put the focus on Jones' accessible yet unpredictable style. Half of the music showcases Jones in a quartet with pianist John Dennis, bassist Mingus and drummer Max Roach. while the other six numbers are more in a Count Basie groove with Frank Wess on tenor and flute, pianist Hank Jones, Mingus and drummer Kenny Clarke.

The originals tend to be tricky, and even such standards as "I'll Remember April," "You Don't Know What Love Is" and "Get Out of Town" have their surprising moments. ~ Scott Yanow http://www.allmusic.com/album/the-fabulous-thad-jones-mw0000262510

Personnel includes: Thad Jones (trumpet); Frank Wess (tenor saxophone, flute); John Dennis, Hank Jones (piano); Charles Mingus (bass); Max Roach, Kenny Clarke (drums).

The Fabulous Thad Jones

Wednesday, November 6, 2019

Philly Joe Jones Dameronia - Look, Stop, and Listen

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 55:16
Size: 128,3 MB
Art: Front

(5:52) 1. Look, Stop and Listen
(5:34) 2. If You Could See Me Now
(5:30) 3. Choose Now
(5:49) 4. Focus
(6:08) 5. Killer Joe
(5:05) 6. Dial B for Beauty
(4:28) 7. Our Delight
(5:52) 8. Theme of No Repeat
(5:41) 9. If You Could See Me Now - 1st Take
(5:12) 10. Look, Stop and Listen - 1st Take

Philly Joe Jones was Tadd Dameron's roommate for nine years and long thought that the pianist/composer's contributions had been pretty much overlooked. He formed the tribute band Dameronia to make explore the late composer's music, debuting with a small group in the spring of 1982. With the help of trumpeter Don Sickler (who makes a pair of rare appearances on tenor sax as well) as musical director, the band expanded by the time of its first recording a few months later to a nonet. By the time of its second recording the following year, the personnel had changed slightly, now including pianist Walter Davis, Jr., tenor giant Johnny Griffin, tenor saxophonist Charles Davis and alto saxophonist Frank Wess (both of whom double on flute), baritone saxophonist Cecil Payne, trombonist Benny Powell, trumpeter Virgil Jones, and bassist Larry Ridley. Sickler's transcriptions of Dameron's arrangements reveal the depth of his music. "Look, Stop and Listen" is a showcase for the leader, while Griffin shines in the richly textured ballad "If You Could See Me Now," backed by the lush flutes and brass. Wess' flighty alto and Powell's sassy trombone are featured in the rarely performed "Focus." Another gem is the infrequently heard "Dial B for Beauty," spotlighting Davis in a ballad setting instead of the driving hard bop often associated with him. The sole composition not by Dameron is a hard-charging take of "Killer Joe," again showcasing Griffin, who was invited as a guest for two songs initially but encouraged by the musicians to hang around and play on other tracks. Not satisfied with the original mix of the LP due to the dominant presence of the leader's drums (due to the fact that he refused to play in an isolation booth), original session engineer Rudy Van Gelder remixed the album, improving the sound and adding two alternate takes. Highly recommended. ~Ken Dryden https://www.allmusic.com/album/look-stop-and-listen-mw0001954564

Personnel: Philly Joe Jones – drums; Johnny Griffin - tenor saxophone; Don Sickler – trumpet, tenor saxophone, director; Virgil Jones – trumpet; Benny Powell – trombone; Frank Wess – alto saxophone, flute; Charles Davis – tenor saxophone, flute; Cecil Payne – baritone saxophone; Walter Davis Jr. – piano; Larry Ridley – double bass

Look, Stop, and Listen

Wednesday, July 17, 2019

Hank Jones - One More - The Music of Thad Jones

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 69:22
Size: 159,9 MB
Art: Front

(5:37) 1. Subtle Rebuttal
(4:54) 2. Thad's Pad
(6:40) 3. Kids Are Pretty People
(5:49) 4. One More
(7:05) 5. Mean What You Say
(8:02) 6. A Child Is Born
(5:12) 7. Bossa Nova Ova
(7:02) 8. The Waltz You Swang for Me
(5:37) 9. H & T Blues
(5:23) 10. Consummation
(5:27) 11. The Farewell
(2:31) 12. Monk's Mood

Great jazz things have been happening at IPO Recordings, and they have been for a while. One More: Music of Thad Jones is the sixth CD from Executive Producer Bill Sorin, and it continues the generous spirit of tribute that has informed each of its predecessors. Three of the six recordings so far have been among the final recordings of the late piano maestro, Sir Roland Hanna, with another Hanna album on the way later this year. Listeners familiar with the Thad Jones-Mel Lewis Band should know that Hanna held the piano chair in the band from its beginning in '66 through '74, and that he often performed Thad's compositions on his own recordings. Hanna is present posthumously on One More, in a recreation of one his classic unaccompanied introductions to "A Child Is Born, arguably Jones' most famous composition. One More indeed pays homage to Jones the composer with stellar performances of 11 of his tunes. The aggregation that performs Michael Patterson's distinctive arrangements is an octet made up of a Who's Who of straight-ahead blowing jazz. James Moody, Benny Golson and Frank Wess appear on tenor and other saxophones, with Wess tripling on flute; Bob Brookmeyer on trombone and Jimmy Owens on trumpet and fluegelhorn comprise the brass section. The superb rhythm section is anchored by Richard Davis on bass and Mickey Roker on drums. One might wonder if Hanna were still alive, he would be on piano. But here we have the redoubtable Hank Jones, Thad's brother, on piano. It is hard to ask for more. Ira Gitler points out in his liner notes, "What Patterson has done is write for this ensemble (and what an ensemble) without losing the spirit of the big band. That's the way Thad wrote, very translatable. With musicians who have no doubt known one another and played together often over many years, there is the feeling here of a reunion, a celebration not only of Thad Jones' talents as a composer but perhaps of the rare chance to play together again.

For a one-time project, the group is surprisingly tight and polished; everyone really seems to have come to play his best, together. Without slighting any of the other masters, one can't miss the contributions of Hank Jones on piano and Jimmy Owens on trumpet, which are consistently brilliant on this album, on virtually every cut. What an honor for jazz lovers to still have Hank in our midst; here and on his new Great Jazz Trio recordings of late he sounds better than ever. Perhaps Owens' highlight is his solo on "Consummation. Poetic justice: Thad Jones wrote the song for a concert performance by Owens in '69. One More concludes on a rather special note. The final track is an unaccompanied solo performance by Hank Jones of "Monk's Mood, the only tune on the album not by Thad. He is playing an arrangement that he learned, note-for-note, directly from the composer himself, Thelonious Monk, in the mid-'40s, which was a favorite of Thad's. IPO seems headed in a good direction. One More: Music of Thad Jones follows With Malice Toward None: The Music of Tom McIntosh, another great composer, which features some of the same musicians. Who knows? Maybe someday we will see a tribute to the compositional talents of Sir Roland Hanna, another match surely to be made in heaven. ~ Wayne Zade https://www.allaboutjazz.com/one-more-music-of-thad-jones-by-wayne-zade.php

Personnel: Benny Golson (tenor saxophone); James Moody (tenor and soprano saxophone); Frank Wess (tenor and alto saxophone, flute); Jimmy Owens (trumpet and fluegelhorn); Bob Brookmeyer (trombone); Hank Jones (piano); Richard Davis (bass); Mickey Roker (drums)

One More - The Music of Thad Jones

Thursday, December 20, 2018

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

Wednesday, August 8, 2018

Dexter Gordon - Sophisticated Giant

Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 55:59
Size: 128,9 MB
Art: Front

(7:41) 1. Laura
(6:39) 2. The Moontrane
(8:53) 3. Red Top
(7:55) 4. Fried Bananas
(9:52) 5. You're Blasé
(4:54) 6. How Insensitive
(4:51) 7. Diggin' In
(5:10) 8. It's Only a Paper Moon

This excellent Columbia album was recorded less than a year after Dexter Gordon's well-publicized tour of the United States following a dozen years spent living in Europe. With assistance from such other major players as trumpeters Woody Shaw and Benny Bailey, vibraphonist Bobby Hutcherson sounds in superlative form on Woody Shaw's "The Moontrane," four standards, and his own "Fried Bananas." In addition to the original program (which features Dexter with an all-star tentet), the 1997 CD reissue adds two 1979 features for vocalese singer Eddie Jefferson ("Diggin' It" and "It's Only a Paper Moon") that were originally released on Gordon's Great Encounters; trumpeter Shaw and trombonist Curtis Fuller co-star with Gordon. An excellent acquisition. ~ Scott Yanow https://www.allmusic.com/album/sophisticated-giant-mw0000674545

Personnel: Dexter Gordon — tenor and soprano saxophone; Frank Wess — alto saxophone, flute, piccolo; Woody Shaw — trumpet, fluegelhorn; Benny Bailey — lead trumpet, fluegelhorn; Slide Hampton — trombone; Wayne Andre — lead trombone; Howard Johnson — tuba, baritone saxophone; Bobby Hutcherson — vibes; George Cables — piano; Rufus Reid — bass; Victor Lewis — drums

Sophisticated Giant

Roland Kirk - Left & Right

Styles: Saxophone Jazz
Year: 1968
File: MP3@320K/s
Time: 42:55
Size: 101,2 MB
Art: Front

( 1:18) 1. Black Mystery Has Been Revealed
(19:36) 2. Expansions
( 3:48) 3. Lady's Blues
( 3:41) 4. I X Love
( 3:24) 5. Hot Cha
( 4:13) 6. Quintessence
( 2:54) 7. I Waited For You
( 3:57) 8. A Flower Is A Lovesome Thing

The title of this album, Left and Right, no doubt refers to the sides of Rahsaan Roland Kirk's brain, which were both heavily taxed in the composing, arranging, conducting, and playing of this recording. For starters, the band is huge 17 players plus a 16-piece string section, all of it arranged and conducted by Kirk, a blind man. None of this would matter a damn if this weren't such a badass platter. Along with Kirk's usual crew of Ron Burton, Julius Watkins, Dick Griffin, Jimmy Hopps, and Gerald Brown, there are luminaries in the crowd including Alice Coltrane on harp, Pepper Adams on baritone saxophone, and no less than Roy Haynes helping out on the skins. What it all means is this: The man who surprised and outraged everybody on the scene as well as blew most away was at it again here in "Expansions," his wildly ambitious and swinging post-Coltrane suite, which has "Black Mystery Has Been Revealed" as its prelude. While there are other tracks on this record, this suite is its centerpiece and masterpiece despite killer readings of Billy Strayhorn's "A Flower Is a Lovesome Thing" and "Quintessence." "Expansions" has Kirk putting his entire harmonic range on display, and all of the timbral extensions he used in his own playing are charted for a string section to articulate. There are subtleties, of course, which come off as merely tonal variations in extant harmony with the other instruments, but when they are juxtaposed against a portrayal of the entire history of jazz from Jelly Roll Morton to the present day then they become something else: the storytellers, the timbres, and the chromatic extensions that point in the right direction and get listeners to stop in the right places. This is an extreme for Rahsaan extremely brilliant and thoroughly accessible. ~ Thom Jurek https://www.allmusic.com/album/left-right-mw0000661555

Personnel: Roland Kirk: tenor saxophone, manzello, stritch, clarinet, flute, organ, narration, thumb piano, celesta; Jim Buffington, Julius Watkins: french horn; Frank Wess: woodwinds; Richard Williams: trumpet; Dick Griffith, Benny Powell: trombone; Daniel Jones: basoon; Pepper Adams: baritone saxophone; Alice Coltrane: harp; Ron Burton: piano; Vernon Martin: bass; Roy Haynes: drums; Jimmy Hopps: drums; Warren Smith: percussion, vocals; Gerald "Sonny" Brown: percussion; Gil Fuller: arranger

Left & Right

Sunday, July 1, 2018

Hank Crawford - Mr. Blues Plays Lady Soul

Bitrate: MP3@320K/s
Time: 36:46
Size: 84.2 MB
Styles: Jazz/Funk/Soul
Year: 2005
Art: Front

[2:37] 1. Groovin'
[3:34] 2. I Can't See Myself Leaving You
[3:26] 3. Never Let Me Go
[3:38] 4. Baby, I Love You
[3:11] 5. Lady Soul
[3:32] 6. Soul Serenade
[3:54] 7. Ain't No Way
[2:13] 8. Since You've Been Gone (Sweet Sweet Baby)
[3:12] 9. Take A Look
[7:24] 10. Going Down Slow

Alto Saxophone – Frank Wess, Hank Crawford; Baritone Saxophone – Pepper Adams; Bass – Charles Rainey, Jerry Jemmott; , Ron Carter; Drums – Bernard Purdie; Guitar – Eric Gale; Organ, Piano – Paul Griffin; Tenor Saxophone – Seldon Powell; Tenor Saxophone, Flute – David Newman; Trombone – Benny Powell, Jimmy Cleveland; Trumpet – Bernie Glow, Ernie Royal, Snookie Young, Joe Newman.

With an unmistakable blues wail, full of emotion and poignancy, altoist Hank Crawford bridges the gap between that tradition and that of jazz more completely than any other living horn player. Born in Memphis, Crawford was steeped in the blues tradition from an early age. He began playing piano but switched to alto when his father brought one home from the army. He claims his early influences as Louis Jordan, Earl Bostic, and Johnny Hodges. Crawford hung out with Phineas Newborn, Jr., Booker Little, and George Coleman in high school. Upon graduating, Crawford played in bands fronted by Ike Turner, B.B. King, Junior Parker, and Bobby "Blue" Bland at Memphis' Palace Theater and Club Paradise. In 1958 Crawford went to college in Nashville where he met Ray Charles. Charles hired Crawford originally as a baritone saxophonist. Crawford switched to alto in 1959 and remained with Charles' band -- becoming its musical director -- until 1963. The phrasing and voicings he learned there proved invaluable to him as the hallmark of his own sound. He also wrote and arranged a tune for Charles. The cut, "Sherry," his first for the band, was put on the Live at Newport album. Crawford cut a slew solo albums for Atlantic while with the band, and when he formed his group, he remained with the label until 1970. He signed with Creed Taylor's Kudu in 1971 and cut a series of fusion-y groove jazz dates through 1982. In 1983 he moved to Milestone and returned to form as a premier arranger, soloist, and composer, writing for small bands -- that included guitarist Melvin Sparks, organist Jimmy McGriff, and Dr. John -- as well as large. Crawford has been constantly active since then, as a leader and sideman, recording the best music of his long career. ~ Thom Jurek

Mr. Blues Plays Lady Soul mc
Mr. Blues Plays Lady Soul zippy

Sunday, May 27, 2018

Dick Katz - In High Profile

Bitrate: MP3@320K/s
Time: 38:35
Size: 88.3 MB
Styles: Bop, Swing
Year: 1984/2016
Art: Front

[4:08] 1. Laverne Walk
[4:43] 2. Crazy She Calls Me
[4:49] 3. A Few Bars For Basie
[4:26] 4. But Not For Me
[5:56] 5. Cousin Mar
[4:48] 6. Friday The 13th
[5:16] 7. Lament
[4:25] 8. No Matter What

Bass – Marc Johnson; Drums – Al Harewood; Flute, Tenor Saxophone – Frank Wess; Piano – Dick Katz; Trombone – Jimmy Knepper.

Through the years, pianist Dick Katz through played an important role behind the scenes on many recording dates, including notable sets by Helen Merrill and Lee Konitz. He has led relatively few sessions of his own, making this quintet outing with Frank Wess (mostly on flute but taking "A Few Bars for Basie" on tenor), trombonist Jimmy Knepper, bassist Marc Johnson and drummer Al Harewood a special occasion. Actually, the horns sit out on four of the eight selections, which are more spontaneous trio features, while the full band tracks sport Katz's colorful arrangements. Highlights of the now out-of-print set include Oscar Pettiford's "Laverne Walk," "Crazy She Calls Me," John Coltrane's "Cousin Mary," and Thelonious Monk's "Friday the 13th." ~Scott Yanow

In High Profile mc
In High Profile zippy

Wednesday, April 18, 2018

Frank Wess - The Flute Mastery Of Frank Wess

Bitrate: MP3@320K/s
Time: 58:48
Size: 134.6 MB
Styles: Flute jazz
Year: 1981/2013
Art: Front

[6:16] 1. Lover Come Back To Me
[5:59] 2. Spring Is Here
[5:04] 3. Riled Up
[6:25] 4. There Is No Greater Love
[5:15] 5. Nada Mas
[5:36] 6. Battle Royal
[6:38] 7. Lover Come Back To Me (Alt Take 1)
[5:47] 8. Spring Is Here (Alt Take 1)
[6:48] 9. There Is No Greater Love (Alt Take 3)
[4:53] 10. Nada Mas (Alt Take 1)

This excellent 1981 date from Frank Wess is, as its title suggests, the first -- and only -- all-flute session from the man who brought the instrument to prominence as a soloist in creative mainstream jazz during the 1950s. Wess -- also a fine saxophonist -- has a list of credits including the Billy Eckstine Orchestra in the late '40s and Count Basie's legendary 1950s band with Frank Foster. He won the Down Beat critic's poll for flute for six consecutive years between 1959 and 1964. The Flute Mastery of Frank Wess was produced by Gus Statiras, and the session's other personnel include bassist George Mraz, pianist Tommy Flanagan, and drummer Ben Riley. The original six-track program includes lovely readings of the standards "Lover Come Back to Me," "Spring Is Here," and "There Is No Greater Love," Duke Ellington's "Battle Royal," and two excellent Wess originals in "Nada Mas" and "Riled Up." In addition are bonus cuts that feature alternate takes of the standards as well as "Nada Mas." ~Thom Jurek

The Flute Mastery Of Frank Wess mc
The Flute Mastery Of Frank Wess zippy

Sunday, June 18, 2017

Howard Alden - Your Story: The Music Of Bill Evans

Styles: Guitar Jazz
Year: 1994
File: MP3@320K/s
Time: 57:32
Size: 131,7 MB

(5:33) 1. Tune For A Lyric
(7:00) 2. Loose Bloose
(4:02) 3. Displacement
(5:15) 4. Time Remembered
(4:16) 5. Two Lonely People
(7:29) 6. Funkallero
(3:55) 7. Only Child
(7:24) 8. Laurie
(4:29) 9. Maxine
(5:10) 10. Five
(2:54) 11. Your Story

There seem to be a flurry of pianoless CD tributes to the late pianist Bill Evans in the mid-1990s, by far the most successful is this release by the extraordinary guitarist Howard Alden. He waited until he started playing a seven string guitar to fully explore Evans' rich and often difficult melodies, as he was then able to keep them in their original keys while being able to round out the original harmonies by playing the low notes himself on the extra string. Of course, it doesn't hurt him to have the talented bassist Michael Moore (who worked for a time in Evans' trio) and drummer Al Harewood on hand. Another thing that make this CD stand out from similar efforts is Alden's willingness to concentrate on the less familiar works by the pianist. The constantly shifting "Tune for a Lyric" and "Discplacement" are challenges that he seems to meet effortlessly, while the Latin setting of "Time Remembered" adds the ethereal flute of Frank Wess, and the foot patting bluesy "Loose Blues," with Wess on tenor sax, will compare favorably to Evans' original recording with Zoot Sims. Alden also includes several works written near the end of the pianist's career. "Laurie" is a lush blend of Alden's soft guitar and Wess' romantic tenor, while "Maxine" begins with the leader's unaccompanied solo before switching to a waltz-like setting featuring some of Moore's typically brilliant playing. There isn't a track on this CD by Howard Alden that is less than excellent. Highly recommended. ~ Ken Dryden http://www.allmusic.com/album/your-story-the-music-of-bill-evans-mw0000119387

Personnel: Howard Alden (guitar); Frank Wess (tenor saxophone, flute); Michael Moore (bass); Al Harewood (drums).

Your Story: The Music Of Bill Evans

Friday, June 16, 2017

Gene Krupa, Buddy Rich - Krupa And Rich

Styles: Jazz, Swing
Year: 1955
File: MP3@320K/s
Time: 71:59
Size: 166,9 MB
Art: Front

(10:30) 1. Buddy's Blues
(13:57) 2. Bernie's Tune
( 7:47) 3. Gene's Blues
( 8:50) 4. Sweethearts On Parade
( 8:54) 5. I Never Knew
(10:51) 6. Sunday
(11:06) 7. The Monster

On this CD reissue, drummers Gene Krupa and Buddy Rich only actually play together on one of the seven songs, a lengthy rendition of "Bernie's Tune" that has a six-minute "drum battle." Krupa and Rich do perform two songs apiece with a remarkable all-star band consisting of trumpeters Dizzy Gillespie and Roy Eldridge, tenors Illinois Jacquet and Flip Phillips, pianist Oscar Peterson, guitarist Herb Ellis, and bassist Ray Brown. Each of the principals get some solo space, giving this release more variety than one might expect. In addition there are two bonus cuts from a Buddy Rich date that feature the drummer with trumpeters Thad Jones and Joe Newman, tenors Ben Webster and Frank Wess, Oscar Peterson, Ray Brown, and rhythm guitarist Freddie Green. Excellent music overall if not quite essential. ~ Scott Yanow http://www.allmusic.com/album/krupa-and-rich-mw0000111452

Personnel: Gene Krupa, Buddy Rich (drums); Dizzy Gillespie, Roy Eldridge, Thad Jones, Joe Newman (trumpet); Illinois Jacquet, Flip Phillips, Ben Webster, Frank Wess (tenor saxophone); Oscar Peterson (piano); Freddie Green, Herb Ellis (guitar); Ray Brown (bass).

Krupa And Rich

Tuesday, May 23, 2017

Elvin Jones - Elvin!

Styles: Jazz, Post Bop
Year: 1962
File: MP3@320K/s
Time: 38:16
Size: 87,7 MB
Art: Front

(6:23) 1. Lady Luck
(6:34) 2. Buzz-At
(4:09) 3. Shadowland
(3:33) 4. Pretty Brown
(8:07) 5. Ray-El
(5:03) 6. Four and Six
(4:23) 7. You Are Too Beautiful

Drummer Elvin Jones' first full-length album as a leader is different than one would expect when it is taken into consideration that he was a member of the fiery John Coltrane Quartet at the time. This sextet session, which also includes his brothers Thad and Hank on cornet and piano in addition to flutist Frank Wess, Frank Foster on tenor, and bassist Art Davis, is straight-ahead with a strong Count Basie feel. Jones is still recognizable on the fairly obscure material (only "You Are Too Beautiful" qualifies as a standard) and shows that he can cook in the fairly conventional setting. All of the musicians are in fine form, and two selections feature the rhythm section as a trio. ~ Scott Yanow http://www.allmusic.com/album/elvin%21-mw0000180674

Personnel: Drums – Elvin Jones; Bass – Art Davis; Cornet – Thad Jones; Flute – Frank Wess; Piano – Hank Jones; Saxophone – Frank Foster

Elvin!

Sunday, April 16, 2017

The Carnegie Hall Jazz Band - The Carnegie Hall Jazz Band

Bitrate: MP3@320K/s

Time: 61:25

Size: 140.6 MB

Styles: Bop, Swing, Big band

Year: 1996/2006

Art: Front

[ 8:22] 1. In The Mood

[ 4:47] 2. It Never Entered My Mind

[ 7:05] 3. Shiny Stockings

[ 9:59] 4. Giant Steps

[10:05] 5. Frame For The Blues

[10:39] 6. Sing, Sing, Sing

[ 5:03] 7. Getting Sentimental Over You

[ 5:22] 8. South Rampart Street Parade

Alto Saxophone – Frank Wess (tracks: 1, 6); Alto Saxophone, Clarinet, Flute – Jerry Dodgion; Alto Saxophone, Soprano Saxophone, Clarinet, Flute – Dick Oatts; Baritone Saxophone – Gary Smulyan; Bass – Peter Washington; Bass Trombone – Doug Purviance; Drums – Lewis Nash; Piano – Renee Rosnes; Tenor Saxophone – Lew Tabackin (tracks: 4); Tenor Saxophone, Clarinet, Flute – Ralph Lalama; Tenor Saxophone, Flute – Ted Nash; Trombone – Dennis Wilson, Slide Hampton, Steve Turre; Trumpet, Flugelhorn – Byron Stripling, Earl Gardner, Lew Soloff, Ryan Kisor. Recorded with a two microphone Cello recording system. Recorded at Sony Studios, New York City.

The ONLY recording of the CARNEGIE HALL JAZZ BAND is a rewarding experience to any jazz lovers ears. The music director for the ensemble was trumpeter Jon Faddis, and for the most part he has done an admirable job producing this along with Newport Jazz impressario, Goerge Wein. 8 tunes with 5 arrangers (Jim McNeely, Garnett Brown, Slide Hampton, Frank Foster and the unknown to my background at least, Randy Sandke). The band unlike others of its ilk, emphasizes classics (in the jazz and pop venues) instead of originals. However, there lies the knocking off of one star to this CD. The originals are not the way you might want to hear them played. Usually thats a good thing, but in some cases ,i.e. IN THE MOOD, the opening number, it can get a little jarring. That aside, the muscianship is top notch. Frank Wess, Jon Faddis, Ted Nash, Jerry Dodgion, Lew Tabackin, Renee Rosnes, to name a few in this band, turn in some fine solos.

This is not a "live" album even though it may look like it is at first glance. Recorded at Sony Music Studio B in NYC with a minimal amount of takes (according to the notes) with no post production or "mixing" which is a rarity today. ~Daddyojazz

The Carnegie Hall Jazz Band