Ira Sullivan & Stu Katz - A Family Affair: Live at Joe Segal's Jazz Showcase

Styles: Saxophone, Trumpet And Vibraphone Jazz 
Year: 2011
File: MP3@320K/s
Time: 70:27
Size: 162,2 MB
Art: Front

( 7:51)  1. Blues Two Views
(11:39)  2. Gee, Matthew
( 9:05)  3. Pennies from Heaven
( 6:58)  4. Scrapple from the Apple
( 9:01)  5. Lullaby of the Leaves
( 7:45)  6. Yesterdays
( 9:28)  7. Take the A Train
( 6:53)  8. Stablemates
( 1:43)  9. What a Friend We Have in Jesus

Multi-instrumentalist Ira Sullivan spent a good while working around Chicago before leaving for Florida in the early '60s, though he retained a significant fan base in his old hometown. This live recording made in 2010 over four nights at Joe Segal's Jazz Showcase is a reunion, featuring vibraphonist Stu Katz, who while in his teens had regularly sat in with Sullivan over a half-century earlier before pursuing a law career. Joining them in the rhythm section are pianist Dan Trudell, bassist Dennis Carroll, and drummer George Fludas, the latter two who have played often with Sullivan for years. Starting off with a bluesy hard bop original, "Blues Two Views," the leader offers some sinewy muted trumpet, followed by strong features for Katz and Trudell before the leader returns with a vibrato-filled tenor solo. Sullivan switches to alto sax for an expressive, offbeat take of "Pennies from Heaven" (in which Katz switches to piano) and plays soprano sax with equal authority in a moody rendition of "Lullaby of the Leaves" and a driving "Yesterdays" (the latter featuring vocalist Lucia Newell's buoyant scat solo). Stu's son Steve takes over on bass for a breezy run-through of "Take the 'A' Train," with the vibist shining in the lead before Sullivan makes his explosive entrance on tenor. The attentive audience obviously enjoyed the reunion as much as the players on-stage, yet another fine example of memorable music documented at the longtime Chicago nightspot. ~ Ken Dryden https://www.allmusic.com/album/a-family-affair-live-at-joe-segals-jazz-showcase-mw0002186814

Personnel:  Saxophone – Ira Sullivan; Trumpet – Ira Sullivan; Vibraphone – Stu Katz; Acoustic Bass – Dennis Carroll; Drums – George Fludas; Piano – Dan Trudell; Voice – Lucia Newell

A Family Affair: Live at Joe Segal's Jazz Showcase

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Paulette Dozier - In Walked You

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 50:45
Size: 117,2 MB
Art: Front

(3:51)  1. The Days of Wine and Rosaes
(3:50)  2. Autumn Leaves
(5:39)  3. Just the Way You Are
(4:14)  4. In Walked You
(4:11)  5. Loving You
(3:23)  6. Together Yet Alone
(4:55)  7. How Am I Suppose to Live Without You
(4:10)  8. Sunny
(3:55)  9. Proud Mary
(4:16) 10. Let's Fall in Love
(3:35) 11. With You
(4:41) 12. Summer Breeze

A successful voiceover performer, model, and professional actress, with a commanding presence onstage, Paulette Dozier is also an exciting vocalist with a sultry appeal. In Walked You, her third full-length solo disc, reveals the tender side of the singer in a wonderfully charming album that combines standards from Great American Songbook with pop classic and original tunes from the vocalist and longtime collaborator and friend, pianist Mike Levine. Dozier's smooth and sensual delivery seems to be a defining characteristic, distinguishing her from the plethora of female vocalists that dot the jazz landscape these days. Her approach to "The Days of Wine and Roses," "Autumn Leaves" and Billy Joel's "Just the Way You Are," shine new light to oft-recorded masterpieces, painted with new colors and feel. Her knack for scatting and the impressive musical support from Levine, electric violinist Nicole Yarling and bassist extraordinaire Jamie Ousley, among others, provide a stylish, light and pleasurable listening experience. Bobby Hebb's pop classic "Sunny" gets a fresh new treatment from Dozier, with amid-tempo romp aided by solid solo work from flautist Domenica Fossati, and the vocalist adding more sultry scatting for an interesting twist. John Fogerty's Creedence Clearwater Revival classic, "Proud Mary," is a rock tune rarely found in jazz circles and yet, here, the singer leaves her softer side behind and comes out swinging with the help of drummer Sammy Levine, and alto saxophonist Jesse Jones Jr. providing the fiery edge. Harold Arlen's immortal "Let's Fall In Love" is one of the sweetest numbers of the set, with Dozier demonstrating her power and vocal range in a superb performance. The original "With You" and Seals and Crofts' "Summer Breeze" close out a truly breezy performance from one of the most unheralded jazz vocalists around. Whether displaying a mastery of beautiful ballads or churning out a swinging song with a measure of sizzle, Dozier crafts a splendidly enchanting musical statement on In Walked You, the kind of jazz vocals album that bears sampling often. ~ Edward Blanco https://www.allaboutjazz.com/in-walked-you-paulette-dozier-d-enterprises-inc-review-by-edward-blanco.php

Personnel: Paulette Dozier: vocals; Mike Levine: piano; Sammy Levine: drums; Jamie Ousley: bass; Nicole Yarling: electric violin (1); Richard Bravo: percussion (1, 2, 5, 8, 9); John Lovell: shekere (1),flugelhorn (10); Domenica Fossati: flute (5, 8); Ira Sullivan: flugelhorn (6); Jesse Jones Jr.: alto saxophone (9); Alex Berti: bass (11); Dan Warner: guitar (11).

In Walked You

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Ira Sullivan - Horizons

Styles: Saxophone And Trumpet Jazz
Year: 1967
File: MP3@320K/s
Time: 41:14
Size: 94,7 MB
Art: Front

(4:58)  1. E Flat Tuba G
(5:05)  2. Norwegian Wood
(5:45)  3. Everything Happens To Me
(4:57)  4. Adah
(8:23)  5. Horizons
(3:15)  6. Oh Gee!
(8:48)  7. Nineveh

One of the hippest albums ever from Chicago reedman/trumpeter Ira Sullivan a set that takes on a really different feel than his previous bop-styled records and which shows a whole new side of the musician! Ira's clearly inspired here by the changes in jazz in the 60s particularly the work of John Coltrane and he reaches forward in a wonderfully expressive way that's filled with joy, life, and a spiritual sensibility we never heard this strongly again in Sullivan's music. There's a definite modal jazz vibe to most of the record played beautifully by an obscure rhythm section that features Dolphe Castellano on piano and electric harpsichord, William Fry on bass, and Jose Cigno on drums players with a wonderfully refreshing conception that really makes the album sparkle. Yet Sullivan's the clear star of the show, too really shining on a range of horns that includes trumpet, tenor, and soprano sax sometimes played together on the same tune. Lon Norman plays a bit of trombone on the record and the set's got some great eastern numbers like "Ninevah", "Horizons", and "Adah" – plus the tracks "Oh G", "Norwegian Wood", and "E Flat Tuba G". (Red & purple label pressing. Cover has a small cutout hole.)  © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/8172/Ira-Sullivan:Horizons

Personnel: Ira Sullivan (soprano & tenor saxophones, trumpet, flugelhorn); Lon Norman (trombone); Dolphe Castellano (piano, electric harpsichord); William Fry (bass); Jose Cigno (drums).

Horizons

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Ira Sullivan - Blue Stroll

Styles: Saxophone And Trumpet Jazz 
Year: 1959
File: MP3@320K/s
Time: 54:20
Size: 125,6 MB
Art: Front

( 6:07)  1. Wilbur's Tune
( 6:44)  2. My Old Flame
( 5:56)  3. Blue Stroll
( 7:28)  4. 63rd Street Theme
(19:50)  5. Bluzinbee
( 8:13)  6. Wilbur's Tune (alternate)

Many years have passed since Ira Sullivan, who turned 80 on May 1, 2011, left Chicago. The multi-hornman moved to Florida in the early '60s, and he never moved back to the Windy City. But Sullivan was so revered on the Chicago jazz scene of the '50s that local musicians still associate him with Chi-Town after all these years. Sullivan was still living in Chicago when, in 1959, he recorded Blue Stroll, an excellent hard bop date that united him with tenor saxophonist Johnny Griffin, pianist Jodie Christian, bassist Victor Sproles, and drummer Wilbur Campbell. The musicians' rapport is as strong on "Wilbur's Tune" (Delmark's CD version offers both the six-minute master take and an eight-minute alternate take), "63rd Street Theme," and the title track as it is on the Sam Coslow/Arthur Johnston standard "My Old Flame," which is the album's lone ballad. Sullivan plays no less than four different instruments on this CD: trumpet, alto sax, baritone sax, and the peck horn. In fact, he solos on all four instruments on "Bluzinbee," an exuberant 19-minute jam that finds Griffin making rare appearances on the alto and baritone saxes. Griffin, of course, is best remembered for his big-toned tenor playing, and hearing him solo on alto and baritone is a pleasant surprise (much like Charlie "Bird" Parker's appearances on tenor in 1947 and 1953 or Jackie McLean's tenor playing on his 1957 session A Long Drink of the Blues). Many of Chicago's bop musicians have lamented Sullivan's decision to move to Florida and wish he had never left Chi-Town; listening to the rewarding Blue Stroll, it isn't hard to understand why they feel that way. ~ Alex Henderson https://www.allmusic.com/album/blue-stroll-mw0000269751

Personnel: Ira Sullivan (alto saxophone, tenor saxophone, baritone saxophone, trumpet); Johnny Griffin (saxophone, alto saxophone, tenor saxophone, baritone saxophone); Jodie Christian (piano); Wilbur Campbell (drums).    

Blue Stroll

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J.R. Monterose - J.R. Monterose

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 48:45
Size: 111,8 MB
Art: Front

(6:59)  1. Wee-Jay
(5:18)  2. The Third
(8:06)  3. Bobbie Pin
(6:33)  4. Marc V
(9:04)  5. Ka-Link
(5:26)  6. Beauteous
(7:17)  7. Wee-Jay (alternate take)

Tenor saxophonist J.R. Monterose (Frank Anthony Monterose, Jr.) made only two appearances on Blue Note, both in 1956 one with trumpeter Kenny Dorham's Jazz Prophets recorded live at the Café Bohemia and the other as a leader of his own crack hard bop unit. It was an early ascendancy for Monterose, who had recorded with bassist Charles Mingus, vibraphonist Teddy Charles, and worked in the big bands of arranger Claude Thornhill and drummer Buddy Rich. But unlike tenor players Sonny Rollins, Hank Mobley and Tina Brooks, Monterose wouldn't make a home (and barely a sonic dent) on Alfred Lion's label, much less in New York. He was soon back in his hometown of Utica and not long for a European sojourn that lasted most of the rest of his life.  Presumably, it had nothing to do with Monterose's abilities that his time with Blue Note was so brief; rather, a loss of the proverbial cabaret card scuttled his appearances in the city and his ability to make work. On this program of three originals and readings of tunes by session drummer Philly Joe Jones, Paul Chambers and Donald Byrd, he's joined by scene regulars in pianist Horace Silver and Jones, as well as Chicagoans bassist Wilbur Ware and multi-instrumentalist Ira Sullivan. Sullivan is heard here on trumpet, but also had baritone, alto saxophone and flute in his arsenal.  Perhaps one reason Monterose's name isn't mentioned even among the heavy birds in Blue Note's stable is because his sound was, even at this fairly early stage, extraordinarily individual echoes of Chu Berry and Coleman Hawkins in his massive tone and the odd, quotable cadences of Sonny Rollins. Yet his influence lay more in pianists. Harmonically, Monterose cited Bud Powell (which would give him a passing affinity with alto saxophonist Jackie McLean), and his solos are odd-metered whirls, half-dissolved licks and emphatic blats that seem directly linked to isolationist pianistic flourishes. The leader's mid-tempo composition "Wee Jay" is the lead-off track here, and is reprised in an alternate take on this Rudy Van Gelder remaster edition.

Monterose probes shards of the theme, a lilting and fragmentary cadence of honks and blats with their edges rounded and velvety, slowly strung together in flourishes and then broken apart. There are echoes of Rollins (circa the contemporaneous Vanguard recordings) in his attack. Lingering a little behind the beat he's still an extraordinarily rhythmic player, riding the rhythm section's wave in alternating swirls and pointillist jabs. Silver is conspicuously absent for the first few bars of Monterose's solo, perhaps trying to find a way in with his comping the tenor man's phrases are obviously a world unto themselves. For those used to Silver's hard, churchy approach, his touch is much lighter here, perhaps because Monterose, Ware and Philly Joe bring such meat to the proceedings. Donald Byrd's "The Third" follows; a jagged and nearly stop-time theme that fits well with Monterose's sinewy and stammering patterns as a soloist. He takes cues from Silver's arpeggiated cascades, hopping and pirouetting into a collective dance with Sullivan. The trumpeter is an excellent front line foil, a brittle and ragged logic that fills the holes in the leader's quixotic play of force and filigree. It's hard to imagine a player like Monterose making cookie-cutter hard bop sessions the likes of which fill out the catalogs of many jazz labels from the period. However, he was certainly up to the task of making a warm and utterly unique contribution to the field, and having this date available again in stunning sound is a welcome homage to an uncompromising and individual saxophonist. ~ Clifford Allen https://www.allaboutjazz.com/jr-monterose-jr-monterose-by-clifford-allen.php

Personnel:  J.R. Monterose: tenor saxophone;  Ira Sullivan: trumpet;  Horace Silver: piano;  Wilbur Ware: bass;  Philly Joe Jones: drums.

J.R. Monterose

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Red Rodney & Ira Sullivan - Night and Day

Styles: Saxophone And Trumpet Jazz
Year: 1981
File: MP3@320K/s
Time: 33:54
Size: 78,8 MB
Art: Front

(4:06)  1. Night And Day
(6:22)  2. You Leave Me Breathless
(6:12)  3. Babies
(5:28)  4. Muck And Meyer
(5:26)  5. Frito Mistos
(6:16)  6. Dial-A-Brew

The Red Rodney-Ira Sullivan Quintet was one of the finest groups of the early 1980s. Rodney had an opportunity to play fresh material; Sullivan gained more exposure than he ever had in his career; and pianist Garry Dial was given high-profile and challenging writing assignments; bassist Barry Smith and drummer Steve Bagby completed the band in mid-1981. On this Muse LP (their fourth of six recordings), the musicians perform fresh versions of two standards ("Night and Day" and "You Leave Me Breathless"), plus four challenging originals. 

Sullivan plays trumpet on three of the six pieces, alto on two, and soprano on one. The exciting "Dial-A-Brew" is a highlight of this recommended (but sadly out of print) set.~Scott Yanow http://www.allmusic.com/album/night-and-day-mw0000874551

Personnel:  Alto Saxophone – Ira Sullivan;  Drums – Steve Bagby;  Flugelhorn – Red Rodney;  Piano – Garry Dial;  Soprano Saxophone – Ira Sullivan;  Trumpet – Ira Sullivan, Red Rodney

Night and Day

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