Chick Corea - The Mad Hatter

Styles: Piano Jazz   
Year: 1978
File: MP3@320K/s
Time: 50:02
Size: 115,4 MB
Art: Front

( 4:25)  1. The Woods
( 1:08)  2. Tweedle Dee
( 1:39)  3. The Trial
( 6:30)  4. Humpty Dumpty
( 1:19)  5. Prelude To Falling Alice
( 8:17)  6. Falling Alice
( 2:50)  7. Tweedle Dum
(13:07)  8. Dear Alice
(10:43)  9. The Mad Hatter Rhapsody

This post-Return to Forever Chick Corea LP is a bit of a mixed bag. Corea is heard on his many keyboards during an atmospheric "The Woods," interacts with a string section on "Tweedle Dee," features a larger band plus singer Gayle Moran on a few other songs and even welcomes fellow keyboardist Herbie Hancock for the "Mad Hatter Rhapsody." The most interesting selection, a quartet rendition of "Humpty Dumpty" with tenorman Joe Farrell set the stage for his next project, Friends. Overall, this is an interesting and generally enjoyable release.~ Scott Yanow https://www.allmusic.com/album/the-mad-hatter-mw0000105344

Personnel: Chick Corea - piano, synthesizer, marimba, percussion, vocals, arrangement;  Joe Farrell - tenor saxophone, flute, piccolo;  Herbie Hancock - electric piano on Falling Alice and The Mad Hatter Rhapsody;  Jamie Faunt - bass;  Eddie Gómez - bass;  Steve Gadd - drums;  Harvey Mason - drum;  Gayle Moran - vocals

The Mad Hatter

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Brian Bromberg - A New Day

Styles: Jazz, Post Bop
Year: 1986
File: MP3@320K/s
Time: 47:11
Size: 108,2 MB
Art: Front

(4:35)  1. Summertime
(6:23)  2. Sunrise
(7:09)  3. Take A Walk In The Park With Me
(5:25)  4. Shana
(6:02)  5. Mushy Tushy
(5:08)  6. It's A New Day
(6:03)  7. My Funny Valentine
(6:24)  8. Oriental Ho-Down

Bassist Brian Bromberg's debut as a leader finds him alternating between acoustic and electric and welcoming such guests as tenorman Ernie Watts, Joe Farrell (on his final recording date) and, during "Take a Walk in the Park With Me," flugelhornist Freddie Hubbard. This diverse LP (which has not yet been reissued on CD) ranges from fairly straight-ahead to some funk and fusion; Bromberg performs six originals, plus "Summertime" and "My Funny Valentine." An enjoyable set, although not essential. 

~ Scott Yanow https://www.allmusic.com/album/new-day-mw0000947779

Personnel: Brian Bromberg - keyboards, fretless bass, producer, executive producer; Ernie Watts - tenor saxophone; Greg Armstrong - soprano saxophone; Joe Farrell - flute; Freddie Hubbard - trumpet; Arthur Statman - keyboards;  Kei Akagi - keyboards; Guy Moon - keyboards; Carl Cherry - drums; Alex Acuña - percussion, drums.

A New Day

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Lalo Schifrin - Towering Toccata

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 41:09
Size: 95,8 MB
Art: Front

(5:05)  1. Towering Toccata (Based on the Toccata & Fugue in D Minor)
(4:20)  2. Frances' Theme (From the Film "The Day of the Animals")
(6:16)  3. Macumba
(2:51)  4. Eagles in Love (From the Film "The Eagle Has Landed")
(4:13)  5. Theme from "King Kong" (From the Paramount Film "King Kong")
(2:43)  6. Most Wanted Theme
(6:09)  7. Midnight Woman
(4:48)  8. Roller Coaster (From the Universal Film "Rollercoaster")
(4:41)  9. Eagles in Love (From the Film "The Eagle Has Landed") - Alt. Take

After scoring an unexpected high-profile success with the disco/jazz fusion of Black Widow, Lalo Schifrin quickly recorded a follow-up album in a similar vein. 1977's Towering Toccata replicates the elegant yet dance-friendly style of Black Widow to the tee, right down to the unconventional cover choices. The best of these is the title track, an insistently rhythmic piece that transforms Bach's gothic-organ extravaganza "Toccata and Prelude in F Minor" into a mid-tempo disco workout that backs up Schifrin's jazzy explorations on the electric piano and synthesizer with scratching rhythm guitar and a pronounced dance beat. Other notable moments on this album include "Most Wanted Theme," which is transformed from action-show theme music into a symphonic funk workout, and "Rollercoaster," a funky vamp from the Schifrin soundtrack of the same name that is ideally suited for Towering Toccata's disco/jazz mindset. There is even another monster-movie theme cover in the vein of the previous album's "Jaws"; this time, it's a disco-friendly treatment of John Barry's "Theme From King Kong" that layers atmospheric horn and flute lines over a bottom-heavy rhythm section fueled by wah-wah guitar and synth bass. However, other tracks on Towering Toccata fail to be as distinctive or adventurous as these highlights. For instance, the original tunes ("Macumba," "Midnight Woman") fit the album's mood but are lacking strong hooks and memorable twists in their arrangements that distinguished the originals on Black Widow. This problem of inconsistent material, combined with the fact that the album is basically a stylistic carbon copy of its predecessor, means that it isn't the ideal follow-up to Black Widow that Schifrin fans might have hoped for. That said, the album has enough strong tunes and enough of a consistent sound to please hardcore Lalo Schifrin fans and anyone who loved Black Widow. ~ Donald A.Guarisco https://www.allmusic.com/album/towering-toccata-mw0000742076

Personnel: Lalo Schifrin - piano, keyboards, arranger, conductor; Burt Collins, John Frosk, John Gatchell - trumpet; Urbie Green - trombone; Joe Farrell, Jeremy Steig - flute; Gerry Niewood - alto saxophone; David Tofani, Lou Marini - tenor saxophone, flute; Ronnie Cuber - baritone saxophone; Clark Spangler - keyboards; Eric Gale, John Tropea - guitar; Will Lee - bass; Steve Gadd - drums, dahka-de-bello; Max Ellen, Paul Gershman, Emanuel Green, Charles Libove, Marvin Morgenstern, David Nadien, Max Pollikoff, Matthew Raimondi - violin; Lamar Alsop, Manny Vardi - viola; Charles McCracken, Alan Shulman - cello

Towering Toccata

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Maynard Ferguson - Newport Suite

Styles: Trumpet Jazz
Year: 1960
File: MP3@320K/s
Time: 39:32
Size: 91,2 MB
Art: Front

(4:28)  1. Jazz Bary
(5:11)  2. Foxy
(8:42)  3. Newport
(3:56)  4. Got the Spirit
(2:56)  5. Sometimes I Feel Like a Motherless Child
(7:05)  6. Ol' Man River
(7:12)  7. Three More Foxes

Maynard Ferguson's bands of the early '60s produced many memorable albums, including this studio effort. Sax player and bandmember Willie Maiden contributed two originals. "The Jazz Bary" is a fun feature for baritone saxophonist Frank Hittner and Ferguson (who plays the rarely heard baritone horn), in which they play in unison, in thirds, and trade solos. "Three More Foxes" features trumpeters Dick Hiefer and Don Ellis and the leader, each taking turns soloing. This upbeat blues showcases great comping by pianist Jaki Byard as well. Liner note writer George T. Simon slips in a hilarious pun about Maiden's chart of "Ol' Man River," which "starts flowing with a mad Maiden form." The remaining charts were contributed by Slide Hampton (though he isn't present on the recording itself). "Foxy" is a bluesy feature for young tenor saxophonist Joe Farrell and the leader. "Newport," which was premiered at the 1959 festival there, is an elaborate suite with many flavors: a funeral-like dirge, a powerful uptempo blues that suggests the influence of Duke Ellington's "I'm Gonna Go Fishin'" in spots, and delicious call and response between the brass and reed sections. And he brings out his gospel roots in his scoring of the spiritual "Sometimes I Feel Like a Motherless Child," the album's only relatively low-key number. Long out of print (though it was available as part of Mosaic's limited-edition CD box set of Maynard Ferguson's Roulette recordings), this is one of the trumpeter's very best LPs. ~ Ken Dryden https://www.allmusic.com/album/newport-suite-mw0000883790

Personnel:  Maynard Ferguson - trumpet, valve trombone, baritone horn; Don Ellis, Augustino 'Chet' Ferretti, Rick Kiefer - trumpet; Charles Greenlee, Mike Zagatini - trombone; Jimmy Ford - alto saxophone; Joe Farrell, Willie Maiden - tenor saxophone; Frank Hittner - baritone saxophone; Jaki Byard - piano; Aubrey Tosin - bass; Stu Martin - drums; Slide Hampton, Willie Maiden - arranger

Newport Suite

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Thad Jones, Mel Lewis Jazz Orchestra - Presenting Thad Jones, Mel Lewis & The Jazz Orchestra

Styles: Flugelhorn Jazz, Big Band
Year: 1966
File: MP3@320K/s
Time: 45:06
Size: 104,5 MB
Art: Front

( 5:29)  1. Once Around
( 5:37)  2. Willow Weep For Me
( 5:01)  3. Balanced Scales = Justice
( 5:48)  4. Three In One
( 5:32)  5. Mean What You Say
( 4:37)  6. Don't Ever Leave Me
(12:59)  7. ABC Blues

The debut recording of the Thad Jones/Mel Lewis Orchestra launched a mighty (if part-time) all-star big band. With arrangements by Jones, Bob Brookmeyer, and Tom McIntosh and such soloists as baritonist Pepper Adams, pianist Hank Jones, valve trombonist Brookmeyer, Jerome Richardson on various reeds, altoist Jerry Dodgion, and Joe Farrell and Eddie Daniels on tenors (in addition to flügelhornist Jones), it is not surprising that the orchestra was soon rated near the top. Among the seven selections are four Thad Jones originals (including "Mean What You Say"), "Willow Weep for Me," and Brookmeyer's lengthy "ABC Blues." ~ Scott Yanow  https://www.allmusic.com/album/presenting-thad-jones-mel-lewis-the-jazz-orchestra-mw0000877905

Personnel:  Thad Jones – flugelhorn;  Mel Lewis – drums;  Hank Jones – piano;  Richard Davis – bass;  Pepper Adams, Eddie Daniels, Joe Farrell, Jerry Dodgion,  Jerome Richardson – saxophone;  Jimmy Nottingham,  Bill Berry, Danny Stiles , Richard Williams – trumpet;  Jack Rains, Bob Brookmeyer – trombone, Tom McIntosh, Cliff Heather.

Presenting Thad Jones-Mel Lewis & The Jazz Orchestra

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Maynard Ferguson - Dancing Sessions

Styles: Trombone And Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 79:00
Size: 187,6 MB
Art: Front

(2:23)  1. Secret Love
(3:11)  2. 'Tis Autumn
(3:29)  3. Soft Winds
(3:15)  4. 'Round Midnight
(2:51)  5. I'm Beginning To See The Light
(2:30)  6. Stompin' At The Savoy
(3:35)  7. It Might As Well Be Spring
(2:27)  8. I'll Be Seeing You
(3:34)  9. If I Should Lose You
(2:40) 10. Where's Teddy?
(3:02) 11. Hey There
(4:06) 12. Mangos
(2:56) 13. Don't Take Your Love From Me
(2:56) 14. My Foolish Heart
(1:59) 15. Let's Face The Music And Dance
(2:53) 16. You Don't Know What Love Is
(2:46) 17. It's Only A Paper Moon
(3:46) 18. The Party Is Over
(3:36) 19. The Masquerade Is Over
(3:10) 20. Let's Do It
(4:02) 21. Spring Is Here
(2:24) 22. It Could Happen To You
(3:29) 23. Teach Me Tonight
(2:22) 24. Do Nothin' Till You Hear From Me
(3:03) 25. Don't Take Your Love From Me
(2:20) 26. Let's Fall In Love

This release contains the complete contents of the original Maynard Ferguson big band LPs Plays Jazz for Dancing (1959) and Lets Face the Music and Dance(1960), plus three rare bonus tracks taken from the same sessions and previously issued as singles or on compilation albums. The two albums presented here, come from the zenith of this orchestra and present Maynard Ferguson's vision of dance music at a time in which dancing and Jazz were undergoing serious decline. By 1950, Swing music seemed a thing of the past. Modern Jazz focused on small formats or big orchestral scores which targeted concert halls as opposed to dancing establishments. Most of the dance scene had been taken over by Rock & Roll and R&B bands. The great Canadian-born trumpeter Maynard Ferguson died in California on August 23, 2006, at the age of 78. His career had spanned over 60 years. He formed his own 14-piece band in 1956, and as it starred at the famous Birdland club in New York, it picked up the moniker the Birdland Dream Band - which remained active for nearly nine years, during an era in which most big bands saw very difficult times due to the change of times and musical styles. https://www.freshsoundrecords.com/maynard-ferguson-albums/5227-dancing-sessions-2-lp-on-1-cd.html

Personnel:  Trumpet – Bill Chase, Chet Ferretti,  Don Ellis, Jerry Tyree, Larry Moser, Maynard Ferguson, Rick Kiefer; Alto Saxophone – Jimmy Ford , Lanny Morgan; Baritone Saxophone – Frank Hittner , John Lanni; Bass – Charlie Saunders, Jimmy Rowser; Drums – Frankie Dunlop, Rufus Jones; Euphonium – Maynard Ferguson; Featuring – Maynard Ferguson And His Orchestra; Mellophone – Maynard Ferguson;  Piano – Bob Dogan, Jaki Byard; Tenor Saxophone – Joe Farrell, Willie Maiden; Trombone – Don Sebesky , Kenny Rupp, Maynard Ferguson, Slide Hampton

Dancing Sessions

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Thad Jones & Mel Lewis Jazz Orchestra - Consummation

Styles: Flugelhorn Jazz
Year: 1970
File: MP3@320K/s
Time: 46:36
Size: 107,7 MB
Art: Front

( 5:13)  1. Dedication
( 3:07)  2. It Only Happens Every Time
( 6:42)  3. Tiptoe
( 4:09)  4. A Child Is Born
( 3:37)  5. Us
( 7:57)  6. Ahunk Ahunk
(10:38)  7. Fingers
( 5:09)  8. Consummation

Of the many albums recorded by the Thad Jones/Mel Lewis Orchestra, this was the greatest. Reissued on CD as part of a large Mosaic box set, this set introduced Jones' best-known composition, "A Child Is Born," and also has a colorful rendition of his sly "Tiptoe," and finds the big band ripping the roof off during the lengthy and very exciting "Fingers." The all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones' inventive and swinging arrangements. A classic. ~ Scott Yanow https://www.allmusic.com/album/consummation-mw0000221310

Personnel:  Thad Jones – flugelhorn; Snooky Young – trumpet; Danny Moore – trumpet; Al Porcino – trumpet; Marvin Stamm – trumpet; Eddie Bert – trombone; Benny Powell – trombone; Jimmy Knepper – trombone; Cliff Heather – bass trombone; Jerome Richardson – soprano saxophone, alto saxophone, flute, alto flute; Jerry Dodgion – alto saxophone, clarinet, flute, alto flute; Billy Harper – tenor saxophone, flute; Eddie Daniels – tenor saxophone, clarinet, flute; Richie Kamuca – baritone saxophone, clarinet; Pepper Adams – baritone saxophone; Joe Farrell – baritone saxophone; Roland Hanna – acoustic piano, electric piano; Richard Davis – acoustic bass, electric bass; Mel Lewis – drums; Jimmy Buffington, Earl Chapin, Julius Watkins  - French horn; Howard Johnson - tuba; David Spinozza - guitar

Consummation

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Andrew Hill - Dance With Death

Styles: Piano Jazz 
Year: 1980
File: MP3@320K/s
Time: 45:55
Size: 105,6 MB
Art: Front

(5:32)  1. Yellow Violet
(5:51)  2. Partitions
(7:31)  3. Fish 'N Rice
(6:39)  4. Dance With Death
(6:44)  5. Love Nocturne
(6:24)  6. Black Sabbath
(7:10)  7. Dance With Death (alternate take)

In a little over seven years beginning in '63, pianist Andrew Hill recorded over a dozen albums as a leader for Blue Note, yet it is only in recent years that the importance of these recordings is being recognized. Although he was overshadowed at the time by more eminently approachable pianists including Herbie Hancock and McCoy Tyner, the truth is that while Hill's somewhat more oblique style kept him from reaching a broader audience, time and Blue Note's reissue of several key Hill recordings are painting a picture of an artist who created a complex world of rhythms and harmonies, examining music on the left without losing sight of memorable thematic constructs and clever, shifting grooves. Groove may not be a word that comes immediately to mind when thinking of Hill, but one listen to the lightly funky "Fish 'n Rice" and the more subtly insistent pulse of both versions of the title track included on the recently reissued Dance With Death and it becomes clear that Hill is as capable of captivating rhythms as he is more complex shifts. His more challenging side is in evidence on the aptly-named "Partitions," where the piece is broken up into discrete segments of varying tempi that still manage to hang together as a conceptual whole. Hill's time sense, with front-line instruments seeming to follow each other as they walk through the complicated theme of the balladic "Love Nocturne" until they eventually converge, is more elastic, less rigid than many of his contemporaries. Hill's sometimes convoluted compositions could sound clumsy in the wrong hands, but as was the case on '64's classic Point of Departure, Hill has surrounded himself with a stunning, albeit generally less well-known lineup. 

Woodwind multi-instrumentalist Joe Farrell, who would achieve his greatest success with Chick Corea a few years down the road, was already an established player with a robust tenor sound and a less nasal soprano sound than Coltrane, and would go on to grace Hill's more overtly ambitious '69 date, Passing Ships . Charles Tolliver, whose thick trumpet tone differentiated him from other fine contemporaries like Woody Shaw, never achieved the level of attention he deserved, although he is featured on many fine recordings by artists including Horace Silver, Jackie McLean and Booker Ervin, and released a number of intriguing albums as a leader in the '70s. Bassist Victor Sproles may be the least-known member of the quintet, but he possesses an approach not unlike Ron Carter's and, along with drummer Billy Higgins, the best-known player on the session, he navigates the challenging meters without losing sight of the inherent swing of the material, most notably on "Yellow Violet." Meanwhile Hill the pianist solos with an intriguing combination of lyricism and odd eccentricity. Dance With Death may not be the unequivocal masterpiece that Point of Departure is, nor is it as monumentally ambitious as Passing Ships , but it comes close an outstanding small ensemble work that continues to demonstrate what people have been missing and are only now beginning to realize. ~ John Kelman https://www.allaboutjazz.com/dance-with-death-andrew-hill-blue-note-records-review-by-john-kelman.php?width=1920

Personnel: Charles Tolliver (trumpet), Joe Farrell (tenor sax, soprano sax), Andrew Hill (piano), Victor Sproles (bass), Billy Higgins (drums)

Dance With Death

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Joe Farrell - Farrell's Inferno

Styles: Saxophone And Flute Jazz
Year: 1980
File: MP3@320K/s
Time: 44:01
Size: 101,2 MB
Art: Front

(5:47)  1. Let's Go Dancing
(6:08)  2. Autumn Leaves
(5:58)  3. Dreams
(5:38)  4. Whip It Up
(7:17)  5. Invitation
(6:46)  6. Flamingo
(6:24)  7. Moon Germs

Joe Farrell's CTI albums of 1970-1976, which combined together his hard bop style with some pop and fusion elements, made him briefly popular among listeners not familiar with his earlier work. Farrell began playing clarinet when he was 11 and, after graduating from the University of Illinois in 1959, he moved to New York where he worked with the Maynard Ferguson Big Band (1960-1961) and Slide Hampton (1962), and recorded with Charles Mingus, Dizzy Reece, and a notable series with Jaki Byard (1965). A member of both the Thad Jones/Mel Lewis Orchestra (1966-1969) and Elvin Jones' combo (1967-1970), Farrell's distinctive sound on tenor and general versatility were assets. A member of the original version of Return to Forever (1971-1972), Farrell was fairly prosperous during the 1970s when his solo CTI records sold well, but a drug problem gradually caught up with him. After performing with Mingus Dynasty in the late '70s and recording with Louis Hayes in 1983, he moved to Los Angeles where he scuffled during his last couple of years. Farrell died from bone cancer in 1986 at age 48. In addition to CTI, Farrell recorded as a leader for Warner Bros., Xanadu, Contemporary, RealTime, Timeless, and (with Airto and Flora Purim) Reference. ~ Scott Yanow https://www.allmusic.com/artist/joe-farrell-mn0000125160/biography

Personnel:  Joe Farrell (Tenor sax, soprano sax, flute); Victor Feldman (Piano); John Guerin (Drums); Bob Magnusson (Bass).

Farrell's Inferno

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Andrew Hill - Passing Ships

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 47:40
Size: 109,4 MB
Art: Front

(4:09)  1. Sideways
(7:08)  2. Passing Ships
(8:32)  3. Plantation Bag
(9:49)  4. Noon Tide
(6:22)  5. The Brown Queen
(6:27)  6. Cascade
(5:11)  7. Yesterday's Tomorrow

The history of Blue Note Records is in many ways the history of the golden age of jazz. When Blue Note changed, the whole face of jazz changed. After releasing classic sides one after another for much of the '60s, Blue Note veered off into populist funk and, despite its present renaissance, never really recovered. With today's Blue Note subsisting on fewer quality releases and the RVG reissue series, its reputation of yore seems firmly in the past. If so, the occasional new "old" album released by the label is a rare opportunity to be part of those heady days. Pianist Andrew Hill, like Wayne Shorter, or Herbie Hancock, was one of the main proponents of the Blue Note style - heavy post bop that didn't shy away from experimentation. Hill's albums like Point of Departure or Compulsion probably would be mentioned in the same breath as Juju or Maiden Voyage if he had more consistent exposure. By the late '60s, Hill's tenure at Blue Note was almost up and several sessions he recorded remained unissued, not seen as commercially viable. What has become the recently released Passing Ships is a rare chance to hear Hill's advanced melodic and harmonic concepts applied to a nonet including such musicians as Woody Shaw, Julian Priester, Joe Farrell and Ron Carter. 

The irony of this material lying dormant for 34 years is that this Hill is more commercial; apparently Blue Note didn't agree then but with interest resurging for the idiosyncratic pianist, Passing Ships is available now as a period document, a burning bridge away from '60s progressive jazz. Hill's music doesn't translate very well to a big band, though this may be the strange audio levels and a presumed lack of substantial rehearsal. Howard Johnson's tuba sounds jarring on occasion, Ron Carter is underwhelming, and this is only rookie Lenny White's second session.  Bright spots include the double punch of trumpeters - Shaw and Dizzy Reece, both underappreciated and overshadowed by the era's more strident players. Even more satisfying is how the late Joe Farrell completely takes over, playing no less than five disparate instruments: soprano and tenor sax for lead work, alto flute and bass clarinet for moody ambience and English horn for stylistic filigree. What was originally a curio piece of large ensemble writing by Hill becomes an opportunity to see why everyone was so high on Farrell before he bottomed out on the CTI label in the '70s. Whatever he is playing, the music centers on him, the other musicians granting him well-deserved space.  But if you forget this is an Andrew Hill record, the twists of his compositions remind you. Much of the material is the typical bread-and-water post bop which Blue Note pioneered, Hill's leads calmly flowing through the steep ravine of the horns. Of the seven tunes, three are the length and intellectual meat of the album. The title track features all the perks of Hill's playing: suspensions, ostinatos, thought-provoking dissonances. "Plantation Bag" is quite a funky plantation, Hill's island roots in evidence. "Noon Tide" is the freest, most quintessential Hill piece; one segment demonstrates the subtleties of Hill's accompaniment. As Farrell leads, Hill comps underneath, distinctly changing the feel of the piece five times with his chord voicings. Hill, a product of an era that had many virtuosos, may be able to the most with the least, which is probably why his take on the avant-garde seems less dated than many. While not his best album, and there may be other sessions more deserving of resuscitation, the moments where Hill stretches out and Farrell makes one strong contribution after another make one pine for the days when Blue Notes were the notes. ~ Andrey Henkin https://www.allaboutjazz.com/andrew-hill-passing-ships-by-andrey-henkin.php?width=1920

Personnel:  Andrew Hill - piano;  Ron Carter - bass;  Julian Priester - trombone;  Dizzy Reece - trumpet;  Woody Shaw - trumpet;  Lenny White - drums;  Joe Farrell - bass clarinet, alto flute, English horn, soprano sax, tenor sax;  Bob Northern - French horn;  Howard Johnson - tuba, bass clarinet

Passing Ships

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Slide Hampton - Explosion! The Sound Of Slide Hampton

Styles: Trombone Jazz
Year: 1962
File: MP3@320K/s
Time: 29:51
Size: 71,8 MB
Art: Front

(2:26)  1. Revival
(2:23)  2. Maria
(3:59)  3. Delilah
(2:33)  4. Begin The Beguine
(3:01)  5. Your Cheatin' Heart
(3:33)  6. Spanish Flier
(2:58)  7. Bye Bye Love
(3:29)  8. Love Letters
(5:26)  9. Slide's Blues

The explosion in the title is definitely well-placed as trombonist Slide Hampton makes his group groove with a tremendous amount of power here all horns focused strongly on the rhythms, which themselves are wonderfully soulful! As with some of Hampton's best from the time, there's some really fresh young players on the set some obscure musicians, mixed with future heavyweights Joe Farrell and Ronnie Cuber on reeds plus piano from the great Horace Parlan! The tunes have a tight focus that really shows off Hampton's arranging skills and titles include "Spanish Flyer", "Bye Bye Love", "Slide's Blues", and "Begin The Beguine". (White label promo. Cover has some wear.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/33449/Slide-Hampton:Explosion-The-Sound-Of-Slide-Hampton

Personnel:  Slide Hampton - trombone, arranger;  Johnny Bello, Chet Ferretti, Jerry Tyree - trumpet;  Benny Jacobs-El - trombone;  Joe Farrell - tenor saxophone;  Jay Cameron, (1, 3, 5, 7, 8) Ronnie Cuber (2, 4, 6 & 9) - baritone saxophone;  Walter Davis, Jr., (1, 3, 5, 7, 8) Horace Parlan (2, 4, 6 & 9) - piano;  Bob Cranshaw - bass;  Vinnie Ruggiero - drums;  Willie Bobo - congas (2, 4, 6 & 9)

Explosion! The Sound Of Slide Hampton

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Joe Farrell - Moon Germs

Styles: Saxophone Jazz
Year: 1973
File: MP3@320K/s
Time: 37:33
Size: 87,8 MB
Art: Front

(11:47)  1. Great Gorge
( 7:26)  2. Moon Germs
( 8:31)  3. Time's Lie
( 9:47)  4. Bass Folk Song

Moon Germs is one of the few true jazz albums put out by CTI, a label whose artists gravitated towards the commercial possibilities of soul jazz, primarily to put food on the table. It’s a jaw dropper, one of the truly classic albums from the era. 

Farrell, known primarily for his work with Elvin Jones in the sixties and Chick Corea in the early seventies, has wisely recruited three up and comers from the new fusion scene for a session that proves every bit as intriguing as the truly bizarre cover.~David Rickert  https://www.allaboutjazz.com/moon-germs-joe-farrell-cti-records-review-by-david-rickert.php

Personnel: Joe Farrell-soprano sax, flute; Herbie Hancock-keyboards; Stanley Clarke-bass; Jack DeJohnette-drums.

Moon Germs

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Joe Farrell - Canned Funk

Styles: Saxophone And Flute Jazz
Year: 1975
File: MP3@320K/s
Time: 34:04
Size: 78,6 MB
Art: Front

(7:21)  1. Canned Funk
(9:53)  2. Animal
(9:05)  3. Suite Martinique
(7:45)  4. Spoken Silence

Joe Farrell's final of six CTI dates has fairly lengthy versions of four of his originals. Farrell, who adds baritone to his usual trio of instruments (tenor, soprano and flute), once again welcomes guitarist Joe Beck as his co-star, along with bassist Herb Bushler, drummer Jim Madison and percussionist Ray Mantilla. The music is melodic, sometimes funky, and enjoyable if not essential, but all of Joe Farrell's CTI sets are worth acquiring. ~ Scott Yanow https://www.allmusic.com/album/canned-funk-mw0000904447

Personnel:  Joe Farrell – tenor saxophone, soprano saxophone, baritone saxophone, flute;  Herb Bushler – bass;  Joe Beck – guitar;  Jim Madison – drums;  Ray Mantilla – conga, percussion.

Canned Funk

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Joe Farrell, Paul Horn - Jazz Cafe Presents

Bitrate: MP3@320K/s
Time: 41:10
Size: 94.3 MB
Styles: Bop
Year: 2008/2017
Art: Front

[ 9:34] 1. Imprompture, Samba De Orfeu
[ 3:54] 2. Nature Boy
[ 6:27] 3. Work Song
[ 8:48] 4. Here's That Rainy Day
[12:26] 5. Billie's Bounce

Joe Farrell's CTI albums of 1970-1976, which combined together his hard bop style with some pop and fusion elements, made him briefly popular among listeners not familiar with his earlier work. Farrell began playing clarinet when he was 11 and, after graduating from the University of Illinois in 1959, he moved to New York where he worked with the Maynard Ferguson Big Band (1960-1961) and Slide Hampton (1962), and recorded with Charles Mingus, Dizzy Reece, and a notable series with Jaki Byard (1965). A member of both the Thad Jones/Mel Lewis Orchestra (1966-1969) and Elvin Jones' combo (1967-1970), Farrell's distinctive sound on tenor and general versatility were assets. A member of the original version of Return to Forever (1971-1972), Farrell was fairly prosperous during the 1970s when his solo CTI records sold well, but a drug problem gradually caught up with him. After performing with Mingus Dynasty in the late '70s and recording with Louis Hayes in 1983, he moved to Los Angeles where he scuffled during his last couple of years. Farrell died from bone cancer in 1986 at age 48. In addition to CTI, Farrell recorded as a leader for Warner Bros., Xanadu, Contemporary, RealTime, Timeless, and (with Airto and Flora Purim) Reference. ~ Scott Yanow

Jazz Cafe Presents mc
Jazz Cafe Presents zippy

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Mike Longo - 900 Shares Of The Blues

Bitrate: MP3@320K/s
Time: 37:54
Size: 86.8 MB
Styles: Jazz/Funk/Soul
Year: 1974/2006
Art: Front

[5:00] 1. 900 Shares Of The Blues
[5:35] 2. Like A Thief In The Night
[6:04] 3. Ocean Of His Might
[5:30] 4. Magic Number
[7:28] 5. Summers Gone
[8:14] 6. El Moodo Grande

Drums – Mickey Roker; Electric Bass, Acoustic Bass – Ron Carter; Flute [Soprano, Tenor] – Joe Farrell; Guitar – George Davis (2); Percussion – Ralph MacDonald; Piano, Electric Piano – Michael Longo; Trumpet, Flugelhorn – Randy Brecker.

Mike Longo is best-known as a reliable and versatile player who was the pianist with Dizzy Gillespie during 1966-1973. He started taking piano lessons when he was three, played professionally when he was 15, and while in high school in Ft. Lauderdale, he had the opportunity to play with Cannonball Adderley. In 1960, Longo worked at the Metropole in New York with Red Allen and Coleman Hawkins, spent 1961 living in Toronto (where he studied with Oscar Peterson), and then returned to New York, where he accompanied some singers. Mike Longo recorded with Gillespie during his period with the great trumpeter and led a few of his own sessions for Mainstream, Pablo (1976), and Consolidated Artists (1981). His career slowed down after that, with his next major release being Explosion in 2000. ~bio by Scott Yanow

900 Shares Of The Blues mc
900 Shares Of The Blues zippy

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Don Sebesky - Giant Box

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 59:35
Size: 140,1 MB
Art: Front

(13:56)  1. Firebird/Bird Of Fire
( 5:50)  2. Song To A Seagull
( 8:15)  3. Free As A Bird
( 8:11)  4. Psalm 150
( 5:40)  5. Vocalise
( 9:48)  6. Fly/Circles
( 7:52)  7. Semi-tough

It's a bit bizarre to find an album called Giant Box in a small cardboard case, or as a download lacking physical form, but times change. When Don Sebesky's grand musical statement on CTI hit the marketplace in 1973, it came in a classical-type record box, befitting the stature of the music. Opinions vary as to whether Sebesky can be said to have been a savior of jazz in the '70s, or a jazz Judas who helped to commercialize the music. Truth be told, he's neither. Sebesky is simply a great arranger and talent who happened to thrive in this music during a period when the ideology of jazz was fractured in so many ways. Sebesky bore the brunt of critical attacks against this new offshoot, but he wasn't trying to reinvent the wheel. While his arrangements were occasionally excessive, many of his works are also masterful musical creations that create an entire universe of sound, in service of a particular artist's vision. While there may be reservations about the "Sebesky Sound," hindsight shows his arranging brilliance, as demonstrated on Giant Box.

The early '70s success of CTI afforded Creed Taylor the opportunity to give Sebesky some musical freedom on this project, and what he came up with is astonishing. Sebesky fuses Igor Stravinsky's "Firebird" and John McLaughlin's "Birds Of Fire" into a single work, featuring cinematic orchestral episodes and exciting solos from the likes of Hubert Laws and Freddie Hubbard. Joni Mitchell's "Song To A Seagull" becomes a feature for Paul Desmond's distant and lonely sounding alto saxophone, but Ron Carter's bass makes friends with him and the pair proves to be simpatico in its conversational work. The first of three Sebesky originals ("Free As A Bird") is also the first number that deals in hard swinging big band writing, and it also features some wonderful solo work from pianist Bob James, Freddie Hubbard now on flugelhorn and Grover Washington Jr. on soprano saxophone. Sebesky's take on Jimmy Webb's "Psalm 150" is the one number that doesn't stand up too well, as it comes off like a combination between solemn chanting, Donald Byrd's A New Perspective (Blue Note, 1963), standard-issue funk, and "Aquarius" from Hair (1967). Things get back on track with Desmond's sad-eyed saxophone work on "Vocalise," which also features vibraphonist Milt Jackson and Sebesky's superb string writing. The final pair of pieces on the album are representative of Sebesky's experimental side ("Fly/Circle") and understanding of popular, groove-based music ("Semi-Tough"). "Fly/Circle" is an episodic number that features Laws' effects-laden flute runs, Sebesky's pleasant vocals, an eerie Bernard Hermann-esque woodwind statement, solos over a small group setting, and more. "Semi-Tough" goes in a completely different direction, as Sebesky taps into raunchy, straight-up street funk that's part-Isaac Hayes and part Sanford And Son. While Giant Box is indicative of the bigger-is-better approach of the times, it also serves as a benchmark for creativity in arranging and composition, and helps to place Sebesky's talents in the proper light. ~ Dan Bilawsky https://www.allaboutjazz.com/giant-box-don-sebesky-cti-masterworks-review-by-dan-bilawsky.php

Personnel: Don Sebesky: piano (7), electric piano (1, 2, 3), organ (7), accordion (3, 6), clavinet (7), vocals (4, 6); Bob James: piano (3, 5, 6), organ (4, 7); Ron Carter: bass, electric bass, piccolo bass; Billy Cobham: drums (1, 4, 7); Jack DeJohnette: drums (2, 3, 5, 6); George Benson: guitar (7); Harry Leahey: guitar (1); Airto: percussion (1, 6, 7); Rubens Bassini: conga drums (4); Dave Friedman: percussion (4); Phil Kraus: percussion (4); Ralph MacDonald: percussion (4); Paul Desmond: alto saxophone (2, 5); Joe Farrell: soprano saxophone (6); Grover Washington, Jr.: alto saxophone (7), soprano saxophone (3); Milt Jackson: vibraphone (5); Freddie Hubbard: trumpet (1, 5), flugelhorn (3); Hubert Laws: flute (1, 6); Jackie Cain: vocals (4); Roy Kral: vocals (4); Randy Brecker: trumpet; Alan Rubin: trumpet; Joe Shepley: trumpet; Wayne Andre: trombone, baritone; Warren Covington: trombone, baritone; Garnett Brown: trombone; Paul Faulise: bass trombone, baritone; Alan Raph: bass trombone, baritone; Jim Biffington: french horn; Earl Chapin: french horn; Phil Bodner: flute, piccolo, clarinet, soprano saxophone, tenor saxophone, oboe, English horn; Jerry Dodgion: flute, piccolo, clarinet, soprano saxophone; Walt Levinsky: clarinet, tenor saxophone; George Marge: flute, clarinet, soprano saxophone, baritone saxophone, oboe, English horn; Romeo Penque: flute, piccolo, clarinet, soprano saxophone, oboe, English horn; Tony Price: tuba; Al Brown: violin; Harry Cykman: violin; Max Ellen: violin; Paul Gershman: violin; Harry Glickman: violin; Emanuuel Green: violin; Harold Kohon: violin; Charles Libove: violin; Harry Lookofsky: violin; Joe Malin: violin; David Nadien: violin; Gene Orloff: violin; Elliot Rosoff: violin; Irving Spice: violin; Seymour Barab: cello; Charles McCracken: cello; George Ricci: cello; Alan Shulman: cello; Margaret Ross: harp; Homer Mensch: concert string bass; Lani Groves: background vocals (7); Carl Caldwell: background vocals (7); Tasha Thomas: background vocals (7).

Giant Box

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Dizzy Reece - Asia Minor

Bitrate: MP3@320K/s
Time: 36:13
Size: 82.9 MB
Styles: Bop, Trumpet jazz
Year: 1962/1992
Art: Front

[5:26] 1. The Shadow Of Khan
[4:31] 2. The Story Of Love
[5:38] 3. Yamask
[4:37] 4. Spiritus Parkus (Parker's Spiritus)
[7:48] 5. Summertime
[8:11] 6. Ackmet

Baritone Saxophone – Cecil Payne; Bass – Ron Carter; Drums – Charlie Persip; Flute – Joe Farrell; Piano – Hank Jones; Tenor Saxophone – Joe Farrell; Trumpet – Dizzy Reece. Recorded in Englewood Cliffs, New Jersey; March 13, 1962.

This is one of trumpeter Dizzy Reece's finest recordings, a well-planned sextet date (reissued on CD) with baritonist Cecil Payne, Joe Farrell on tenor and flute, pianist Hank Jones, bassist Ron Carter, and drummer Charlie Persip that is on the level of a Blue Note album. Reece (who contributed three diverse originals) performs mostly minor-toned songs that seem to really inspire the musicians. The solos tend to be concise but quite meaningful, and, overall, this hard bop but occasionally surprising session is quite memorable. Strange that Reece would not get another opportunity to lead a record date until 1970. ~Sxptt Yanow

Asia Minor

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Jack McDuff - Sophisticated Funk

Styles: Piano, Jazz Funk
Year: 1976
File: MP3@320K/s
Time: 39:57
Size: 92,5 MB
Art: Front

(5:57)  1. Dit Da Dit
(6:42)  2. Ju Ju
(4:44)  3. To Be Named Later
(4:46)  4. Summer Dream
(3:25)  5. Jack's Boogie
(5:46)  6. Mini Pads
(5:13)  7. Electric Surf Board
(3:21)  8. Mannix Theme

Sophisticated...maybe. Funky...not so much. This forgettable effort from Jack McDuff veers far too close to smooth jazz territory for comfort swapping his signature Hammond B-3 for keyboards, McDuff settles for a fusion sound suggesting a particularly tepid CTI session, with none of the swagger and groove of his most memorable records. Saxophonist/flutist Joe Harrell is similarly tentative, although one must blame Billy Jones' overly slick arrangements there's really not much chance of salvaging cuts like "Mini Pads" and "'Mannix' Theme." Definitely don't judge this one by its lurid cover it's as tame as a de-clawed house cat. ~ Jason Ankeny http://www.allmusic.com/album/sophisticated-funk-mw0001002142

Personnel:  Jack McDuff - organ, piano, electric piano;  Joe Farrell - saxophones, flute;  Brian Cuomo – piano;  Robert Banks, Walter Morris – guitar;  Billy Jones - guitar, percussion;  Frank Prescod - electric bass;  Joe Corsello, Ted McKinsey, Clarence Oliver, Arnold Ramsey, Scott Schoer – drums;  Craig Derry, Scott Saunders - congas, percussion

Sophisticated Funk

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The Thad Jones-Mel Lewis Orchestra - Basie, 1969

Bitrate: MP3@320K/s

Time: 67:51

Size: 155.3 MB

Styles: Bop, Trumpet jazz

Year: 1969/1995

Art: Front

[10:53] 1. Second Race

[ 4:29] 2. Don't Ever Leave Me

[ 9:23] 3. The Waltz You Swang For Me

[11:09] 4. That's Freedom

[ 4:56] 5. Come Sunday

[11:48] 6. Don't Get Sassy

[ 6:47] 7. Bible Story

[ 8:22] 8. Groove Merchant

Jerome Richardson, Jerry Dodgion, Eddie Daniels, Joe Farrell, Pepper Adams (saxes, woodwinds); Thad Jones; Snooky Young, Jimmy Nottingham, Richard Williams (trumpets); Bob Brookmeyer, Garnett Brown, Tom McIntosh, Cliff Heather (trombones); Roland Hanna (piano), Richard Davis (bass), Mel Lewis (drums). Recorded in 1970 at the Village Vanguard in NYC, and was originally titled "Village Vanguard Live Sessions 3.

This live concert, broadcast over Swiss radio and released for the first time on this 1995 CD, features the Thad Jones/Mel Lewis Orchestra at its prime. The remarkable all-star group includes two first trumpeters (Snooky Young and Al Porcino) and such soloists as trumpeters Richard Williams, Danny Moore and Thad Jones, trombonist Jimmy Knepper, Jerome Richardson on soprano, Jerry Dodgion on flute and alto, baritonist Pepper Adams, pianist Roland Hanna, bassist Richard Davis and tenor great Joe Henderson whose short stint with the band was long enough to include this European tour. Highlights of the superior set include "Second Race," "The Waltz You Swang For Me," "Don't Get Sassy" and "Groove Merchant." Highly recommended to fans of the band, this Swiss CD can be found with a bit of a search.

Basie, 1969   

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Mose Allison - Hello There, Universe

Bitrate: MP3@320K/s

Time: 36:09

Size: 82.8 MB

Styles: Bop, Piano jazz

Year: 1970/2006

Art: Front

[2:14] 1. Somebody Gotta Move

[4:55] 2. Monsters Of The Id

[2:38] 3. I Don't Want Much

[3:48] 4. Hello There, Universe

[3:42] 5. No Exit

[2:23] 6. Wild Man On The Loose

[4:53] 7. Blues In The Night

[2:52] 8. I'm Smashed

[6:21] 9. Hymn To Everything

[2:17] 10. On The Run

Alto Saxophone, Flute – Jerome Richardson; Baritone Saxophone – Pepper Adams, Seldon Powell; Bass – Bob Cranshaw, John Williams; Drums – Joe Cocuzzo; Tenor Saxophone – Joe Farrell, Joe Henderson; Trumpet – Jimmy Nottingham, Richard Williams; Vocals, Piano, Organ – Mose Allison.

This obscure Mose Allison LP has the pianist/singer/lyricist using a larger band than usual, an octet with Richard Williams and Jimmy Nottingham on trumpets, altoist Jerome Richardson, either Joe Henderson or Joe Farrell on tenor, Pepper Adams or Seldon Powell on baritone, Bob Cranshaw and John Williams on bass, and drummer Joe Cucuzzo. The truth is, most of the other musicians are really not needed, for their solos take away from Allison's vocals and piano solos. Allison (who also plays a bit of organ) contributed nine of the ten songs on the album (all but "Blues in the Night"), best known of which are "Hello There, Universe" and "Wild Man on the Loose," although there are no hits or future standards included. This album, therefore, is a gap-filler rather than an essential recording. ~Scott Yanow

Hello There, Universe    

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