Les McCann - Never A Dull Moment! Live From Coast To Coast 1966-1967

Never A Dull Moment! Live From Coast To Coast 1966-1967 CD 1 Styles: Hard Bop, Soul Jazz, Piano Jazz, Post-Bop, Jazz-Funk
Year: 2023
Time: 41:34
File: MP3 @ 320/s
Size: 57,5 MB
Art: Front

(5:29) 1. Blue 'n' Boogie
(6:54) 2. Could Be
(4:07) 3. The Grabber
(9:15) 4. Yours Is My Heart Alone
(5:31) 5. The Shampoo
(6:13) 6. Wait For It
(4:02) 7. This Could Be The Start Of Something Big

Never A Dull Moment! Live From Coast To Coast 1966-1967 CD 1

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Never A Dull Moment! Live From Coast To Coast 1966-1967 CD 2

Styles: Hard Bop, Soul Jazz, Piano Jazz, Post-Bop, Jazz-Funk
Year: 2023
Time: 39:28
File: MP3 @ 320K/s
Size: 54,6 MB
Art: Front

(5:43) 1. Out In The Outhouse
(6:17) 2. A Night In Tunisia
(4:44) 3. Da-Da
(7:24) 4. Lavande
(7:22) 5. There Will Never Be Another You
(7:55) 6. (Back Home Again In) Indiana

Never A Dull Moment! Live From Coast To Coast 1966-1967 CD 2

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Never A Dull Moment! Live From Coast To Coast 1966-1967 CD 3

Styles: Hard Bop, Soul Jazz, Piano Jazz, Post-Bop, Jazz-Funk
Year: 2023
Time: 49:49
File: MP3 @ 320K/s
Size: 68,9 MB
Art: Front

(7:12) 1. Love For Sale
(8:25) 2. I Can Dig It
(8:58) 3. Doin' That Thing
(6:08) 4. I Am In Love
(3:11) 5. Goin' Out Of My Head
(9:13) 6. Sunny
(5:00) 7. Blues 5
(1:38) 8. The Shampoo

Never A Dull Moment! Live From Coast To Coast 1966-1967 CD 3

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Les McCann - "Never A Dull Moment! Live From Coast To Coast (1966-67)" is a previously unreleased collection of live recordings from unsung piano and vocal icon Les McCann. Featuring performances at Seattle's Penthouse jazz club in 1966 with Stan Gilbert, Paul Humphrey and Tony Bazley, plus recordings by Resonance founder and co-president George Klabin from the Village Vanguard in 1967 with Leroy Vinnegar and Frank Severino. This is an official release (in cooperation with Les McCann) transferred from the original tapes and mastered for by the legendary Bernie Grundman.

CD 1-Tracks 1-7 recorded at the Penthouse Club in Seattle on January 27, 1966

CD-2 Tracks 8-10 recorded at the Penthouse Club in Seattle on February 3, 1966, Tracks 11-12 recorded at the Penthouse Club in Seattle on February 10, 1966, Track 13 recorded at the Penthouse on August 15, 1963 with Victor Gaskin (bass and Tony Bazley (drums)

Les McCann - piano

Stanley Gilbert - bass

Paul Humphrey - drums

Tony Bazley - drums (Feb. 10, 1996)

CD 3-Tracks 14-21 recorded at the Village Vanguard on July 16, 1967

Les McCann - piano

Leroy Vinnegar - bass

Frank Severino - drums

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VA - Jazz Yule Love

Styles: Hard Bop, Holiday
Year: 2002
File: MP3@128K/s
Time: 50:56
Size: 50,3 MB
Art: Front

(6:30) 1. We Three Kings
(4:00) 2. White Christmas
(5:38) 3. Winter Wonderland
(3:03) 4. Sleigh Ride
(4:22) 5. It's the Most Wonderful Time of the Year
(3:29) 6. Christmas Heart
(4:03) 7. O Tannenbaum
(2:47) 8. Silent Night
(3:33) 9. O Come All Ye Faithful
(4:14) 10. A Child Is Born
(6:58) 11. Joy to the World
(2:19) 12. Angels We Have Heard on High

While in the studio the previous year with many of the legendary artists on his roster, working on their individual projects, Crusaders legend and Mack Avenue Records president Stix Hooper had a festive idea: get the likes of Terry Gibbs, Cedar Walton, Pete Jolly, George Shearing, Les McCann, Teddy Edwards, Eugene Maslov, and Kenny Burrell to take five and stir up the Christmas spirit with a Yuletide tune.

The resulting compilation, Jazz Yule Love, is an instant classic, a swinging traditional jazz sampler that showcases these cats at the peak of their game, being highly creative and improvisational amid the comfort of tunes everyone knows (and a McCann original everyone might not). Jolly's take on "It's the Most Wonderful Time of the Year" is especially hard-driving, and Gibbs' lighthearted take on "White Christmas" reminds you of the childlike joys of the season.

Jolly tones down for a reading of "O Tannenbaum" that invokes the subtle old arrangement of Vince Guaraldi. Overall, a beautiful and festive way to become familiar with the label and with some of the greatest jazz players of all time.By Jonathan Widran https://www.allmusic.com/album/release/jazz-yule-love-mr0000305943

Jazz Yule Love

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Richard 'Groove' Holmes - Somethin' Special

Styles: Jazz, Post Bop
Year: 1962
File: MP3@320K/s
Time: 47:08
Size: 109,6 MB
Art: Front

(9:12)  1. Something Special
(5:46)  2. Black Groove
(3:11)  3. Me & Groove
(5:17)  4. Comin' Through The Apple
(6:30)  5. I Though I Knew You
(5:27)  6. Carma
(5:41)  7. Blow The Man Down
(6:01)  8. Satin Doll

Somethin' Special is a laidback, funky classic which features Richard "Groove" Holmes trading licks with pianist Les McCann, saxophonist Clifford Scott and guitarist Joe Pass, who makes one of his first recorded appearances on this album. It's a fine, infectious album, highlighed by Holmes and McCann's stylish solo. Blue Note's 1997 CD reissue features two bonus cuts, including one that features saxophonist Ben Webster. ~ Leo Stanley https://www.allmusic.com/album/somethin-special-mw0000098677

Personnel: Richard "Groove" Holmes – organ; Les McCann – piano; Clifford Scott – alto saxophone, tenor saxophone; Joe Pass – guitar.

Somethin' Special

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Clifford Scott, Les Mccann & Joe Pass - Out Front

Styles: Saxophone Jazz, Post Bop
Year: 1963
File: MP3@320K/s
Time: 38:33
Size: 89,5 MB
Art: Front

(4:55) 1. Samba de Bamba
(7:12) 2. Over And Over
(5:39) 3. As Rosie And Ellen Dance
(2:07) 4. Cross Talk
(5:03) 5. Why Don't You Do Right
(7:51) 6. Just Tomorrow
(5:43) 7. Out Front

As rhythm and blues developed into the most popular black music in the late forties and early fifties, a lot of jazz-oriented musicians jumped the bandwagon in order to make a decent living. Perhaps decent isn’t the appropriate term. Regularly, players switched from swing bands to r&b outfits, which usually meant a change from one grueling touring schedule to another. One bows in awe to them in hindsight, the way guys like Eddie “Lockjaw” Davis, Eddie “Cleanhead” Vinson, Red Holloway, Don Wilkerson or Sam “The Man” Taylor, survived. Tenor saxophonist Clifford Scott, born in San Antonio, Texas in 1928, deceased in 1993, traveled a similar route.

Scott worked with Amos Milburn, Jay McShann, Lionel Hampton, Roy Brown and Roy Milton in the early fifties. Scott provided the groundbreaking honking tenor solo on organist Bill Doggett’s jukebox hit in 1955, Honky Tonk. He stayed with Doggett for a number of years. Subsequently, Scott acted as a leader, trying to capitalize on the honking hype with singles bearing gimmicky titles like Bushy Tail and The Kangaroo, and recorded as a prominent session musician in the r&b and pop field. His last big stint, before settling down as a local hero in San Antonio, was with the Ray Charles band, intermittently, from 1966 to 1970.

Based on the West Coast in the sixties, Scott was featured on a number of Pacific Jazz albums by the organ combo Billy Larkin & The Delegates. Scott recorded Plays The Big Ones on Pacific Jazz in 1963, a gritty soul jazz date featuring Hammond organ. It’s a nice enough date but incomparable with Scott’s subsequent album, Out Front!. During that session, Scott expanded his scope, holding on to the fried-bacon notes and the occasional crowd-pleasing climaxes, while displaying distinct suppleness and double-time fluency. Coming with the slightest vibrato, Scott’s style is sensual as hell, and hot as hell as well.

Sensual also applies to the Les McCann Trio, which consists of McCann, bassist Herbie Lewis, drummer Paul Humphrey, plus Joe Pass, as in: attractive, uplifting, rousing. McCann had cooperated with Joe Pass on Richard “Groove” Holmes’ Something Special, Les McCann’s Featuring Joe Pass, On Time and Soul Hits. The gospel-drenched vigor and probing accompaniment of McCann, the group’s abundant swing and the subtle and peppery phrases of Pass provide a stimulating canvas for the lurid, lean strokes of Scott, whom one imagines must’ve been elated with the possibility of working with such an immaculate quartet.

And as is usual with the presence of McCann on a recording date, the pianist contributes a couple of catchy tunes, like the driving Out Front and the crisp stop-time cooker Over And Over, which is marked by the typical McCann device of a shift in key. McCann also wrote Crosstalk, killer greasy tune that is pure Bo Diddley’s Not Fade Away, thriving on the rousing beat and statements of McCann and Pass and the rubato wail of Scott that takes one by surprise like a tornado in New Mexico: a soul jazz gem stopping at a mere 2.45 minutes.

Samba De Bamba is a different ball game, an equally swinging, Latin hard bop tune. Developing his story from sophisticated, fluent phrasing to the kind of terse blowing of Ben Webster, Scott reveals himself as a singular stylist. This, perhaps, comes as no surprise considering his past in the swing era. It is surprising, though, that the saxophonist wasn’t granted the opportunity to record more extensively throughout his career, except for a couple of albums in the early 90’s. More than that, it is a shame. http://flophousemagazine.com/2020/08/31/clifford-scott-out-front-pacific-jazz-1963/

Personnel: Clifford Scott (tenor and alto saxophone), Joe Pass (guitar), Les McCann (piano), Herbie Lewis (bass), Paul Humphrey (drums)

Out Front

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Richard "Groove" Holmes, Les McCann - Players

Styles: Hard Bop, Soul-Jazz
Year: 2020
File: MP3@320K/s
Time: 69:04
Size: 159,3 MB
Art: Front

(5:34)  1. That Healin' Feelin'
(4:30)  2. God Bless the Child
(3:24)  3. Next Spring
(6:21)  4. Them That's Got
(4:23)  5. How Long Blues
(8:13)  6. Good Groove
(5:57)  7. Willow Weep for Me
(5:18)  8. Just Friends
(3:12)  9. C.C. Rider
(4:08) 10. Licks a Plenty
(9:10) 11. Deep Purple
(4:43) 12. St. James Infirmary
(4:04) 13. Seven Come Eleven

Revered in soul-jazz circles, Richard "Groove" Holmes was an unapologetically swinging Jimmy Smith admirer who could effortlessly move from the grittiest of blues to the most sentimental of ballads. A very accessible, straightforward, and warm player, Holmes was especially popular in the black community and had been well respected on the Philadelphia/Southern New Jersey circuit by the time he signed with Pacific Jazz in the early '60s. He started receiving national attention by recording with such greats as Ben Webster and Gene Ammons. Best known for his hit 1965 version of "Misty," Holmes engaged in some inspired organ battles with Jimmy McGriff in the early '70s before turning to electric keyboards and fusion-ish material a few years later. The organ was Holmes' priority in the mid- to late '80s, when he recorded for Muse (he also had stints throughout his career with Prestige Records and Groove Merchant). Holmes was still delivering high-quality soul-jazz for Muse (often featuring tenor titan Houston Person) when a heart attack claimed his life at the age of 60 in 1991 after a long struggle with prostate cancer. He was a musician to the end, playing his last shows in a wheelchair. ~ Alex Henderson https://www.allmusic.com/artist/richard-groove-holmes-mn0000848952/biography

Players

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Lou Rawls, The Les McCann Trio - Stormy Monday

Styles: Vocal And Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 43:18
Size: 100,8 MB
Art: Front

(3:45)  1. (They Call It) Stormy Monday
(4:30)  2. God Bless the Child
(3:11)  3. See See Rider
(5:57)  4. Willow Weep for Me
(4:00)  5. I'm Gonna Move to the Outskirts of Town
(3:28)  6. In the Evening (When the Sun Goes Down)
(2:46)  7. 'Tain't Nobody's Biz-Ness If I Do
(3:12)  8. Lost and Lookin'
(3:55)  9. I'd Rather Drink Muddy Water
(3:08) 10. Sweet Lover
(2:58) 11. Blues Is a Woman
(2:23) 12. A Little Les of Lou's Blues

Lou Rawls has had a long and commercially successful career mostly singing soul, R&B, and pop music. Originally a gospel singer, Rawls' first album as a leader features him performing soulful standards backed by the Les McCann Trio. Few of the songs have been under-recorded through the years, but they sound fresh and lively when sung by Rawls; highlights include "Stormy Monday," "In the Evening," and "I'd Rather Drink Muddy Water." Pianist McCann gets a generous amount of solo space, and the reissue has three bonus tracks. This is still Rawls' definitive recording in the jazz idiom, cut before he went on to more lucrative areas. ~ Scott Yanow https://www.allmusic.com/album/stormy-monday-mw0000203592

Personnel: Lou Rawls - vocals; Les McCann - piano; Leroy Vinnegar - bass; Ron Jefferson - drums

Stormy Monday

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Les McCann Ltd. - "On Time"

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 51:25
Size: 119,0 MB
Art: Front

(4:17)  1. On Time
(4:50)  2. Yours Is My Heart Alone
(5:39)  3. This for Doug
(5:14)  4. Fondue
(3:04)  5. Bernie's Tune
(4:37)  6. Maichen
(5:02)  7. It Could Happen to You
(5:00)  8. You're Driving Me Crazy
(3:04)  9. So What
(3:32) 10. Direct South
(4:31) 11. Drifftin' Blues
(2:31) 12. Midnight Special

Les McCann's On Time was the eighth album of this talented and popular jazz pianists leader career. Always a consummately swinging and distinctively soulful communicator, he displays the full extent of his honest preaching, warmth and creativity in a range embracing the impressionistic on the introduction to On Time, and an expansive chordal approach on It Could Happen to You. In the pieces here, including four excellent originals by the groups members, he is engagingly melodic over the opening of Fondue, a fine vehicle for improvisation, while Jeffersons This for Doug is a lovely piece; and Maichen, by bassist Leroy Vinnegar, has a pretty, infectious melody, warmly embraced by McCann and the featured guest, Joe Pass, whose lucid solos are among the highlights of the album, particularly his theme statement on Yours Is My Heart Alone. Ron Jefferson and Vinnegar are ideal accompanists. 

The last three tracks feature the veteran blues singer and guitarist Bumble Bee Slim (a.k.a. Amos Easton), one of the best loved bluesmen during the 30s. Accompanied by the Les McCann Ltd., these were part of an album titled Back in Town!, recorded by Slim in 1962, after a long period out of the studios, and they make a nice addition to this collection. https://www.freshsoundrecords.com/les-mccann-albums/5821-les-mccann-ltd-on-time-bonus-tracks.html

Personnel:  Les McCann (p), Joe Pass (g), Leroy Vinnegar (b), Ron Jefferson (d), Bumble Bee Slim (added vcl).

"On Time"

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Les McCann - A Time Les Christmas

Size: 79,5 MB
Time: 33:56
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Soul, Xmas
Art: Front

01. Merry Christmas Baby (4:15)
02. Let It Snow (2:57)
03. I'll Be Home For Christmas (3:09)
04. Baby It's Cold Outside (4:28)
05. The Christmas Song (4:05)
06. This Christmas (3:11)
07. Have Yourself A Merry Little Christmas (3:31)
08. The Gift (4:08)
09. My Christmas Heart (3:12)
10. Away In A Manger (0:54)

Les McCann reached the peak of his career at the 1969 Montreux Jazz Festival, recording "Compared to What" and "Cold Duck Time" for Atlantic (Swiss Movement) with Eddie Harris and Benny Bailey. Although he has done some worthwhile work since then, much of it has been anticlimactic.

McCann first gained some fame in 1956 when he won a talent contest in the Navy as a singer that resulted in an appearance on television on The Ed Sullivan Show. After being discharged, he formed a trio in Los Angeles. McCann turned down an invitation to join the Cannonball Adderley Quintet so he could work on his own music. He signed a contract with Pacific Jazz and in 1960 gained some fame with his albums Les McCann Plays the Truth and The Shout. His soulful, funk style on piano was influential and McCann's singing was largely secondary until the mid-'60s. He recorded many albums for Pacific Jazz during 1960-1964, mostly with his trio but also featuring Ben Webster, Richard "Groove" Holmes, Blue Mitchell, Stanley Turrentine, Joe Pass, the Jazz Crusaders, and the Gerald Wilson Orchestra.

McCann switched to Limelight during 1965-1967 and then signed with Atlantic in 1968. After the success of Swiss Movement, McCann emphasized his singing at the expense of his playing and he began to utilize electric keyboards, notably on 1972's Layers. His recordings became less interesting to traditional jazz fans from that point on, and after his Atlantic contract ran out in 1976, McCann appeared on records much less often. However, he stayed popular and a 1994 reunion tour with Eddie Harris was quite successful. A mid-'90s stroke put him out of action for a time and weakened his keyboard playing (his band began carrying an additional keyboardist) but Les McCann returned to a more active schedule during 1996 and was still a powerful singer. His comeback was solidified by 2002's Pump It Up, a guest-heavy celebration of funk and jazz released on ESC Records. ~by Scott Yanow

A Time Les Christmas

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Les McCann - Another Beginning

Styles: Piano, Clarinet Jazz
Year: 1974
File: MP3@320K/s
Time: 42:58
Size: 101,2 MB
Art: Front

( 4:00)  1. Maybe You'll Come Back
( 3:18)  2. The Song Of Love
(10:30)  3. When It's Over
( 3:37)  4. Somebody's Been Lying 'Bout Me
( 5:24)  5. Go On And Cry
( 5:23)  6. My Soul Lies Deep
( 3:43)  7. The Morning Song
( 6:59)  8. Someday We'll Meet Again

Les McCann reached the peak of his career at the 1969 Montreux Jazz Festival, recording "Compared to What" and "Cold Duck Time" for Atlantic (Swiss Movement) with Eddie Harris and Benny Bailey. Although he has done some worthwhile work since then, much of it has been anticlimactic. McCann first gained some fame in 1956 when he won a talent contest in the Navy as a singer that resulted in an appearance on television on The Ed Sullivan Show. After being discharged, he formed a trio in Los Angeles. McCann turned down an invitation to join the Cannonball Adderley Quintet so he could work on his own music. He signed a contract with Pacific Jazz and in 1960 gained some fame with his albums Les McCann Plays the Truth and The Shout. His soulful, funk style on piano was influential and McCann's singing was largely secondary until the mid-'60s. He recorded many albums for Pacific Jazz during 1960-1964, mostly with his trio but also featuring Ben Webster, Richard "Groove" Holmes, Blue Mitchell, Stanley Turrentine, Joe Pass, the Jazz Crusaders, and the Gerald Wilson Orchestra. McCann switched to Limelight during 1965-1967 and then signed with Atlantic in 1968. After the success of Swiss Movement, McCann emphasized his singing at the expense of his playing and he began to utilize electric keyboards, notably on 1972's Layers. His recordings became less interesting to traditional jazz fans from that point on, and after his Atlantic contract ran out in 1976, McCann appeared on records much less often. However, he stayed popular and a 1994 reunion tour with Eddie Harris was quite successful. A mid-'90s stroke put him out of action for a time and weakened his keyboard playing (his band began carrying an additional keyboardist) but Les McCann returned to a more active schedule during 1996 and was still a powerful singer. His comeback was solidified by 2002's Pump It Up, a guest-heavy celebration of funk and jazz released on ESC Records. ~ Scott Yanow https://itunes.apple.com/au/album/another-beginning/204677906

Personnel:  Les McCann- (Vocals, Piano, Electric Piano, Clarinet, Synthesizer);  Jon Faddis, Joe Wilder- (Trumpet);  Herbie Hancock- (Piano);  Chuck Rainey- (Electric Bass);  Cissy Houston- (Background Vocals).

Another Beginning

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Les McCann - Les McCann Ltd. In San Francisco

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 61:45
Size: 144,4 MB
Art: Front

(4:09)  1. Oh, Them Golden Gates
(8:31)  2. Red Sails In The Sunset
(7:05)  3. Big Jim
(5:01)  4. I Am In Love
(6:22)  5. Jeepers Creepers
(6:20)  6. Gone On And Get That Church
(1:26)  7. We'll See Yaw'll After While, Ya Heah
(6:17)  8. Frankie And Johnnie
(7:50)  9. Medley: But Beautiful/It Could Happen To You
(4:26) 10. Taking A Chance On Love
(4:14) 11. Love Letters

Les McCann Ltd. in San Francisco: Recorded Live at the Jazz Workshop was recorded in December of 1960 and released in 1961 on the Pacific Jazz label. Backing his piano were bassist Herbie Flowers and drummer Ron Jefferson. The original LP of this date featured seven selections only about half of the entire gig. This Fresh Sound reissue contains four more tracks, bringing the total to 11. The LP included four McCann compositions, and while the additional tracks are all standards, they do include a very fine arrangement of "Frankie and Johnnie" and a medley of Johnny Burke and Jimmy Van Heusen's "But Beautiful" and "It Could Happen to You," as well as "Taking a Chance on Love" and "Love Letters." What's remarkable about these last four standards is just how seamlessly McCann and company weave them into their early hard bop cum soul-jazz style, with blues, gospel, and pop all brought out in equal measure. The performance is wonderful. That said, given that this is a Fresh Sound release, don't expect a pristine remastering job. ~ Thom Jurek https://www.allmusic.com/album/les-mccann-ltd-in-san-francisco-recorded-live-at-the-jazz-workshop-complete-recordings-mw0002325957

Personnel:  Les McCann - piano;  Herbie Lewis - bass;  Ron Jefferson - drums

Les McCann Ltd. In San Francisco

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Les McCann Ltd - Plays The Shout

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 42:07
Size: 96,8 MB
Art: Front

(7:55)  1. But Not For Me
(8:18)  2. A Foggy Day
(4:08)  3. The Shout
(2:03)  4. Set Call (Sonar)
(7:14)  5. C Jam Blues
(3:43)  6. Jubilation
(6:00)  7. Night In Tunisia
(2:43)  8. Set Call (Cute)

Les McCann Ltd. Plays the Shout (also referred to as The Shout) is a live album by pianist Les McCann recorded in 1960 and released on the Pacific Jazz label. https://en.wikipedia.org/wiki/Les_McCann_Ltd._Plays_the_Shout

Personnel:  Les McCann (piano), Leroy Vinnegar (bass), Ron Jefferson (drums)

Plays The Shout

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Les McCann - Les McCann Ltd. Plays The Truth

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 73:21
Size: 177,2 MB
Art: Front

(3:13)  1. Vacushna
(4:31)  2. A Little 3.4 For God And Co.
(7:45)  3. I'll Remember April
(3:15)  4. Fish This Week But Next Week Chitlings
(6:03)  5. How High The Moon
(3:21)  6. This Can't Be Love
(5:43)  7. For Carl Perkins
(5:55)  8. The Truth
(2:49)  9. Little Girl From Casper
(2:44) 10. They Can't Take That Away From Me
(3:26) 11. Gone On And Get That Church
(3:51) 12. We'll See Yaw'll After While Ya Heah
(6:51) 13. The Truth
(4:56) 14. Oat Meal
(8:51) 15. One More Ham Hock Please

Born in Lexington, KY, in 1935, pianist Leslie Coleman McCann settled in Los Angeles in 1956. He emerged from obscurity after cutting 'The Truth' his first trio record, in February 1960, in which the walking bass of Leroy Vinnegar and direct swing of drummer Ron Jefferson were the perfect esthetic compliment to McCanns music. During the next few years he was the focus of widespread controversy as an exponent of a brand of piano jazz variously called Gospel, funk, soul, blues, back-to-the-roots, etc. While McCann acknowledged that almost all his relatives had sung in the church choir in Lexington, he said his music was a product of his early environment and no gimmick. The way we play just fitted together as soon as Leroy and Ron and I first got together. 

We just started playing together, and it all made sense.  This release also includes two rare tracks by the original trio, only issued on a Pacific Jazz single, plus a complete session recorded that same year, with bassist Herbie Lewiswho replaced Vinnegar that summerand featuring two newcomers, vibist Bobby Hutcherson and tenor Curtis Amy. This is all solid root material that lends itself to the unique McCann treatment. https://www.freshsoundrecords.com/les-mccann-albums/5580-plays-the-truth-complete-sessions.html

Personnel:  Les McCann (p), Leroy Vinnegar, Herbie Lewis (b), Ron Jefferson (d), Bobby Hutcherson (vib), Curtis Amy (ts)

Les McCann Ltd. Plays The Truth

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Joe Pass & Les McCann - Something Special Disc 1 And Disc 2

Album: Something Special  Disc 1

Styles: Guitar And Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 63:49
Size: 146,4 MB
Art: Front

(9:14)  1. Something Special
(5:48)  2. Black Groove
(3:13)  3. Me & Groove
(5:19)  4. Comin' Through the Apple
(6:32)  5. I Thought I Knew You
(5:29)  6. Carma
(4:20)  7. On Time
(4:50)  8. Yours Is My Heart Alone
(5:59)  9. This for Doug
(5:17) 10. Fondue
(3:07) 11. Bernie's Tune
(4:37) 12. Maichen

Something Special  Disc 1

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Album: Something Special  Disc 2

Time: 50:08

Size: 115,1 MB

(5:06)  1. It Could Happen to You

(5:01)  2. You're Driving Me Crazy

(3:06)  3. So What

(4:51)  4. The Other Way

(5:03)  5. Free At Pass... Thank God Allmighty... Free At Pass

(3:25)  6. Meet Me in the Bottom

(4:33)  7. In the Evening

(2:44)  8. New B & O Blues

(5:02)  9. Puppy Love

(2:46) 10. Wake Up in the Mornin'

(5:52) 11. Wee Baby Blues

(2:35) 12. I'm the One

This edition contains all 1962 collaborations by Joe Pass and pianist Les McCann, who would continue working together the following year. Their 1962 output consists of their participation on Richard “Groove” Holmes LP "Somethin' Special" (Pacific Jazz PJ-ST51) and on McCann's own album "On Time" (Pacific Jazz PJ56). 

Both records appear here in their entirety, as well as two tracks from the second LP that were not included on the original album. As a bonus, the complete LP "Back in Town!" (Pacific Jazz PJ54/World Pacific Jazz ST20150). Issued under the name of singer/guitarist Bumble Bee Slim (born Amos Easton), it consisted of two sessions, one featuring Pass, and the other featuring McCann. https://www.jazzmessengers.com/en/65611/joe-pass/something-special-the-1962-sessions

Personnel:  Joe Pass - guitar;   Les McCann - Piano

Something Special  Disc 2

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Les McCann - From The Top Of The Barrel

Styles: Piano Jazz
Year: 1967
File: MP3@320K/s
Time: 36:59
Size: 86,0 MB
Art: Front

(6:18)  1. Frankie and Johnny
(7:50)  2. Medley: But Beautiful/It Could Happen To You
(4:27)  3. Taking A Chance On Love
(4:14)  4. Love Letters
(7:08)  5. Three Slaves
(5:05)  6. On Green Dolphin Street
(1:52)  7. Set Call

Les McCann reached the peak of his career at the 1969 Montreux Jazz Festival, recording "Compared to What" and "Cold Duck Time" for Atlantic (Swiss Movement) with Eddie Harris and Benny Bailey. Although he has done some worthwhile work since then, much of it has been anticlimactic. McCann first gained some fame in 1956 when he won a talent contest in the Navy as a singer that resulted in an appearance on television on The Ed Sullivan Show. After being discharged, he formed a trio in Los Angeles. McCann turned down an invitation to join the Cannonball Adderley Quintet so he could work on his own music. He signed a contract with Pacific Jazz and in 1960 gained some fame with his albums Les McCann Plays the Truth and The Shout. His soulful, funk style on piano was influential and McCann's singing was largely secondary until the mid-'60s. He recorded many albums for Pacific Jazz during 1960-1964, mostly with his trio but also featuring Ben Webster, Richard "Groove" Holmes, Blue Mitchell, Stanley Turrentine, Joe Pass, the Jazz Crusaders, and the Gerald Wilson Orchestra. McCann switched to Limelight during 1965-1967 and then signed with Atlantic in 1968. After the success of Swiss Movement, McCann emphasized his singing at the expense of his playing and he began to utilize electric keyboards, notably on 1972's Layers. 

His recordings became less interesting to traditional jazz fans from that point on, and after his Atlantic contract ran out in 1976, McCann appeared on records much less often. However, he stayed popular and a 1994 reunion tour with Eddie Harris was quite successful. A mid-'90s stroke put him out of action for a time and weakened his keyboard playing (his band began carrying an additional keyboardist) but Les McCann returned to a more active schedule during 1996 and was still a powerful singer. His comeback was solidified by 2002's Pump It Up, a guest-heavy celebration of funk and jazz released on ESC Records. ~ Scott Yanow https://itunes.apple.com/us/album/from-the-top-of-the-barrel-live/1332224684

Personnel:  Les McCann - piano;  Herbie Lewis, Leroy Vinnegar - bass;  Ron Jefferson - drums

From The Top Of The Barrel

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Les McCann - Comment

Styles: Vocal And Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 32:40
Size: 75,4 MB
Art: Front

(3:30)  1. How Many Broken Wings
(5:09)  2. Can't We Be Strnagers Again
(5:01)  3. Unless It's You
(4:11)  4. What I Call Soul
(5:27)  5. Comment
(2:52)  6. Baby, Baby
(6:28)  7. Yours Is My Heart Alone

The godfather of contemporary jazz-soul chills, changing the pace from his electrifying collaborations with Eddie Harris  Swiss Movement and Second Movement  that preceded and followed this mellow set of mostly love songs, which includes four selections from the pens of Helen and Kay Lewis (aka the Lewis Sisters). Two cuts, "Baby, Baby" and "Can't We Be Strangers Again," were originally done by Motown's Miracles and Edwin Starr & Blinky respectively. "How Many Broken Wings" and "What I Call Soul" are the sisters' other contributions, and McCann executes them to perfection. 

The keyboardist plays with an underlying intensity on Bill Evans' "Unless It's You," while the title track is good hard bop. Atlantic Records hasn't reissued this LP, so you have to rummage the Goodwills, online sites, and flea markets for a copy.~ Andrew Hamilton https://www.allmusic.com/album/comment-mw000001186

Personnel:  Les McCann - piano, electric piano, vocals;  Jimmy Owens, Joe Wilder, Richard Williams - trumpet (tracks 2, 4 & 6);  Dick Griffin, Benny Powell - trombone (tracks 2, 4 & 6);  Seldon Powell - soprano saxophone, alto flute (track 3);  Richard Landry - baritone saxophone (tracks 2, 4 & 6);  Roberta Flack - vocals, piano (tracks 1 & 2);  Junior Mance, (track 6), Richard Tee (track 4) - piano;  Roland Hanna - harpsichord (track 3);  Margaret Ross - harp (track 3);  Billy Butler - guitar (track 5);  Ron Carter - bass (tracks 1-3, 6 & 7), electric bass (tracks 4 & 5);  Billy Cobham (tracks 1-4, 6 & 7), Donald Dean (track 5) - drums;  William Fischer - arrangement, director (tracks 1-3, 6 & 7);  Selwart Clarke - concertmaster (tracks 1, 3 & 7)

Comment

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Les McCann - Les McCann Ltd. In New York

Styles: Piano Jazz 
Year: 1961
File: MP3@320K/s
Time: 58:55
Size: 137,8 MB
Art: Front

(7:45)  1. Chip Monck
(6:10)  2. Fayth, You're...
(7:38)  3. Cha-Cha Twist
(9:24)  4. A Little 3/4 For God & Co.
(8:51)  5. Maxie's Changes
(5:10)  6. Someone Stole My Chitlins
(8:56)  7. One More Hamhock Please
(4:57)  8. Oatmeal

A thoroughly satisfying live date. The good-time pianist forgets singing on this Village Gate outing, and the band just cooks. Silky saxman Stanley Turrentine and trumpeter Blue Mitchell play as one on some cool McCann originals. It's almost inconceivable that the sextet had only one rehearsal.~ Mark Allan https://www.allmusic.com/album/les-mccann-ltd-in-new-york-mw0000073426

Personnel:  Les McCann - piano;  Stanley Turrentine - tenor saxophone;  Blue Mitchell - trumpet;  Frank Haynes - tenor saxophone ( note: Haynes' name is mis-spelled on the album cover);  Herbie Lewis - bass;  Ron Jefferson - drums;  Curtis Amy - tenor saxophone;  Bobby Hutcherson - vibraphone

Les McCann Ltd. In New York

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Les McCann - Pump It Up

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 56:21
Size: 129,4 MB
Art: Front

(4:51)  1. Pump it Up
(5:16)  2. Buckshot & Lefonque
(4:45)  3. Let it Ride (the Train)
(6:39)  4. I Can't Stand It
(5:51)  5. So What
(4:57)  6. You Just Can't Smile It Away
(6:20)  7. Tryin' to Make It Real
(6:10)  8. The Truth
(5:23)  9. Daylight
(5:07) 10. Funk It (Let the Music Play)
(0:56) 11. I Can't Stand It - Reprise

The venerable jazz pianist and vocalist Les McCann finds himself a master of funk on Pump It Up. With a “tight as a fist” rhythm section of bass, drums, guitar and Hammond B-3 organ, McCann’s band has a groove funkier than the law allows. Crisp drumming with hammering backbeats, plus chunky bass and organ figures underscore McCann’s vocals that at times more closely resemble a rap recitation than singing. Honking saxophone solos and harmonious background vocals that comment on McCann’s vocal lines in the great Rhythm and Blues tradition complete the package. The performances on the recording include guest appearances by jazz diva Dianne Reeves on the Bill Withers ballad “You Just Can’t Smile it Away,” and veteran keyboard player and vocalist Billy Preston on “Tryin’ to Make it Real” as well as the strongly gospel inspired “The Truth.” Blues singer Bonnie Raitt also makes an appearance on “The Truth,” adding her personal style of delivering “the word.” All in all, Les McCann’s Pump It Up is a delightfully grooving piece of work. It offers high-level musicianship and some incredibly tight playing that could serve as a clinic in how to play in a great funky R&B band. This CD is recommended for Les McCann fans and those whose musical interests expand to include the world of funky Rhythm and Blues. ~ Craig H.Hurst https://www.allaboutjazz.com/pump-it-up-les-mccann-review-by-craig-w-hurst.php
 

Personnel: Les McCann, vocals; Ricky Peterson, Hammon B-3 organ; John Robinson, drums; Paul Jackson Jr., rhythm guitar; Abraham Laboriel, bass; Marcus Miller, bass; Maceo Parker, saxophone; Billy Preston, keyboards; Bill Evans, saxophone; Bonnie Raitt, vocals; Dianne Reeves, vocals; Paulinho da Costa, Latin percussion; Keith Anderson, saxophone; Tom Saviano, saxophone; Bill Churchville, trumpet; Tony Maiden, guitar; Maxaynh Lewis, Margaret Fowler Alan Abrahams, and Jim Gilstrap, background vocals.

Pump It Up

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Les McCann, Joja Wendt - Pacifique

Bitrate: MP3@320K/s
Time: 42:25
Size: 97.1 MB
Styles: Bop/Soul/Jazz
Year: 1997
Art: Front

[5:05] 1. What's Goin' On
[4:15] 2. Amazing Grace
[2:40] 3. Little Blue Volkswagen
[2:39] 4. Pacifique
[4:12] 5. Bare Blues
[6:38] 6. Prince Of Peace
[2:14] 7. Cold Duck Time
[4:28] 8. What A Wonderful World
[6:48] 9. With These Hands
[3:23] 10. Come Rain Or Come Shine

Les McCann carried on with his music despite suffering a serious stroke in 1995, although he often needed the help of a second keyboardist. While McCann's first recording after his stroke, Listen Up!, was little more than a workmanlike reminder that he was back, his second, Pacifique, is a joy despite, or perhaps because, of its unusual, stripped-down format. The CD consists of a series of duets where Les comps on Fender Rhodes electric piano, exercises his gravelly voice, and finds a helping hand and soulmate in the rollicking acoustic piano of European keyboardist Joja Wendt. Many of the tunes are remakes, often fine ones, of past McCann rousers like "What's Goin' On," "With These Hands," and a rumbling, scatted "Cold Duck Time" (in memoriam, Eddie Harris). Ever a devotee of the sacred and the profane, Les offers deeply felt renditions of "Amazing Grace" and "Prince of Peace" (formerly known as "The Longer You Wait") almost back-to-back with some lascivious blues, while also celebrating life with "What a Wonderful World." Pacifique is probably the best, most truthful record Les has made in at least 20 years, for at last, the real bawdy, devout, soulful, swinging Les McCann is back. ~Richard S. Ginnell

Pacifique mc
Pacifique zippy

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Les McCann - Hustle To Survive

Styles: Piano Jazz
Year: 1975
File: MP3@320K/s
Time: 44:53
Size: 103,3 MB
Art: Front

(5:17)  1. Us
(4:12)  2. Changing Seasons
(4:03)  3. Got To Hustle To Survive
(1:27)  4. Butterflies
(6:38)  5. Everytime I See A Butterfly
(4:29)  6. Says Who Says What?
(5:11)  7. Will We Ever Find Our Fathers
(4:08)  8. Well, Cuss My Daddy
(4:12)  9. Why Is Now
(5:11) 10. Let Your Learning Be Your Eyes

Since Layers, Les McCann went on a long retreat away from the cutting edge, basically and literally hustling to survive in a rapidly changing marketplace. Hence the emphasis on vocals and commercial backings on the remainder of his Atlantic albums, which tend to trail off in quality. The title track and "Says Who Says What" continue his string of earthy, topical, radio-friendly soul vocals that tried and tried to score hits the size of "Compared to What" but never quite captured the moment again. McCann's fascination with synthesizers and electronics also continues, although by now he is mostly interested in using the instrument as just another color instead of the basis for the music itself à la Joe Zawinul. McCann's vocals are soulful and sincere and he still plays lots of acoustic piano; it's the material that often lets him down here. Best track is the instrumental "Us," a great funkbuster. ~ Richard G.Ginell http://www.allmusic.com/album/hustle-to-survive-mw0000741540

Piano, Electric Piano, Clavinet – Les McCann;  Bass – James E. Rowser;  Guitar, Acoustic Guitar – Miroslaw Kudykowski

Hustle To Survive

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Les McCann - On The Soul Side

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 62:58
Size: 144,4 MB
Art: Front

(5:09)  1. Shabalala
(8:41)  2. Early Riser
(7:16)  3. Back Rub
(8:12)  4. Vu Jade (The Feeling Of Never Having Been There Before)
(8:55)  5. New Blues
(5:15)  6. Lift Every Voice And Sing / God Bless America
(3:52)  7. Ignominy
(4:22)  8. The Children
(4:50)  9. Dippermouth
(6:22) 10. Look To Your Heart

While other Les McCann albums have emphasized R&B or soul-jazz vocals, the singer/pianist does very little singing on this CD. Only on "Look to Your Heart" can McCann's vocals be heard. Except for "God Bless America" (which contains a memorable vocal by Lou Rawls), all of the other tracks are jazz instrumentals. Joined by saxman Keith Anderson, trumpeter Jeff Elliott, bassist Abraham Laboriel, and drummer Tony St. James, a 58-year-old McCann makes jazz pianism his top priority on this album. It's a very lyrical and accessible sort of jazz pianism -- those who have spent a lot of time savoring Gene Harris' playing or getting into Joe Sample's Carmel should appreciate McCann's melodic playing on "Back Rub," "Shabalala," and other originals. Sadly, On the Soul Side is the last studio album that McCann would record as a leader before suffering a major stroke in early 1995 one that weakened his piano playing without depriving him of his ability to sing. ~Alex Henderson http://www.allmusic.com/album/on-the-soul-side-mw0000115110

Personnel: Les McCann (piano, vocals); Lou Rawls (vocals); Eddie Harris, Keith Anderson (saxophone); Jeff Elliott (trumpet, flugelhorn); Abraham Laboriel (bass); Tony St. James (drums).

On The Soul Side

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