Brother Jack McDuff - Do It Now!

Styles: Jazz, Post Bop
Year: 1967
File: MP3@320K/s
Time: 39:45
Size: 92,0 MB
Art: Front

(4:52)  1. Snap Back Jack
(4:45)  2. Mush Melon
(5:12)  3. Summer Samba
(5:30)  4. Do It Now
(8:17)  5. Strolling Blues
(6:30)  6. Pleasant Moments
(4:36)  7. Mutt & Jeff

A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases. McDuff began as a bassist playing with Denny Zeitlin and Joe Farrell. He studied privately in Cincinnati and worked with Johnny Griffin in Chicago. He taught himself organ and piano in the mid-'50s, and began gaining attention working with Willis Jackson in the late '50s and early '60s, cutting high caliber soul-jazz dates for Prestige. McDuff made his recording debut as a leader for Prestige in 1960, playing in a studio pickup band with Jimmy Forrest. They made a pair of outstanding albums: Tough Duff and The Honeydripper. McDuff organized his own band the next year, featuring Harold Vick and drummer Joe Dukes. Things took off when McDuff hired a young guitarist named George Benson. They were among the most popular combos of the mid-'60s and made several excellent albums. McDuff's later groups at Atlantic and Cadet didn't equal the level of the Benson band, while later dates for Verve and Cadet were uneven, though generally good. McDuff experimented with electronic keyboards and fusion during the '70s, then in the '80s got back in the groove with the Muse session Cap'n Jack. While his health fluctuated throughout the '90s, McDuff released several discs on the Concord Jazz label before succumbing to heart failure on January 23, 2001, at the age of 74. ~ Ron Wynn https://www.allmusic.com/artist/jack-mcduff-mn0000118853/biography

Personnel: Brother Jack McDuff - organ, arrangements; Melvin Sparks - guitar;  Danny Turner; tenor saxophone, alto saxophone, flute; Leo Johnson - tenor saxophone, flute

Do It Now!

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Joey DeFrancesco - Joey DeFrancesco Plays Sinatra His Way

Styles: Hard Bop, Soul Jazz
Year: 2004
File: MP3@320K/s
Time: 53:25
Size: 122,9 MB
Art: Front

(5:38) 1. I Get a Kick out of You
(5:58) 2. Teach Me Tonight
(5:23) 3. Pennies from Heaven
(6:47) 4. What's New
(6:05) 5. Witchcraft
(5:37) 6. What Now My Love
(6:21) 7. Don't Worry 'Bout Me
(5:22) 8. Falling in Love with Love
(6:09) 9. Angel Eyes

Although he’s been on the Concord label for several years now, it seems that the well spring of material that Joey DeFrancesco cut for Joe Fields’ HighNote imprimatur continues to be harvested with the latest offering being this 1998 session recorded in 24-bit digital splendor by the legendary Rudy Van Gelder. Don’t look for the title on this one to provide much more than a unifying element for the tunes included, which just happen to be numbers that ‘Ol’ Blue Eyes’ recorded at some point during the span of his career. Known to vocalize somewhat himself, DeFrancesco does no singing here either. The emphasis is on the type of hard swinging groove music that has always been this organist’s main form of expression.

In the company of Houston Person (who led DeFrancesco to the Muse label many years ago), guitarist Melvin Sparks, and longtime drummer Byron Landham, our leading man delivers nine selections that all clock in at around the five to six minute length. With its clever opening vamp, “Pennies From Heaven” finds DeFrancesco at his boppish best, with Sparks weighing in with his own juicy chords in support (as well as a solo that includes a clever “shave and a hair cut” quote to boot). At the start of his career I happened to interview Joey and he commented on how much he dug the bass lines of Groove Holmes. That he’s developed his own way with those foot pedals is clear on this performance alone.

There’s really no need to analyze each individual track here, as anyone even remotely familiar with DeFrancesco will be aware of his mastery of the mighty B-3. Van Gelder’s sound job brings Joey and the guys right into your living room. This no frills affair may be short on the revolutionary, but it will surely please fans of DeFrancesco, Person, and Sparks.
By C. Andrew Hovan https://www.allaboutjazz.com/plays-sinatra-his-way-joey-defrancesco-review-by-c-andrew-hovan

Personnel: Joey DeFrancesco (organ), Houston Person (tenor sax), Melvin Sparks (guitar), Byron Landham (drums)

Joey DeFrancesco Plays Sinatra His Way

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Sonny Stitt - Legends of Acid Jazz

Styles: Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 73:06
Size: 167,9 MB
Art: Front

(11:10) 1. Turn It On
( 7:59) 2. Bar-B-Que Man
( 9:28) 3. Miss Riverside
( 3:54) 4. Cry Me a River
( 4:02) 5. There Are Such Things
( 7:26) 6. Goin' to D.C.
( 5:34) 7. Aires
( 6:43) 8. Black Vibrations
( 6:27) 9. Calling Card
( 2:23) 10. Where Is Love?
( 7:55) 11. Them Funky Changes

This CD reissues the complete contents of two former Lp's by saxophonist Sonny Stitt: Turn It On and Black Vibrations. These are rather unusual entries in Stitt's huge discography in that Sonny often sounds like a guest performer on his own sessions rather than the leader. During the earlier date, Stitt uses an electrical device (a Varitone) on his tenor that waters down his tone a bit. With organist Leon Spencer, guitarist Melvin Sparks and drummer Idris Muhammad setting down unrelenting grooves on most of the five numbers (including the 11-minute title cut), Stitt only seems to be making cameo appearances although trumpeter Virgil Jones gets in a few good solos on three of the numbers.

The later date (which also has some good Jones trumpet) finds Stitt playing acoustically and switching to alto on two of the six jams, but once again it is the nonstop chugging of Sparks, Muhammad and either Leon Spencer or guest organist Don Patterson that fuels the fire. It is silly to call these soul jazz outings "acid jazz" since Sonny Stitt's solos are essentially bebop, but the grooves are danceable and funky.~Scott Yanow https://www.allmusic.com/album/legends-of-acid-jazz-mw0000190589

Personnel: Tenor Saxophone, Alto Saxophone – Sonny Stitt; Drums – Idris Muhammad; Guitar – Melvin Sparks; Organ – Don Patterson , Leon Spencer; Trumpet – Virgil Jones

Legends of Acid Jazz

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Melvin Sparks - I'm Funky Now

Styles: Guitar Jazz
Year: 1976
File: MP3@320K/s
Time: 34:31
Size: 80,0 MB
Art: Front

(4:34) 1. I'm Funky Now
(4:25) 2. Disco Booty
(5:02) 3. Make It Good
(3:33) 4. Love Tones
(7:09) 5. The Truth Hurts
(3:47) 6. You're Gonna Make It
(5:57) 7. I'm Gonna Funk You Up

Melvin Sparks (1946–2011) was a talented American Soul Jazz, Hard Bop, Blues and Funk guitarist. The Texas native picked up a guitar at age 11 and was only 13 when he sat in with B.B. King. As a high school student he first joined Hank Ballard and the Midnighters, and then the Upsetters (a touring band formed by Little Richard, which also backed Curtis Mayfield, Sam Cooke and Marvin Gaye). Sparks and his guitar were very much in demand during the 60ies-70ies and he was featured on sessions by Idris Muhammad, Lonnie Smith, Charles Earland, Ceasar Frazier, Bernard Purdie…and many others.

During his career Mr. Sparks recorded multiple albums for renowned labels such as Prestige, Muse & Savant and worked as a session musician for Blue Note Records. Melvin Sparks’ songs were sampled countless times by DJ’s and Hip-Hop outfits (including Grandmaster Flash) over the decades.In 1973 Sparks moved into funkier directions and joined the Westbound/Eastbound family where he recorded some of his all-time classics (‘Texas Twister’ & ‘75’). A third record with Westbound was planned for 1976 (called I’m Funky Now) but was never released (although a sequenced production master & and a limited number of acetates were produced) because of the major changes that took place in the music industry at that particular time…clubs were suddenly going for DJ’s instead of bands and the much loved (but less obvious) genre/scene that Melvin Sparks was part of suddenly fell out of grace.

For the I’m Funky Now album Melvin Sparks recorded seven new tracks in Detroit with some of the finest session musicians. Very little is known about the band that backed up Sparks on these recordings, but it’s thought that some of the musicians were from the Funkadelic and Parliament family. The producing credit on this album goes to Westbound/Eastbound veteran Bernie Mendelson, known for his work with Houston Person, Donald Austin and Albert Washington. Over the seven tracks, Melvin Sparks and his band flit seamlessly between soul-jazz, proto-boogie, disco and funk. There are some über-funky dancefloor tracks on this album which would have been destined to become DJ favorites. I’m Funky Now pays lip service to the then-current success of disco-music but doesn’t pander…what you get here is a heavily funky and orchestrated version of his trademark style, with some sweet JB styled basslines and beautiful mellow moments thrown in the mix. Tight rhythm sections, dueling horns, dreamy smooth jazz…Melvin Sparks truly unleashes a genre-melting musical masterclass here. A CD version was produced in 2017 and now after a 45-year wait, Tidal Waves Music is proud to be releasing it for the very FIRST TIME on vinyl.https://lightintheattic.net/releases/6973-i-m-funky-now

I'm Funky Now

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Plas Johnson, Red Holloway - Keep That Groove Going!

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 55:11
Size: 127,7 MB
Art: Front

(6:05) 1. Keep That Groove Going!
(4:11) 2. Stuffy
(6:47) 3. Serenade In Blue
(4:12) 4. Go Red Go
(7:22) 5. Bretheren!
(8:40) 6. Pass The Gravy
(6:33) 7. Jammin' For Mr. Lee
(5:02) 8. Cry Me A River
(6:15) 9. Dream A Little Dream Of Me

A number of shopworn lines might be used to characterize Keep That Groove Going!, a session co-led by Plas Johnson and Red Holloway. Bromides such as “A battle between two veteran tenor saxophonists,” and “A heady combination of blues and bebop” contain more than a grain of truth, yet ultimately obscure the larger picture. Beneath the emotionally charged surface of both Johnson and Holloway’s playing lies a wellspring of intelligence and good taste. Guided by an exceptionally tight rhythm section consisting of Hammond B-3 organist Gene Ludwig, guitarist Melvin Sparks, and drummer Kenny Washington, the septuagenarians tackle a diverse program that refutes the notion that there are artistic limitations in sustaining a groove.

It only takes a few bars of Johnson and Holloway’s jubilant unison statement on Coleman Hawkins’ “Stuffy” to realize something special is happening. Holloway starts the solos by digging right into the medium tempo and builds an edifice consisting of short phrases that wallow in his rich tone, leaving plenty of space for the rhythm section to fill. All the while Washington nips at his heels with prickly accents on the snare drum. Inspired by Ludwig’s comping, Johnson fashions a droll statement out of long bent notes and brief passages that flash on and off like an irregular neon sign. Using the metallic click of Washington’s hi-hat as a rhythmic guidepost, Ludwig’s all-too-brief turn swings intensely without ever breaking into a sweat.

Some of Holloway and Johnson’s most memorable playing occurs during their respective ballad features. Holloway doesn’t so much play the melody of “Serenade in Blue” as he caresses it, resembling something out of a heavenly dream. With a pointed note here and jagged phrase there, his solo moves in a virile swagger; eventually culminating in a succession of blues based declarations. Breaking out from his usual pensive manner, Ludwig follows, sounding uncharacteristically frisky by playing brisk lines that threaten to lose control before coming back into the fold. His ominous chords provide a fitting introduction to Johnson’s stunning performance of “Cry Me a River.” The first time around, the tenor saxophonist poignantly plays the initial part of the melody, hitting the first note hard and bending it before continuing as if exhausted from the effort. Johnson’s repeat of the same section is startling in its use of the bebop lexicon, sounding like a brief outpouring of anguish.~ AAJ Staff https://www.allaboutjazz.com/keep-that-groove-going-plas-johnson-fantasy-jazz-review-by-aaj-staff.php

Personnel: Red Holloway--tenor saxophone; Plas Johnson--tenor saxophone; Gene Ludwig--organ; Melvin Sparks--guitar; Kenny Washington--drums.

Keep That Groove Going!

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Melvin Sparks - This Is It!

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 58:51
Size: 135,8 MB
Art: Front

(5:05)  1. This Is It!
(7:59)  2. Bambu
(5:52)  3. Heavy Fallin' Out
(6:30)  4. My Girl
(8:19)  5. Give Your Life to G-d
(5:45)  6. Watch Yo' Step
(7:57)  7. Bounce
(6:39)  8. The Light Is On
(4:41)  9. Hot Barbeque

Guitarist Melvin Sparks' quintet date is a throwback to late-'60s funky soul-jazz. The pieces are bluesy and funky without being blues, and fall between jazz and R&B grooves. 

Sparks plays well if predictably and his obscure backup band (which has a background vocal from Nikki Armstrong on "Give Your Life to G-d") performs its parts well and with spirit. All of the music is danceable without being overly simplistic and the solos usually last the optimum length of time. The results are quite accessible if somewhat lacking in surprises, played in a style that is very easy to like. ~ Scott Yanow https://www.allmusic.com/album/this-is-it%21-mw0000213533

Personnel:  Guitar – Melvin Sparks; Organ [Hammond] – Jerry Z ; Saxophone – Cochemea Gastelum; Trumpet – Jennifer Hartswick; Drums – Justin Tomsovic

This Is It!

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Reuben Wilson - Bad Stuff!

Styles: Jazz, Post Bop 
Year: 1972
File: MP3@320K/s
Time: 71:03
Size: 164,3 MB
Art: Front

(4:47)  1. Inner City Blues
(5:31)  2. Creampuff
(6:10)  3. Sugar
(6:26)  4. I'll Take You There
(6:12)  5. The Sweet Life
(4:15)  6. Never Can Say Goodbye
(5:19)  7. The Cisco Kid
(3:57)  8. The Last Tango in Paris
(4:55)  9. Superfly
(4:06) 10. We've Only Just Begun
(7:18) 11. Snaps
(6:47) 12. Groove Grease
(5:15) 13. The Look of Love

This Unidisc label two-fer compiles both of Reuben Wilson's sessions for the Groove Merchant label. The first, 1972's The Sweet Life, follows a series of sugary soul-jazz dates for Blue Note. The title notwithstanding, the session is his darkest and hardest-edged to date, complete with a physicality missing from previous efforts. Credit tenor saxophonist Ramon Morris, trumpeter Bill Hardman, guitarist Lloyd Davis, bassist Mickey Bass, and drummer Thomas Derrick, whose skin-tight grooves sand away the polished contours of Wilson's organ solos to reveal their diamond-sharp corners. The material, while predictable (i.e., standbys like "Inner City Blues" and "Never Can Say Goodbye"), is nevertheless well suited to the set's righteous funk sound. The 1974 follow-up, The Cisco Kid, pairs Wilson with a murderer's-row support unit including guitarist Melvin Sparks, trombonist Garnett Brown, bassist Bob Cranshaw, drummer Mickey Roker, and percussionist Ray Armando. Given the talent involved, it's regrettable that the album adheres to such a pedestrian formula, reimagining the same pop and soul covers as virtually every other jazz-funk session issued at the time. Besides the title cut, a reworking of War's Latin soul monster, the material includes readings of "Superfly," "The Look of Love," and "We've Only Just Begun" the energy and intensity nevertheless ratchet up several notches for the Wilson originals "Snaps" and "Groove Grease," elevating the entire endeavor in the process. ~ Jason Ankeny https://www.allmusic.com/album/bad-stuff-mw0001019718

Personnel:  Organ – Reuben Wilson; Bass [Fender] – Bob Cranshaw;  Congas – Ray Armando;  Drums – Mickey Roker; Guitar – Melvin Sparks; Trombone – Garnett Brown

Bad Stuff!

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Hank Crawford - Indigo Blue

Styles: Saxophone, Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 34:55
Size: 81,3 MB
Art: Front

(6:26)  1. All Alone And Blue
(5:31)  2. The Very Thought Of You
(5:22)  3. Things Ain't What They Used To Be
(6:08)  4. Funny
(6:31)  5. Indigo Blue
(4:55)  6. Just For A Thrill

Hank Crawford's Indigo Blue was released in August of 1983, less than a year after his excellent comeback set, Midnight Ramble, and proves that his renewed sense of creativity was no fluke. Here he teams once more with Dr. John on piano and organ and drummer Bernard Purdie. Melvin Sparks took over the guitar chair from Calvin Newborn, and Wilber Bascombe, Jr. holds down the rhythm section on bass. In addition, a horn section that includes David "Fathead" Newman, Danny Moore, Howard Johnson, and Martin Banks, arranged by Crawford, follows the same recipe as Midnight Ramble. The performances here are solid, truly impressive. Crawford plays sweet and slow as well as honking mean in getting at the root source of straight-ahead jazz and soul-jazz: the blues. And speaking of blues, the opener, "All Alone and Blue," is a barrelhouse of nasty guitar and organ work with Crawford's alto walking the bar while playing a mean solo. It's quite a changeup to open a set with but the only other thing you could do is close with it. This is followed by a gorgeous reading of Ray Noble's "The Very Thought of You," all slow, deep, and refined with only Crawford's alto allowed to bring in the edges. But there are more surprises as Crawford and band tackle Willie Nelson's "Funny" and reveal both the blues and jazz roots in the tune. 

The swing between Dr. John and Sparks in the title track is truly canny, and Crawford's response in blowing shows it. This one is in the cut, and the groove is everywhere. The bittersweet ballad "Just for a Thrill" ends the set, with some of the sweetest and most lyrical piano and alto playing either man had done on a record until that time. Indigo Blue is a winner; it's hungry and elegant, sophisticated and swaggering. It's a trademark recording by Hank Crawford. ~ Thom Jurek https://www.allmusic.com/album/indigo-blue-mw0000187873

Personnel: Hank Crawford - alto saxophone, electric piano, arranger, conductor; Dr. John - piano, organ; Melvin Sparks - guitar; Wilbur Bascomb - bass;  Bernard Purdie - drums;  David "Fathead" Newman - tenor saxophone;  Howard Johnson - baritone saxophone; Martin Banks - trumpet; Danny Moore - trumpet.

Indigo Blue

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Lou Donaldson - Hot Dog

Bitrate: MP3@320K/s
Time: 39:08
Size: 89.6 MB
Styles: Soul/Jazz/Funk
Year: 1969/2015
Art: Front

[ 6:43] 1. Who's Making Love
[ 7:52] 2. Turtle Walk
[ 4:53] 3. Bonnie
[10:41] 4. Hot Dog
[ 8:57] 5. It's Your Thing

Alto Saxophone – Lou Donaldson; Drums – Leo Morris; Guitar – Melvin Sparks; Organ – Charles Earland; Trumpet – Ed Williams. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 25, 1969.

The soul-jazz format provides a most satisfying canvas for Donaldson’s distinctive soaring, blues-inflected runs. Eagle-eyed readers will note in the pictures Lou has an effects box strapped to his chest – so he can add reverb or whatever on the fly to his electronic alto. 1969. Electronic instruments were beginning to take hold.

Earland eschews JS fireworks for rhythmic propulsion, with only occasional assaults on the upper register. When he stretches out, long ascending and descending arpeggios which wouldn’t be out of place in any late ’60s prog-rock band, Jon Lord, Keith Emerson or Rick Wakeman, music of its time. Melvyn Sparks neat linear guitar runs serve up a Grant Green tribute act, perfect in context. Together, the ensemble delivers a cracking ten minute floor filler, or, on specialist orthopaedic advice, sit out for a finger-poppin’ session on the sofa. ~https://londonjazzcollector.wordpress.com

Hot Dog mc
Hot Dog zippy

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Lou Donaldson - Everything I Play Is Funky

Bitrate: MP3@320K/s
Time: 38:43
Size: 88.6 MB
Styles: Soul-jazz, Saxophone jazz
Year: 1970/1995
Art: Front

[5:26] 1. Everything I Do Gonna Be Funky (From Now On)
[6:37] 2. Hamp's Hump
[7:12] 3. Over The Rainbow
[6:44] 4. Donkey Walk
[6:27] 5. West Indian Daddy
[6:15] 6. Minor Bash

Alto Saxophone – Lou Donaldson; Bass Guitar [Fender Bass] – Jimmy Lewis; Drums – Idris Muhammad; Guitar – Melvin Sparks; Organ – Charles Earland, Lonnie Smith; Trumpet – Blue Mitchell, Eddie Williams. Recorded on August 22, 1969 & January 9, 1970.

Although purists might not find it as much to their taste as Midnight Creeper, Everything I Play Is Funky is easily one of the best examples of Lou Donaldson's commercially accessible period of the late '60s and early '70s. Donaldson's forays into funk and R&B-driven soul-jazz could sometimes sound stiff, but the grooves here -- which feature many of the same players -- are consistently limber and unforced. And, typical of the style, the grooves (not adventurous improvisation) are what make the album tick. For once, Donaldson's attempt at an R&B cover -- in this case, the Lee Dorsey-sung, Allen Toussaint-penned "Everything I Do Gonna Be Funky (From Now On)" -- is pulled off well enough to make for an entirely convincing statement of purpose. That number kicks off an entertaining program also highlighted by three Donaldson originals -- the cooking funk number "Donkey Walk," which seems to inspire the fieriest solos on the record, the cheery calypso "West Indian Daddy," and the hard bop-flavored "Minor Bash." There's also a version of "Over the Rainbow" done in Donaldson's caressing, melodic ballad style, and the simple funk vamp "Hamp's Hump." It's a nicely varied assortment, all anchored by the percolating rhythm section of guitarist Melvin Sparks, bassist Jimmy Lewis, and drummer Idris Muhammad (Charles Earland and Dr. Lonnie Smith switch off on organ, and Blue Mitchell and Eddie Williams do the same on trumpet). This is the sort of record that modern-day Donaldson disciples like the Sugarman Three cherish, and one of his few truly consistent efforts in this style. Recommended wholeheartedly to funk and rare-groove fans. ~Steve Huey

Everything I Play Is Funky mc
Everything I Play Is Funky zippy

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Dr. Lonnie Smith, Alvin Queen - Lenox & Seventh

Bitrate: MP3@320K/s
Time: 51:23
Size: 117.6 MB
Styles: Soul jazz, B3 Organ jazz
Year: 2000
Art: Front

[6:18] 1. L.S. Blues
[5:50] 2. Slightly Monkish
[7:57] 3. Who Can I Turn To
[5:59] 4. Billie's Bounce
[9:07] 5. There Is No Greater Love
[4:55] 6. Minor Chant
[4:25] 7. Oleo
[6:48] 8. Chopsticks

LONNIE SMITH : organ; MELVIN SPARKS: guitar; ALVIN QUEEN : drums. Recorded at the Sysmo Studio, Paris ; May 28, 1985.

Dr. Lonnie Smith was born in Lackawanna, New York, into a family with a vocal group and radio program. Smith says that his mother was a major influence on him musically, as she introduced him to gospel, classical, and jazz music. He was part of several vocal ensembles in the 1950s, including the Teen Kings which included Grover Washington Jr. on sax and his brother Daryl on drums. Art Kubera, the owner of a local music store, gave Smith his first organ, a Hammond B3.

Lenox & Seventh

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Melvin Sparks - Live At Nectar's

Size: 166,3 MB
Time: 71:49
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Soul Jazz
Art: Front

01. Miss Riverside (Live) (8:46)
02. Ain't No Woman (Like The One I Got) (Live) (5:31)
03. Fire Eater (Live) (8:08)
04. Cranberry Sunshine (Live) (7:00)
05. Breezin' (Live) (9:06)
06. Whip! Whop! (Live) (6:28)
07. Thank You (Live) (12:05)
08. Hot Dog (Live) (12:42)
09. Band Intro (Live) (1:57)

A cool thing about music is that when you follow a band for a long time, you eventually get turned on to the music that influenced them. You get to hear all kinds of exciting new music, and start digging deep, going down groovy rabbit holes to discover great musicians you might not find on your own.

This is the case with Melvin Sparks, the late great soul jazz guitarist, whose music greatly influenced one of my current favorite bands, The New Mastersounds. The guys in the band say that, "Melvin has had a huge influence on the music of The New Mastersounds."

And now, fans of The New Mastersounds, and lovers of funky soul jazz get to hear marvelous music that may be new to their ears from a master guitarist who influenced lots of younger musicians, even though he was never super famous on his own.

Simon Allen, the drummer of The New Mastersounds, worked closely with Bill Carbone, drummer of Melvin Sparks' band, the venue and Sparks' family to turn a multitrack recording of a live show that had taken place at Nectar's in Burlington, VT at the end of 2010 into a special live vinyl LP—mixed and mastered by Eddie Roberts, The New Mastersounds' guitarist.

The fabulous result, Live at Nectar's, is now available on The New Mastersounds' own label, One Note Records.

Organist Beau Sasser and drummer Bill Carbone had been working with Sparks for several years and, despite the difference in age—they were in their early 30s, while the guitarist was an elder- statesmen of the genre—the unit was razor sharp.

The trio played the Burlington, VT club Nectar's regularly, but this evening featured two variables. Per the recommendation of the venue, they used The Grippo Horns, featuring Dave Grippo on alto saxophone and Brian McCarthy on tenor saxophone. This was the only time Sparks utilized a horn section in the last several years of his life. Additionally, they captured the performance on a multitrack recording. Both would prove to be wise decisions.

Lovingly mixed by guitarist, producer and Sparks' fanatic Eddie Roberts and curated for release by drummer Simon Allen, the album demonstrates that the 64-year old guitarist played as well in the final months of his life as at any other time.

From the opening "Miss Riverside" through rousing set-closer "Whip! Whop!," Sparks peppers his performance with quotes from jazz standards, pop songs and cartoon themes, all woven effortlessly into the bebop-funk dialect he helped create. He offers delectable melodies, patiently and methodically, through his lengthy lead on "Breezin,'" while delivering a slice of red hot boogaloo on "Fire Eater."

Sparks is audibly uplifted by The Grippo Horns helping him perform his 1973 arrangement of "Ain't No Woman (Like The One I Got)" for the first time in decades.

Texas-born, Melvin Sparks was an R&B guitarist at the outset of his career, backing Jackie Wilson, Curtis Mayfield and Marvin Gaye as a member of The Upsetters. He gave up his seat on The Upsetters' bus when a chance introduction to George Benson inspired him to relocate to New York City; a decision that would ultimately pave the way for his ascension into the soul jazz pantheon.

Sparks would go onto play and record with Lou Donaldson, Leon Spencer, Bernard Purdie, Jack McDuff, Jimmy McGriff, Idris Muhammad, Dr. Lonnie Smith, Charles Earland, Grover Washington, Jr., Reuben Wilson and so many more. He'd also record nearly a dozen stand-out sessions as a leader.

Even when soul jazz experienced a downturn in commercial popularity in the '80s, Sparks stayed relevant with hip-hop artists sampling his work, which now totals more than 150 samples of his "funky chicken scratch."

Sparks' legacy is also heard in contemporary soul/funk bands like The New Mastersounds, Soulive and The Greyboy Allstars, all of whom he guested with several times before his far too early departure.

Every song on Live at Nectar's sounds superb. This is an impeccable live recording that brilliantly captures the master's gorgeous style of playing. His tone is captivating, irresistible, and joyful.

When the horns, organ, bass and drums start getting down—especially on high-energy tunes like "Whip! Whop!" and the cool cover version of "Thank You"—it all comes together. When you listen to Live at Nectar's it transports you to what must have been a magical night.

Good thing they recorded it, and thanks to his proteges for honoring his legacy with this remarkable record. ~by joe Gatto

Personnel: Melvin Spark: guitar; Bill Carbone: drums; Beau Sasser: organ; Brian McCarthy: tenor saxophone; Dave Grippo: alto saxophone.

Live At Nectar's

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Arthur Prysock - The Best Of Arthur Prysock: The Milestone Years

Bitrate: MP3@320K/s
Time: 63:47
Size: 146.0 MB
Styles: Soul-blues-jazz vocals
Year: 2000
Art: Front

[4:15] 1. All My Lovin' Was In Vain
[6:03] 2. Got To Get You Off My Mind
[5:55] 3. Everything Must Change
[4:09] 4. Good Rockin' Tonight
[5:26] 5. I Want To Thank You, Girl
[5:37] 6. Next Time You See Me
[4:00] 7. At This Moment
[4:59] 8. Rainy Night In Georgia
[3:52] 9. Teach Me Tonight
[3:54] 10. I Wonder Where Our Love Has Gone
[3:57] 11. Bring It On Home To Me
[3:59] 12. It's All In The Game
[3:55] 13. Baby (You've Got What It Takes)
[3:41] 14. After The Lovin'

Alto Saxophone – Hank Crawford (tracks: 2, 7, 12); Baritone Saxophone – Howard Johnson (3) (tracks: 2, 7, 12); Bass – Jimmy Lewis (2) (tracks: 1, 3 to 6, 8 to 11, 13, 14), Ralph Hamperian (tracks: 5, 6, 9, 13), Wilbur Bascomb (tracks: 2, 7, 12); Bass, Electric Bass – Leon Lee Dorsey (tracks: 1, 14); Drums – Bernard Purdie (tracks: 2, 7, 12), Don Williams (7); Guitar – Melvin Sparks (tracks: 2, 7, 12), Ralph Caldwell (tracks: 1, 3 to 6, 8 to 11, 13, 14); Keyboards – Lloyd Wilson (tracks: 1, 3 to 6, 8 to 11, 13, 14); Tenor Saxophone – Red Prysock; Trumpet – Alan Rubin (tracks: 2, 7, 12), Lew Soloff (tracks: 2, 7, 12); Vocals – Arthur Prysock, Betty Joplin (tracks: 3, 9, 11, 13). Recorded between 1985 and 1987.

Fourteen digitally remastered diamonds cropped from Prysock's previous albums: Today's Love Songs Tomorrow's, This Guy's in Love With You, and Rockin' Good Way. Prysock's big, deliberate baritone/bass voice is a heart stopper. The only miscue, but nothing major, is his rendition of Solomon Burke's "Got to Get You off My Mind," where he seems uncomfortable with the blues arrangement and the simplistic lyrics. But "All My Lovin' Was in Vain," "Everything Must Change" (he wows you with the first note), "Good Rockin' Tonight," "I Wonder Where Our Love Has Gone," all deserve encores. His incredible renditions of "It's All in the Game" and "Rainy Night in Georgia" proves beyond a doubt that Arthur Prysock was the man! ~Andrew Hamilton

The Best Of Arthur Prysock: The Milestone Years

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Hank Crawford, Jimmy McGriff - Crunch Time

Bitrate: MP3@320K/s
Time: 52:37
Size: 120.5 MB
Styles: Soul-jazz, Bop
Year: 1998
Art: Front

[6:29] 1. Bow Legs
[8:09] 2. It's All Good
[5:42] 3. Don't Deceive Me (Please Don't Go)
[7:09] 4. Sandu
[7:12] 5. Crunch Time
[7:12] 6. What's Going On
[4:11] 7. Without A Song
[6:29] 8. The Preacher

Cornell Dupree, Melvin Sparks - Guitar; Bernard "Pretty" Purdie - Drums; Jimmy McGriff - Organ; Hank Crawford - Sax (Alto).

Crunch Time is classic Crawford/McGriff from the laid-back soulfulness of Crawford's "Bow Legs" to the swing given to Horace Silver's "The Preacher." Saxophonist Crawford and organist McGriff, recording as a team for this, their seventh album, go together like red beans and rice, offering a similar blend of comfort and kick. Crawford's distinct, bright tone penetrates the grooves laid-down by McGriff's tasty chordings. It's McGriff who adds the cayenne on his self-penned, bebopping title cut with drummer Bernard Purdie in the pocket all the way. A moving interpretation of the standard ballad "Without a Song," gains emotional impact by its provocatively leisurely pace and the Crawford's heart-wrenching blowing. Guitarists Melvin Sparks and Cornell Dupree, who are heard on alternating cuts, compliment the leaders whether comping behind them with those big fat chords or stepping out to solo. The sense of timing throughout this album and within these musicians is at the music's essence. It's the element which makes Crunch Time-and all of Crawford's and McGriff's music-so timeless. ~Geraldine Wycoff

Crunch Time

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Sonny Stitt - Soul Classics

Bitrate: MP3@320K/s
Time: 52:14
Size: 119.6 MB
Styles: Soul jazz
Year: 1988/2006
Art: Front

[7:11] 1. Soul Shack
[6:39] 2. When Sunny Gets Blue
[5:50] 3. Night Crawler
[3:49] 4. Goin' Down Slow
[5:14] 5. Night Letter
[4:05] 6. When It's Sleepy Time Down South
[8:34] 7. Walk On By
[3:27] 8. Lover Man
[7:22] 9. Goin' To D.C

Sonny Stitt (alto, tenor & Varitone saxophones); Virgil Jones (trumpet); Hank Jones (piano); Jack McDuff, Don Patterson, Gene Ludwig, Leon Spencer (organ); Eddie Diehl, Pat Martino, Grant Green, Billy Butler, Melvin Sparks (guitar); Leonard Gaskin, George Duvivier (bass); Herbie Lovelle, Art Taylor, Billy James, Idris Muhammad, Randy Gelispie (drums); Ray Barretto (congas).

Fine playing, frequently galvanizing solos.1988 reissue of cuts from 1962-1972. ~ Ron Wynn

Soul Classics

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Red Holloway - Coast to Coast

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 53:05
Size: 121,9 MB
Art: Front

(6:02)  1. Still Groovin'
(8:04)  2. Avalon
(5:10)  3. 3 steps up clark
(4:07)  4. Indian summer
(6:43)  5. Struttin' with Julie
(8:13)  6. Water jug
(4:53)  7. Million Dollar Secret
(9:48)  8. Good to Go

With all the accolades and attention paid to acts like Soulive and Medeski, Martin and Wood, the true progenitors of their music often get lost in the shuffle. Milestone has been righting such wrongs for years by signing evergreen Soul Jazz talent to its ranks. This new entry by Red Holloway serves as the latest notice that the venerable voices of the idiom are still alive and kicking. Holloway, who first gained acclaim as a member of Jack McDuff’s outfit in the early 1960s and waxed a string of popular Prestige sides on his own, has a horn sound custom-suited to the groove. Basie alum Frank Wess adds a compatible hard swing element to the band sound palpable from the opening legato riffing of “Still Groovin’.” Plectrist Melvin Sparks and Dr. Lonnie Smith, also known under his whirling dervish moniker The Turbanator, bring decades of soul and funk experience to the session alongside the two lead horns. Paul Humphrey mans the drum kit and stokes a driving beat that never oversteps his partner’s fluid movements. These chaps might be older, grayer and in Holloway’s case, balder, but they still no how to conjure up and contain a propulsive groove.

Holloway projects no illusions as to the purpose of the music or the session. This is first and foremost an opportunity for the principals to have a good time and celebrate a shared lineage that is now over four decades strong. He keeps running time down to a modest fifty-three minutes over the span of eight cuts. There’s enough space for everyone to stretch, but not too much room to meander or falter. The succinct nature of the set results in substantial replay dividends, just as the uncluttered arrangements set feet to tapping and the fingers to popping. Holloway’s alto even shows up on the ballad “Indian Summer” synching gracefully with the fulsome flutter of Wess’ tenor. The two saxophonists dance a slow waltz atop the molasses throb of Smith’s thick tonal sustains. Just about the only stumble is Holloway’s decision for a vocal turn on the Helen Humes vehicle “Million Dollar Secret.” His pipes have neither the bite of a leathery voiced bluesman nor the convincing swagger of cocktail crooner and come off as desultory despite the fine backing by the band. The slow sizzling closer, “Good to Go,” regains lost ground with some greasy interplay between Sparks and Smith. The tenors slip and slide across the lubricious chordal terrain and Holloway wisely prolongs the tune past the nine-minute mark. As the icing on the sonic cupcake, the entire session was recorded in the warm acoustics of Rudy Van Gelder’s studio, the site of countless earlier groove conclaves. ~ Derek Taylor https://www.allaboutjazz.com/coast-to-coast-red-holloway-fantasy-jazz-review-by-derek-taylor.php

Personnel: Red Holloway- tenor & alto saxophones, flute; Frank Wess- tenor saxophone; Dr. Lonnie Smith- organ; Melvin Sparks- guitar; Paul Humphrey- drums.

Coast to Coast

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Lou Donaldson - Pretty Things

Styles: Saxophone Jazz
Year: 1970
File: MP3@320K/s
Time: 38:45
Size: 89,0 MB
Art: Front

(6:39)  1. Tennessee Waltz
(5:47)  2. Curtis' Song
(6:34)  3. Sassie Lassie
(5:28)  4. Just for a Thrill
(8:11)  5. Pot Belly
(6:03)  6. Love

Lou Donaldson has recorded many strong sessions throughout his career but this CD reissue brings back one of the less-significant ones. Organist Leon Spencer dominates the ensembles, the material is a bit trivial and the altoist/leader uses a baritone sax on some of the selections which makes him sound much less individual than usual. Trumpeter Blue Mitchell's solos and a fine closing jam on "Love" help upgrade the music a bit but there are many better Donaldson recordings to acquire first. ~ Scott Yanow http://www.allmusic.com/album/pretty-things-mw0000103323

Personnel: Lou Donaldson (alto saxophone); Blue Mitchell (trumpet); Leon Spencer Jr., Lonnie Smith (organ); Ted Dunbar, Melvin Sparks (guitar); Jimmy Lewis (bass); Idris Muhammad (drums).

Pretty Things

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Charles Earland - Organomically Correct

Bitrate: MP3@320K/s

Time: 73:56

Size: 169.3 MB

Styles: Organ jazz

Year: 2009

Art: Front

[ 3:43] 1. The Dozens

[ 4:41] 2. Red, Green And Black Blues

[ 7:36] 3. Undecided

[ 5:22] 4. Old Folks

[ 3:45] 5. A Prayer

[ 7:24] 6. Organic Blues

[ 6:13] 7. Three Blind Mice

[ 5:03] 8. We Are Not Alone

[11:47] 9. Blues For Rudy

[ 7:09] 10. The Thang

[ 6:15] 11. Infant Eyes

[ 4:53] 12. Is It Necessary

Organist Charles Earland recorded nine albums for the Muse label between 1977 and 1995. None stand out particularly, but each had its share of solid, organ-combo swing and programs of mostly blues and ballads. Organomically Correct compiles some of the early highlights in Earland's Muse output: four of the six tracks from Mama Roots (1977), three of the five tracks from Pleasant Afternoon (1978) and all five tracks from Infant Eyes (1978). This music was all recorded between Earland's more commercial (and less memorable) outings on Mercury and Columbia and catch the organ grinder in a kind of Jimmy Smith bag (reinforced even more when paired with Wes-like guitarist Jimmy Ponder on half of the CD's tracks). While the funk and the fire in Earland's playing had been missing since at least his last Prestige record (1974), there's an insistently melodic and appealing groove throughout this set. Another advantage is that two thirds of the tunes here are Earland originals: slow burners that really let the organist cook nicely on a low flame. There are several nice features for George Coleman on tenor sax and Frank Wess on flute too. A surprisingly cohesive set with an enjoyable after-hours feel. ~Douglas Payne

Charles Earland: organ; George Coleman, Houston Person, Mack Goldsbury: tenor sax; Frank Wess: flute and tenor sax; Bill Hardman: trumpet; Jimmy Ponder, Melvin Sparks: guitar; Walter Perkins, Bobby Durham, Grady Tate: drums; Ralph Dorsey, Lawrence Killian: percussion.

Organomically Correct

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Jimmy McGriff - Blue To The Bone

Bitrate: MP3@320K/s
Time: 44:18
Size: 101.4 MB
Styles: Soul-jazz-blues
Year: 1988
Art: Front

[ 6:26] 1. Ain't That Funk For You
[ 5:11] 2. For All We Know
[10:18] 3. Don't Get Around Much Anymore
[ 9:03] 4. Secret Love
[ 7:43] 5. Hangin' In
[ 5:34] 6. After The Dark

Bill Easley »» Saxophone; Al Grey »» Trombone; Jimmy McGriff »» Hammond B3; Bernard Purdie »» Drums; Melvin Sparks »» Guitar.

McGriff with Bill Easley on sax, Melvin Sparks on guitar, Bernard Purdie on drums, and Al Grey on trombone. The trombone is not that often found in the small-organ combo format and may not appeal to everyone. Smooth, yet funky. ~Michael Erlewine

Blue To The Bone

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Lou Donaldson - The Scorpion: Live At The Cadillac Club

Styles: Saxophone Jazz
Year: 1970
File: MP3@320K/s
Time: 46:26
Size: 107,1 MB
Art: Front

(10:58)  1. The Scorpion
( 6:00)  2. Laura
(13:01)  3. Alligator Boogaloo
( 4:09)  4. The Masquerade Is Over
( 5:26)  5. Peepin'
( 6:49)  6. Footpattin' Time

This previously unreleased live set, which has been issued on Blue Note's Rare Groove Series, will bore anyone who listens closely. The repertoire is dominated by lengthy funk grooves that are quite danceable but never develop beyond the obvious. Altoist Lou Donaldson was using a baritone horn at the time that gave him a generic and unappealing tone, the obscure trumpeter Fred Ballard does his best to no avail and the enthusiastic rhythm section (guitarist Melvin Sparks, organist Leon Spencer, Jr., and drummer Idris Muhammad) keeps the grooves repetitious. 

Bob Porter's liner notes (which colorfully give readers the history of Newark jazz of the past 30 years) are superlative but, even with the inclusion of a fast blues, musically nothing much happens. ~ Scott Yanow  http://www.allmusic.com/album/the-scorpion-live-at-the-cadillac-club-mw0000126429

Personnel: Lou Donaldson (alto saxophone);  Fred Ballard (trumpet);  Leon Spencer Jr. (organ);  Melvin Sparks (guitar);  Idris Muhhamad (drums).

The Scorpion: Live At The Cadillac Club

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