Joe Williams Feat. Ben Webster - Havin' A Good Time

Styles: Vocal And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 54:25
Size: 125,2 MB
Art: Front

(4:21) 1. Just a Sittin' and a Rockin'
(6:43) 2. Kansas City Blues
(3:02) 3. By the River St. Marie
(5:00) 4. That's All
(2:36) 5. Alone Together
(3:10) 6. I'm Through with Love
(2:34) 7. The Great City
(6:23) 8. A Hundred Years from Today
(6:46) 9. Ain't Misbehavin'
(5:57) 10. Honeysuckle Rose
(2:05) 11. Alright, Okay, You Win
(4:47) 12. Have a Good Time
(0:54) 13. Band Intro & Goodbye

Havin' A Good Time documents a concert that never should have happened. In the winter of 1964 Providence was socked with a blizzard that kept eager concertgoers away from the club where Joe Williams was playing. Enough people showed up that he still had to perform a few sets, but the lucky few who were there were given a rare treat; improbably, Ben Webster showed up out of nowhere and asked if he could sit in.

This is the sort of magical encounter on which jazz thrives: no preparation, no rehearsal, just a couple of masters joining together to produce some wonderful music on the spot. According to pianist Junior Mance, this was the only meeting between Webster and Williams, and fortunately it was caught on tape. All of these songs are either well-known or based on fairly simple chord progressions, which allows the band to plug into the numbers without much difficulty.

If Webster hadn't appeared, the set would still have been worth a listen; Williams always did his best work in front of an audience, and the fact that the small crowd had braved the storm to see him no doubt only added to his enthusiastic delivery. Blues songs like "Just A Sittin' and A Rockin' were tailor-made for Williams' rich baritone and exuberant presence. But the presence of Webster adds a new dimension; he gets ample solo space, really digging in to the slower numbers that he plays so beautifully, and huffs quietly behind Williams as he sings. The rhythm section seems invigorated by the chance to play with the added firepower; Junior Mance in particular carves out a niche with some smoking accompaniment.

Havin' A Good Time is an appropriate title for this new release. Clearly the audience enjoyed the collaboration and the musicians crafted some terrific entertainment. It may have been cold and snowy outside, but it sure was hot inside. By David Rickert https://www.allaboutjazz.com/havin-a-good-time-hyena-records-review-by-david-rickert

Personnel: Joe Williams: Vocals; Junior Mance: Piano; Mickey Roker: Drums; Ben Webster: Tenor Saxophone; Bob Cranshaw: Bass.

Havin' A Good Time

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Chuck Redd - The Common Thread

Styles: Vibraphone Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 57:19
Size: 132,2 MB
Art: Front

(4:23)  1. I Hear Music
(5:16)  2. Moonlight in Vermont
(4:50)  3. The Common Thread
(4:26)  4. My One and Only
(5:27)  5. Purple Gazelle
(5:23)  6. Some Other Spring
(4:19)  7. Old Man Roker
(6:38)  8. Witchcraft
(4:52)  9. Beat's Up
(3:50) 10. The Shadow of Your Smile
(2:51) 11. All God's Children Got Rhythm
(4:59) 12. I Wish I Were Twins

Chuck Redd is a deft, subtle vibraphonist who surrounds himself with equally talented and experienced musicians. He’s the equivalent of a midlist author: no blockbuster but dependable and reassuring. The Common Thread is enjoyable for its skillful blend of imagination and modesty. Propelled by similarly light-fingered drummer Mickey Roker and the highly selective bassist Bob Cranshaw, Redd turns in standards spanning a luminous, watery “The Shadow of Your Smile” and a seductive “Moonlight in Vermont”; should-be standards like Ellington’s sultry “Purple Gazelle” and Tommy Flanagan’s breakneck “Beat’s Up” (cool pun), a showcase for the rhythm section, particularly the nicely florid pianist Rossano Sportiello; and revamps like “Old Man Roker,” Redd’s tribute to his drummer and “Ol’ Man River” scribe Jerome Kern. Soul saxman Houston Person lends earthiness and funk to four selections. Don’t call Redd a throwback, even though his music is accessible and largely familiar. His is the kind of group one hopes to stumble upon in a jazz club. Redd’s touch and fluid sense of harmony stand out, as does his choice of musicians; Redd can sure pick them, not surprising considering this D.C. jazzman has worked with everyone from Charlie Byrd to Dizzy Gillespie. The Common Thread is expert mainstream jazz designed to give pleasure rather than provoke-an album to visit again and again, discovering more wit and depth each time. ~ Carlo Wolff https://jazztimes.com/reviews/albums/chuck-redd-the-common-thread/

Musicians: Chuck Redd: vibes, drums (5, 9, 11); Mickey Roker: drums (1, 2, 3, 7, 8, 12); Bob Cranshaw: bass (except 4, 10, 11); Rossano Sportiello: piano; Houston Person: tenor sax (1, 2, 3, 12)

The Common Thread

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Sonny Rollins - On Impulse

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 34:31
Size: 79,2 MB
Art: Front

( 7:07)  1. On Green Dolphin Street
(11:14)  2. Every Thing Happens To Me
( 5:29)  3. Hold'Em Joe
( 3:44)  4. Blue Room
( 6:56)  5. Three Little Words

In 1965 and 1966 tenor giant Sonny Rollins issued three albums for the Impulse label. They would be his last until 1972 when he re-emerged on the scene from a self-imposed retirement. This date is significant for the manner in which Rollins attacks five standards with a quartet that included pianist Ray Bryant, bassist Walter Booker and drummer Mickey Roker. Rollins, who's been recording for RCA and its Bluebird subsidiary, had spent the previous three years (after emerging from his first retirement) concentrating on standards and focusing deeply on intimate, intricate aspects of melody and harmony. He inverts the approach here, and digs deeply into pulse and rhythm and leaving melody to take care of itself. This is not a "new thing" date but instead focuses on playing according to the dictates of the rhythm section and on interchanging with Booker and Roker, leaving much of the melodic aspect of these tunes to Bryant. Rollins could never quite leave the melody out of anything he played because of his intense gift as a lyrical improviser; he nonetheless stripped his approach back and played tunes like "On Green Dolphin Street" by improvising according to theme rather than strict melody, where his interplay with the rhythm section becomes based on the dynamic and shifting times played by Roker. While things are more intimate and straight on "Everything Happens to Me," he nonetheless plays the edges, filling the space like a drummer. Melody happens throughout, the tune is recognizable, but it is stretched in his solo to a theme set by the shimmering cymbals and brushed snare work of Roker. The oddest cuts in the set are the last two; spaced out readings of "Blue Room," and "Three Little Words"; they sound as if he were preparing the listener for a true change in his approach. Melody gets inverted, with spaces and syncopation taking the place of notes. The swing is inherent in everything here, but it's clear that the saxophonist was hearing something else in his head, the way he squeezes notes tightly into some phrases where they might be placed elsewhere, and substitutes small, lithe lines inside Bryant's solos which dictate the harmonic intervals more conventionally with his singing approach. And speaking of rhythm, the album's hinge piece is the burning calypso "Hold "Em Joe." Here again, as Bryant's changes play it straight, Rollins shoves his horn inside them and draws out the beat on his horn over and over again. As strange and beautiful as this record sounds, it would have been wonderful if he had chosen to explore this track on his later records, but that restless spirit was already moving onto something else, as evidenced by his next offering, which were his original compositions for the film Alfie with arrangements by Oliver Nelson. If anything, Sonny Rollins on Impulse! feels as if it were a recording Rollins had to get out of his system. But thank goodness for us because it's a winner through and through. ~ Thom Jurek https://www.allmusic.com/album/on-impulse-mw0000188710

Personnel: Sonny Rollins – tenor saxophone; Ray Bryant – piano; Walter Booker – bass; Mickey Roker – drums

On Impulse

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Mike Longo - Talk With The Spirits

Styles: Piano Jazz

Year: 1976

Time: 43:59

Size: 100,9 MB

Art: Front

( 7:50)  1. Wyyowa

( 6:25)  2. Roma

( 7:08)  3. The Proclamation

( 9:14)  4. Angel Of Love

(13:19)  5. Talk With The Spirits

Pianist Mike Longo, still best known for his longtime membership in Dizzy Gillespie's group (1966-73), had his recorded debut as a leader on this Pablo LP (not yet reissued on CD). Longo gathered together an impressive sextet also including trumpeter Virgil Jones, tenor saxophonist Harold Vick, guitarist George Davis, bassist Bob Cranshaw and drummer Mickey Roker, and also welcomed Dizzy himself, who made cameo appearances on conga and a vocal, but not on trumpet. The music, five of Longo's originals, is less memorable than the solos, but this remains a fine effort that ranges from lightly funky to straight-ahead. ~ Scott Yanow https://www.allmusic.com/album/talk-with-the-spirits-mw0000878801

Personnel:  Piano, Written-By – Mike Longo; Bass – Bob Cranshaw; Congas, Vocals, Producer – Dizzy Gillespie; Drums – Mickey Roker; Guitar – George Davis;  Saxophone [Tenor] – Harold Vick; Trumpet – Virgil Jones

Talk With The Spirits

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The Duke Pearson Nonet - Honeybuns

Bitrate: MP3@320K/s
Time: 31:01
Size: 71.0 MB
Styles: Piano jazz
Year: 1965/2012
Art: Front

[7:04] 1. Honeybuns
[5:14] 2. New Girl
[4:18] 3. You Know I Care
[4:17] 4. Is That So
[4:09] 5. Our Love
[5:57] 6. Heavy Legs

Alto Saxophone – James Spaulding; Baritone Saxophone, Clarinet – Pepper Adams; Bass – Bob Cranshaw; Drums – Mickey Roker; Flute – Les Spann; Piano – Duke Pearson; Trombone – Garnett Brown; Trumpet – Johnny Coles.

This 1998 Koch CD reissues a Duke Pearson LP from 1966, containing music from the previous year. Other than "Our Love" (a familiar classical theme adapted to American pop music by Larry Clinton), all six selections are originals by the pianist. Utilizing a nonet that includes trumpeter Johnny Coles (who does his best to be soulful on "Honeybuns"), trombonist Garnett Brown, flutist Les Spann, altoist James Spaulding, tenor saxophonist George Coleman, baritonist Pepper Adams, bassist Bob Cranshaw, and drummer Mickey Roker, Pearson performs music in a style that would have fit in quite well on Blue Note. Most memorable among his originals is "Is That So." This is not an essential date, but it is nice to have this rarity back in print again. ~Scott Yaow

Honeybuns mc
Honeybuns zippy

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