Jack McDuff - Hallelujah Time!

Styles: Soul Jazz
Year: 1967
Time: 30:24
File: MP3 @ 320K/s
Size: 61,4 MB
Art: Front

(5:44) 1. Almost Like Being In Love
(5:14) 2. East of the Sun
(3:18) 3. Au Privave
(8:03) 4. Undecided
(3:49) 5. Hallelujah Time
(4:14) 6. The Live People

A killer 60s album from Brother Jack McDuff cut at a time when he was one of the most hard-hitting players on the Hammond! The set has a great lineup Red Holloway plays tenor on all cuts, except for "The Live People", which features him and Harold Ousley playing back to back and Joe Dukes is on drums throughout, and the guitar parts are handled by Pat Martino and George Benson all players who really take off under the leadership of McDuff! Cuts include "Au Private", "East of the Sun", "The Live People", and "Hallelujah Time"
© 1996-2024, Dusty Groove, Inc.https://www.dustygroove.com/item/7978/Jack-McDuff:Hallelujah-Time

Personnel: Jack McDuff - organ; Red Holloway (tracks 1-5), Harold Ousley (track 6) - tenor saxophone; George Benson (tracks 2-5), Pat Martino (tracks 1 & 6) - guitar; Joe Dukes - drums

Hallelujah Time!

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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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Red Holloway Quartet - S.R.O

Styles: Vocal And Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 78:26
Size: 181,3 MB
Art: Front

( 7:07)  1. Strike Up The Band
( 5:50)  2. Mr. Cleanhead's Blues
( 0:54)  3. Introductions
(10:18)  4. Bag's Groove
(11:37)  5. Days Of Wine And Roses
(11:28)  6. Meditation
( 4:59)  7. Mo' Candy
(11:06)  8. You Don't Know What Love Is
( 7:02)  9. Phil's Medley
( 8:01) 10. Avalon

With a career spanning almost 60 years, Red Holloway is still presenting his special brand of sax playing on both the alto and the tenor, as he's equally adept with each horn. On this album, which documents performances from a 1998 floating jazz festival, Holloway is joined by a group of talented, veterans as they collaborate on over 70 minutes of entertaining music. https://mvdshop.com/products/red-holloway-s-r-o-cd

Personnel: Vocals – O.C. Smith (tracks: 4 to 6), Red Holloway (tracks: 2); Tenor Saxophone, Alto Saxophone – Red Holloway; Bass – Keter Betts; Drums – Paul Humphrey; Guitar – Phil Upchurch; Piano – Junior Mance

S.R.O

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George Benson - The New Boss Guitar Of George Benson

Styles: Guitar Jazz
Year: 1964
File: MP3@320K/s
Time: 40:20
Size: 92,6 MB
Art: Front

(4:49)  1. Shadow Dancers
(4:42)  2. The Sweet Alice Blues
(6:52)  3. I Don't Know
(3:05)  4. Just Another Sunday
(4:30)  5. Will You Still Be Mine
(6:41)  6. Easy Living
(4:02)  7. Rock-A-Bye
(5:37)  8. My Three Sons

George Benson was only 21 when, on May 1, 1964, he recorded his first album as a leader, The New Boss Guitar of George Benson. At that point, the guitarist had yet to become a huge name in jazz, although many of those who knew him for his work with Jack McDuff's group (which he joined in 1962) agreed that he showed great potential. Benson still had some growing to do in 1964, but even so, this is an impressive debut. The guitarist had developed a distinctive, recognizable sound on his instrument, and he plays with both feeling and technique on five Benson originals (including the sly "Shadow Dancers," the exuberant "Rock-A-Bye," and the earthy blues "I Don't Know") as well as interpretations of "Easy Living" and "Will You Still Be Mine." Benson, of course, had an insightful teacher in McDuff, who plays both organ and piano on this hard bop/soul-jazz date. Tenor saxophonist Red Holloway, another member of McDuff's early-'60s group, is also on board, as are bassist Ronnie Boykins and drummer Montego Joe. In 1964, Benson's best work was yet to come; nonetheless, this album is historically important as well as rewarding. ~ Alex Henderson https://www.allmusic.com/album/the-new-boss-guitar-of-george-benson-mw0000690477 

Personnel: George Benson (guitar); Red Holloway (tenor saxophone); Jack McDuff (piano, organ); Ronnie Boykins (bass); Montego Joe, Joe Dukes (drums).

The New Boss Guitar Of George Benson

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Jackie Allen - Which ?

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 63:58
Size: 146,9 MB
Art: Front

(2:13)  1. Too hot for words
(4:22)  2. Day dream
(5:50)  3. Doodlin'
(5:36)  4. Lost in the stars
(4:11)  5. Dearly beloved
(4:10)  6. My romance
(5:14)  7. In you go
(4:36)  8. Left alone
(3:36)  9. I was a little too lonely
(3:30) 10. Which
(4:27) 11. Admit it
(4:49) 12. I'm just a woman
(3:16) 13. It's bad for me
(3:42) 14. The meaning of the blues
(4:21) 15. The last dance

Integration. Jackie Allen’s Which? is the second vocal release from Naxos Jazz. The budget label broke the ice with Gail Wynters’ 1998 release My Shining Hour (86027-2). Allen’s breathy sensuousness is a good label foil for Wynters’ earthy purring. Both vocalists hold the impeccable Bill Cunliffe on piano, Allen also having him as band leader, arranger, and associate producer. She employs Grammy-winning Ralph Jungheim as her executive producer. The Naxos Jazz stable continues to accumulate major jazz talent with appearances by Red Holloway playing his no-nonsense tenor and Gary Foster his cerebral alto. Differentiation. Jackie Allen’s voice is frankly alto, a reality that neatly works in her favor on the current collection of standards and originals. A snapshot of the cuts reveals a sexy, quirky “Too Hot For Words”, a smoky, smoldering “Doodlin’”, and an almost choral “Lost in the Stars”. Cole Porter’s “Which?” hosts a Red Holloway solo that showcases his 12-gauge blues sensibility and Roy McCurdy’s simply splendid march drumming. Allen’s own “Admit It” finds Foster waxing poetic is his own alto way. The torch of the disc is “I’m Just a Woman”, with lyrics and a deliver that would make NOW blanche, then blush (with a super Holloway R&B solo to boot). Never Let Down. Jackie Allen finds herself in the company of excellent musicians and her considerable talent profits from the Naxos Jazz approach which has framed her wounded yet playful alto range with a warm ornament analog sound (Just check out the bass duet on “The Meaning Of The Blues” and Bruce Paulson’s humid trombone on “The Last Dance”). Recommended. ~ C.Michael Bailey https://www.allaboutjazz.com/which-jackie-allen-review-by-c-michael-bailey.php

Personnel: Jackie Allen (vocals); Gary Foster (alto saxophone); Red Holloway (tenor saxophone); Bruce Paulson (trombone); Bill Cunliffe (piano); Jim Hughart (bass); Roy McCurdy (drums).

Which ?

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Gene Ammons - A Stranger In Town

Bitrate: MP3@320K/s

Time: 67:51

Size: 155.3 MB

Styles: Bop, Saxophone jazz

Year: 2002

Art: Front

[9:41] 1. The Song Is You

[3:59] 2. Light'n Up

[3:32] 3. Short Stop

[3:58] 4. They Say You're Laughing At Me

[4:13] 5. Salome's Tune

[4:10] 6. Blue Coolade

[5:58] 7. A Stranger In Town

[5:32] 8. Scam

[4:24] 9. Count Your Blessings

[3:07] 10. Cara Mia

[5:18] 11. Night Lights

[5:41] 12. Calypso Blues

[8:11] 13. Nature Boy

Alto Saxophone – Oliver Nelson;Baritone Saxophone – Gene Easton, Robert Ashton; Bass – George Duvivier, Wendell Marshall; Congas – Henry Pucho Brown, Ray Barretto; Drums – Billy English, Ed Thigpen, George Brown, Rudy Collins, Walter Perkins; Piano – John Houston, Mal Waldron, Patti Brown, Richard Wyands, Wynton Kelly; Tenor Saxophone – Gene Ammons, George Barrow, Red Holloway; Trombone – Henderson Chambers; Trumpet – Clark Terry, Hobart Dotson, Nate Woodward.

More so than other independent jazz labels such as Blue Note and Riverside, the powers to be at Prestige seemed to take great liberties in producing albums that would often contain cuts from multiple sessions, a discographical nightmare at its most basic. But even more troubling, this often made for a lack of coherence that could be disconcerting at times. What then made all of this worse was that the practice was often used with some of the label’s most important and visible artists.

The forgoing will hopefully put into perspective the circumstances surrounding the strange mélange that makes up the Gene Ammons compilation A Stranger In Town. Taken from no less than five recording sessions that span from 1954 to 1970, the 13 tracks assembled here originally appeared on the albums Velvet Soul, Sock!, and Night Lights. That’s the easy part; and then it gets confusing as you try to keep up with the rotating cast of characters on hand. A boisterous “The Song Is You” gets us started with some great small group charts provided by Oliver Nelson, only to give way to a spate of quartet performances that while solid are not particularly all that revelatory. The closing three tracks, particularly a tasty “Calypso Blues,” are the cream of the crop as Ammons' blustery attack gets bluesy support from the ubiquitous Wynton Kelly. ~C. Andrew Hovan

A Stranger In Town

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Jack McDuff - The Prestige Years (Remastered)

Bitrate: MP3@320K/s
Time: 78:40
Size: 180.1 MB
Styles: Soul jazz
Year: 2004
Art: Front

[8:13] 1. The Honeydripper
[2:59] 2. Brother Jack
[4:49] 3. Sanctified Waltz
[8:55] 4. Yeah, Baby
[5:00] 5. Mellow Gravy
[6:01] 6. He's A Real Gone Guy
[6:22] 7. Candy
[7:00] 8. Tough 'Duff
[2:23] 9. Grease Monkey
[6:46] 10. Jive Samba
[2:59] 11. Organ Grinder's Swing
[7:18] 12. Screamin'
[2:56] 13. Hot Barbeque
[6:54] 14. Opus De Funk

Alto Saxophone – Leo Wright; Bass – Wendell Marshall; Drums – Bill Elliot, Joe Dukes; Guitar – Bill Jennings, Eddie Diehl, George Benson, Grant Green, Kenny Burrell; Organ – Brother Jack McDuff; Tenor Saxophone – Gene Ammons, Harold Vick, Jimmy Forrest, Red Holloway; Vibraphone – Lem Winchester.

The history of jazz is full of great musicians who died tragically young; Clifford Brown, Bix Beiderbecke, Eric Dolphy, Fats Navarro, Charlie Christian, Booker Little, and the seminal Charlie Parker were among the many legendary improvisers who died in their twenties or thirties. But when Jack McDuff passed away on January 23, 2001, at the age of 74, his fans could take some comfort in knowing that he had lived a long and productive life. The soul-jazz/hard bop organist left behind a huge catalog, which is why best-of releases like The Prestige Years and The Best of the Concord Years are sorely needed. While the latter is devoted to McDuff's Concord Jazz recordings of the '90s and early 2000s, this 79-minute CD focuses on his Prestige output of 1960-1965. Although McDuff only spent a fraction of his career at Prestige and was still keeping busy 35 years after leaving the label, Prestige was the company that put him on the map as a recording artist -- and most soul-jazz enthusiasts would agree that he recorded some of his most essential work there. The Prestige Years bears that out; "Rock Candy," "Yeah, Baby," and McDuff's 1960 version of Joe Liggins' "The Honeydripper" are required listening for anyone with even a casual interest in gritty, down-home organ combos. The list of musicians who join McDuff on these recordings reads like a who's who of '60s soul-jazz; Gene Ammons, George Benson, Red Holloway, Jimmy Forrest, and Grant Green are among the major names appearing in the credits. The Prestige Years is far from the last word on McDuff's long recording career -- for that matter, it's far from the last word on his Prestige output. But if one is seeking an introductory overview of McDuff's five years at that label, The Prestige Years wouldn't be a bad investment at all. ~Alex Henderson

The Prestige Years (Remastered)

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Various - Soul Summit

Bitrate: MP3@320K/s
Time: 74:04
Size: 169.5 MB
Styles: Bop, Soul Jazz
Year: 1992
Art: Front

[9:13] 1. Jack McDuff - Tubby
[5:01] 2. Gene Ammons - Dumplin'
[4:34] 3. Jack McDuff - When You Wish Upon A Star
[6:02] 4. Jack McDuff - Shuffle Twist
[5:42] 5. Jack McDuff - Sleeping Susan
[6:45] 6. Jack McDuff - Out In The Cold Again
[5:09] 7. Jack McDuff - Love, I've Found You
[4:27] 8. Etta Jones - But Not For Me
[3:57] 9. Oliver Nelson, Clark Terry, Red Holloway - Too Marvelous For Words
[4:22] 10. Etta Jones - If You're But A Dream
[7:41] 11. Jack McDuff - Scram
[6:13] 12. Jack McDuff - Ballad For Baby
[4:50] 13. Etta Jones - Cool Cool Daddy

The two early-'60s LPs in the Soul Summit series featured some of the many collaborations of tenors Gene Ammons and Sonny Stitt, who are joined by organist Jack McDuff and drummer Charlie Persip. Their six performances are primarily riff tunes, with "When You Wish Upon a Star" taken at a medium pace and "Out in the Cold Again" the lone ballad. The second half of this CD, which features both volumes, features Ammons on two songs ("Love, I've Found You" and a swinging "Too Marvelous for Words") with a big band arranged by Oliver Nelson, jamming "Ballad for Baby" with a quintet, sitting out "Scram" (which stars McDuff and the tenor of Harold Vick), and backing singer Etta Jones on three numbers, of which "Cool, Cool Daddy" is the most memorable. Overall, this is an interesting and consistently swinging set that adds to the large quantity of recordings that the great Ammons did during the early '60s. ~Scott Yanow

Soul Summit

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Joe Williams - Nothin' But The Blues

Bitrate: MP3@320K/s
Time: 58:49
Size: 134.7 MB
Styles: Blues/Jazz vocals
Year: 1983/1992
Art: Front

[5:17] 1. Who She Do
[4:45] 2. Just A Dream
[2:41] 3. Hold It Right There
[5:12] 4. Please Send Me Someone To Love
[4:49] 5. Goin' To Chicago Blues
[3:52] 6. Ray Brown's In Town
[6:55] 7. In The Evening/Rocks In My Bed
[4:40] 8. Alright, Okay, You Win
[7:33] 9. Mean Old World Wee Baby Blues
[5:05] 10. The Come Back
[4:26] 11. Tell Me Where To Scratch
[3:27] 12. Sent For You Yesterday (And Here You Come Today)

Bass – Ray Brown; Drums – Gerryck King; Guitar – Phil Upchurch; Organ, Piano – Jack McDuff; Saxophone, Leader – Red Holloway; Vocals – Joe Williams; Vocals, Saxophone – Eddie "Cleanhead" Vinson.

According to Joe… Enthusiasm coming from every pore! That’s how I’ve felt about this album, right fromt he first day, when Ralph Jungheim hit me with the idea of doing an all-blues album with an all-star blues band. Overseas, jazz is looked on and respected as part of our classical presentation. So, recording the first jazz album on a prestigious American classical label like Delos is a giant step toward broadening our audience here in this country. About this band. I’ve worked with most of these guys before at one time or another, but never expected to work with them all at once! That’s why these dates were such a tremendous experience for me. I don’t remember singing the blues with such verve for a long time! All four sessions were special. For one thing, there wasn’t one note on paper, except for “Ray Brown’s Back In Town,” Red Holloway’s instrumental. All the other tunes were spontaneous, on-the-spot head arrangements, which really only works when you have players with really big ears, all really listening to each other and everybody contributing. You can’t rehearse the blues (not that we needed to) so we nailed most of the tunes on the first take. Another special thing was the relaxed atmosphere we had happening in the studio, with friends dropping in to visit. You know how you can get that magic and electricity going on a live date with a good audience? Well, that’s the feeling we had right there in the studio. There was a lot of love in that room. “Nothin’ But The Blues” captures the magic. It is the blues! – Joe Williams

Nothin' But The Blues

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Ernestine Anderson - I Love Being Here With You Disc 1 And Disc 2

Album: I Love Being Here With You (Disc 1)

Styles: Vocal Jazz
Year: 2002
File: MP3@224K/s
Time: 39:46
Size: 64,0 MB
Art: Front

(3:46)  1. I Love Being Here With You
(7:03)  2. All Blues
(5:30)  3. Down Home Blues
(4:26)  4. As long As I Live
(6:50)  5. Please Send Me Someone To Love
(3:30)  6. I Let A Song Go Out Of My My Heart
(4:00)  7. Spring is Here
(4:37)  8. Street Of Dreams

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Album: I Love Being Here With You (Disk 2)

Time: 55:25
Size: 89,1 MB

( 7:32)  1. Blues In The Closet (instr)
( 4:42)  2. I Let A Song Go Out Of My Heart
(10:21)  3. I Should Care
( 5:22)  4. There Is No Greater Love
( 7:14)  5. Skylark
( 4:57)  6. On My Own
(15:14)  7. Never Make Your Move Too Soon

This nicely packaged, but hard to follow (I'm still not completely sure who's playing what on which CD) two CD set compiles excerpts from four live performances by Ernestine Anderson, mostly as a guest. The album covers three live performances from 1987 and one from 1990, when the singer was doing some very good work. The CD 2 is a complete replication of the Live at the 1990 Jazz Festival album. Since as far as I know, this album is still available, why it is included here is a bit of a mystery to me. CD 1 is the far more engaging of the two. One of the compilations's highlights for me is Anderson's appearance with the Frank Capp/Nat Pierce Juggernaut Band from Live at the Alley Cat. This was the last of that high flying big band's albums due to the death of co-leader Nat Pierce. Anderson did four numbers on that album. The work on the "Street of Dreams" and "I Let a Song Go out of My Heart" is recommendation enough to run out and try and located that Frankie Capp/Nat Pierce CD. At one point during his career, pianist George Shearing seemed determined to record with just about every singer he could get his arms around. He cornered Anderson for two cuts on his 1987 release Dexterity. He and Shearing come together nicely on the cuts on which Anderson appears, "As Long As I Live" and "Please Send Me Someone to Love". The other album on this medley, again from 1987, and this time features the Concord All-Stars with such luminaries as Dave McKenna, Red Holloway and Dan Barrett occupying seats. There are three cuts from this album, with Anderson and McKenna working out on "I Love Being Here with You" the top item. This album will certainly appeal to Anderson's many fans as well as to those who just love a good singer behind a good band especially the Capp/Pierce outfit. ~ Dave Nathan https://www.allaboutjazz.com/i-love-being-here-with-you-ernestine-anderson-concord-music-group-review-by-dave-nathan.php

Personnel: Dan Barrett, Charlie Loper, Garnett Brown, Buster Cooper - Trombone;  Ed Bickert, Ken Pohlman - Guitar;  Scott Hamilton, Bob Cooper,  Frank Wess - Tenor Sax;  Red Holloway - Alto & Tenor Sax;  Dave McKenna, George Shearing, Gene Harris, Nat Pierce - Piano; Jimmie Smith, Frank Capp, Harold Jones - Drums; Warren Vache - Trumpet; Steve Wallace, Neil Swainson, Chuck Berghofer, Lynn Seaton - Bass; Snooky Young, Frank Szabo, Conte Candoli, Bill Berry; Dave Edwards, Joe Romano, Marshal Royal - Alto Sax; Bill Green - Baritone Sax

I Love Being Here With You (Disk 1) And (Disk 2)

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Red Holloway - Red Holloway & Company

Styles: Saxophone Jazz
Year: 1987
File: MP3@320K/s
Time: 44:19
Size: 103,6 MB
Art: Front

(6:15)  1. But Not for Me
(5:41)  2. Caravan
(5:03)  3. Passion Flower
(5:36)  4. Blues for C.J.
(4:23)  5. Well You Needn't
(6:39)  6. What's New
(5:47)  7. Summertime
(4:52)  8. Tokyo Express

Saxophonist Red Holloway (equally distinctive on tenor and alto) performs a more diverse program than usual on this Concord CD, infusing such songs as "But Not for Me," "Passion Flower," Thelonious Monk's "Well You Needn't," "Summertime" and two of his originals with plenty of soul and solid swing. Holloway, a masterful interpreter rather than an innovator, is in top form throughout the recommended set, which also features pianist Cedar Walton, bassist Richard Reid and drummer Jimmie Smith. ~ Scott Yanow http://www.allmusic.com/album/red-holloway-and-company-mw0000651175

Personnel: Red Holloway (alto & tenor saxophones); Cedar Walton (piano); Richard Reid (bass); Jimmie Smith (drums).

Red Holloway & Company

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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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Jackie Ryan - Best of Love songs

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 67:55
Size: 155,8 MB
Art: Front

(3:41)  1. When I grow too old
(4:53)  2. You'd be so nice to come home to
(3:56)  3. While we're young
(5:47)  4. Make it last
(4:36)  5. Let there be love
(2:50)  6. Luiza
(3:54)  7. This heart of mine
(3:11)  8. Once in everyone's life
(5:35)  9. Besame mucho
(4:36) 10. Seasons of the heart
(5:28) 11. Serenade in blue
(4:15) 12. Now or never
(4:34) 13. Historia de un amor
(5:17) 14. The very thought of you
(5:15) 15. You are there

An effective best-of CD isn't necessarily going to be the last word on an artist's contributions, but it should at least offer an appealing synopsis that makes one want to dig deeper. Best of Love Songs, which is Jackie Ryan's first best-of collection, accomplishes that; when this 67-minute CD is finished playing, the listener definitely wants to hear more from her. Best of Love Songs' greatest flaw is its lack of liner notes. Although Ryan has a lot going for her, she isn't a major name in the jazz world (at least as of early 2010), and that is precisely why a Ryan best-of should have had comprehensive, informative liner notes. Sometimes, the jazz releases that lack liner notes are the ones that need them the most. But the absence of liner notes doesn't make these previously released recordings any less enjoyable. Listening to "Serenade in Blue" from Passion Flower, "Make It Last" from This Heart of Mine, or "The Very Thought of You" from You and the Night and the Music, it is obvious that Ryan is a skillful, expressive torch singer who has learned a lot from influences like Sarah Vaughan, Carmen McRae, Billie Holiday, and Betty Carter (although Ryan isn't nearly as abstract as Carter). One of Ryan's major assets is her ability to express herself in languages other than English; Best of Love Songs underscores that point by giving listeners a chance to hear her performing in Spanish on Consuelo Velazquez's "Bésame Mucho" and Carlos Almaran's "Historia de un Amor," and in Portuguese on Antonio Carlos Jobim's "Luiza." Best of Love Songs paints an attractive picture of Ryan, and it can be a pleasing, if imperfect, place to start exploring her work. ~ Alex Henderson http://www.allmusic.com/album/best-of-love-songs-mw0001961317

Personnel:  Vocals: Jackie Ryan;  Sax: Ernie Watts, Red Holloway, Noel Jewkes;  Piano: Jon Mayer, Tamir Hendelman, Larry Vuckovich, Leonard Thompson;  Drums: Jeff Hamilton, Roy McCurdy, Omar Clay, Eddie Marshall;  Percussion: Luis Romero;  Trumpet: Allen Smith ;  Bass: Christoph Luty, Jeff Chambers, Darek Oles, John Wiitala;  Guitar: Barry Zweig, Larry Koonse;  Harp: Carol Robbins

Best of love songs

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Horace Silver - Pencil Packin' Papa

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 66:31
Size: 158,1 MB
Art: Front

(5:48)  1. Pencil Packin' Papa
(7:09)  2. I Got The Dancin' Blues
(6:50)  3. Soul Mates
(7:02)  4. I Need My Baby
(6:11)  5. My Mother's Waltz
(7:21)  6. Red Beans And Rice
(8:13)  7. Blues For Brother Blue
(4:56)  8. Let It All Hang Out
(6:58)  9. Señor Blues
(5:59) 10. Viva Amour

This CD's main assets are the many new compositions by Horace Silver and his colorful arrangements for the six-piece brass section. Although not enough is heard from the brass players on an individual basis (the greatly underrated trumpeter Oscar Brashear and trombonist George Bohanon get just one solo apiece), this is partly alleviated by the guest tenors. Red Holloway solos on seven songs while James Moody, Eddie Harris and Rickey Woodard each pop up twice. In addition, O.C. Smith does a fine job on his four vocals although Silver's abilities as a lyricist are still open to question. However his piano solos are typically exciting and inventive and Silver has obviously lost none of his enthusiasm even after four decades of music making. ~ Scott Yanow  http://www.allmusic.com/album/pencil-packin-papa-mw0000624836

Personnel: Horace Silver (piano); O.C. Smith (vocals); Red Holloway, Eddie Harris, Rickey Woodard, James Moody (tenor saxophone); Oscar Brashear, Ron Stout, Jeff Bernell (trumpet, flugelhorn); George Bohanon (trombone); Maurice Spears (bass trombone); Suzette Moriarty (French horn); Bob Maize (bass); Carl Burnette (drums).

Pencil Packin' Papa

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Jeanie Bryson - Some Cats Know: Jeanie Bryson Sings the Songs of Peggy Lee

Styles: Jazz, Vocal

Year: 1996

File: MP3@320K/s

Time: 58:44

Size: 135,1 MB

Art: Front

(4:30)  1. I Don't Know Enough About You

(3:02)  2. 'Deed I Do

(5:56)  3. Some Cats Know

(3:44)  4. Why Don't You Do Right?

(4:58)  5. You're My Thrill

(3:45)  6. Fever

(4:00)  7. I'm In Love Again

(3:03)  8. Close Your Eyes

(3:16)  9. Lover

(5:21) 10. You Let My Love Get Cold

(3:08) 11. I'm Gonna Go Fishin'

(4:41) 12. You're Blasé

(3:51) 13. That Sugar Baby O' Mine

(5:26) 14. Where In The World Are You?

This is a very logical tribute. Jeanie Bryson has a small but coolly sensual voice, just as Peggy Lee did during her prime. Bryson performs three songs on which Lee wrote the lyrics (including "I Don't Know Enough About You" and "I'm Gonna Go Fishin'"), ten other songs that have been associated with Lee (such as "Some Cats Know," "Why Don't You Do Right" and the inevitable "Fever"), and a number ("Where in the World Are You") penned by Jeanie's mother Connie Bryson. The singer is supported by an intriguing group that includes a four-piece rhythm section with guitarist John Chiodini and pianist Terry Trotter, tenor saxophonist Red Holloway, Paquito D'Rivera (sticking to clarinet), and trumpeter Ronnie Buttacavoli. This is one of Jeanie Bryson's best efforts and should please both her fans and those of Peggy Lee. ~ Scott Yanow  http://www.allmusic.com/album/some-cats-know-songs-of-peggy-lee-mw0000183310

Personnel: Jeanie Bryson (vocals); Red Holloway (tenor saxophone); Ronnie Buttacavoli (flugelhorn, trumpet); Paquito D'Rivera (clarinet); Terry Trotter (piano); John Chiodini (electric & acoustic guitars); Jim Hughart (bass); Harold Jones (drums); Mayra Casales (percussion).

Some Cats Know: Jeanie Bryson Sings the Songs of Peggy Lee

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George Benson & Jack Mcduff - George Benson & Jack Mcduff

Styles: Vocal, Guitar And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 65:48
Size: 151,3 MB
Art: Front

(4:44)  1. Shadow Dancers
(4:36)  2. The Sweet Alice Blues
(6:48)  3. I Don't Know
(3:00)  4. Just Another Sunday
(4:26)  5. Will You Still Be Mine
(6:36)  6. Easy Living
(3:57)  7. Rock-A-Bye
(2:57)  8. Hot Barbeque
(6:47)  9. The Party's Over
(2:54) 10. Briar Patch
(6:24) 11. Hippy Dip
(4:13) 12. 601 1/2 North Poplar St.
(4:46) 13. Cry Me a River
(3:35) 14. The Three Day Thang

George Benson's facile post-Wes Montgomery single-line and chord-accented style was well received in his salad days of the mid- to late '60s. Primarily self-taught and ear-trained, he made great strides in a five-year period around his native Pittsburgh, working with organist Jack McDuff on the East Coast chitlin circuit. As the soul-jazz and boogaloo movement was establishing itself, Benson was right in the pocket, as these seminal mid-'60s sessions perfectly illustrate. In tandem with saxophonist Red Holloway, the two Prestige label LPs New Boss Guitar and Hot Barbeque were initially reissued in 1977 on a vinyl two-fer, and now on this single CD. The first two tracks, "Shadow Dancers" and "The Sweet Alice Blues," sans McDuff though toeing the groove line, are the most original and modern numbers. The remaining tracks on the New Boss Guitar 1964 dates add McDuff, with "Just Another Sunday" a gold standard for the emerging style.

Benson's balladic expertise during "Easy Living" is as impressive as in the different dynamic of the rompin' stompin' "Rock-A-Bye." From May Day of 1965, the title cut and original version of "Hot Barbeque" has become an all-time hit and ultimate groove biscuit. Drummer Joe Dukes is the difference maker, as his fluid ease in either swinging or mixing hard bop with R&B fifty-fifty effectively drives the band so simply. "Briar Patch" approaches rock & roll, while "Hippy Dip" shows a completely unified Benson and McDuff on a fun melody line. A most arresting high-register organ sound, near unearthly, surrounds an easy swing on "The Party's Over." In addition, check out the slow late-night blues "I Don't Know" (from the 1964 dates) and "Cry Me a River" from 1965. Although Benson would reach a zenith in his short career as a jazz musician during this period, before abandoning its purity for commercial pop singing, Holloway and McDuff went on and on and on to their own great acclaim. This is Benson's initial emergence, and a valuable reminder of how great he once was. ~ Michael G.Nastos  http://www.allmusic.com/album/george-benson-jack-mcduff-mw0000584878

Personnel: George Benson (vocals, guitar); Jack McDuff (piano, organ, keyboards); Ronnie Boykins (bass guitar); Red Holloway (tenor saxophone); Montego Joe (drums, percussion); Joe Dukes (drums).

George Benson & Jack Mcduff

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Red Holloway Quartet - Nica's Dream

Bitrate: MP3@320K/s

Time: 46:01

Size: 105.3 MB

Styles: Saxophone jazz

Year: 1984/1995

Art: Front

[ 4:19] 1. Reshma Rani Barnase

[10:25] 2. Lover Man

[ 7:52] 3. Love For Sale

[ 7:10] 4. Nica's Dream

[ 5:38] 5. Georgia On My Mind

[ 6:07] 6. 369 Blues

[ 4:27] 7. Wee

Doubling on tenor and alto, Red Holloway shows on this no-nonsense quartet set how strong an improviser he is within the world of bebop. Joined by pianist Horace Parlan, bassist Jesper Lundgaard and drummer Aage Tanggaard, Holloway plays two basic originals and five jazz standards, highlighted by a lengthy "Lover Man," "Love for Sale" and a speedy "Wee." ~Scott Yanow

Recording Date: July 7, 1984

Nica's Dream

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Brother Jack McDuff - Brotherly Love

Styles: Jazz
Year: 2000
File: MP3@320K/s
Time: 66:10
Size: 154,8 MB
Art: Front

( 5:35)  1. Hot Barbecue
( 7:27)  2. Vas Dis
( 5:18)  3. Kettle Of Fish
( 7:57)  4. Georgia
( 5:38)  5. Santa Amalia
( 4:40)  6. April In Paris
( 9:33)  7. Time's Marchin' On
( 8:08)  8. Pork Chops G Pasta
(11:50)  9. Rock Candy

Brotherly Love would have been one of those feel-good Jack McDuff albums that reunites some of his early collaborators and some of the musicians he helped train (dozens of them!)...were it not his last album. Instead, Brotherly Love takes on a double meaning: a reference to the Philadelphians who join him on the album (Pat Martino and Joey DeFrancesco) and an acknowledgement of the fraternity (and, yes, sorority-or, well, camaraderie) of musicians who develop lifelong friendships and instinctive understandings of the music. Working once again with Red Holloway, McDuff leads with his unmistakable style that combines the blues with a melodic approach not only to his solos, but also to his music. 

McDuff wrote six of the tunes on Brotherly Love, and they typically includes his signature titles that imply his unpretentious attitude about life. Titles like "Time's Marchin' On," (a slow down-home blues building to the inevitable climax before fadeout and spoken exclamation), "Kettle Of Fish," (a faster blues that serves as the occasion for inspiring solos from McDuff, Martino and Holloway), "Vas Dis" (a twisting jazz waltz somewhat akin to "Take Five") and McDuff's famous "Rock Candy." "Rock Candy" has personal significance to Joey DeFrancesco, who joined McDuff on this tune in a live performance at the Concord Jazz Festival in 1996 after their duo It's About Time album was released. "Rock Candy" was the first tune that DeFrancesco performed with McDuff at the age of ten. 

Playing "Rock Candy" note-for-note as a child just the way that McDuff recorded it, DeFrancesco remained friends with him for what became a lifetime. Brotherly Love includes two tracks from that live performance, "Rock Candy" and "Pork Chops & Pasta," played by McDuff's touring band of Jerry Weldon, Andrew Beals, John Hart and Rudy Petschauer. The appearance at the jazz festival not only represents a full-circle performance of the tune, but also it's an thrilling performance unto itself when all of the musicians were at their peak. The enthusiastic applause at the end of the performance showed appreciation in person for the musicians' giving-it-their-all. That same applause which ends the recording shows appreciation for McDuff's lifelong success in entertaining thousands of listeners. The more surprising selection on the CD is Chucho Valdes' "Santa Amalia," played by the studio group consisting of Holloway, Martino, bassist Frank Gravis and drummer Grady Tate. 

Even with the Latin tinge laid down by Tate and the festival licks implied by Holloway, McDuff converts the tune into something that would fit right into the organ circuit repertoire. "April In Paris" and "Georgia" are the two other tunes on Brotherly Love that McDuff didn't write. With a nod to Count Basie's classic recording of "April In Paris," McDuff, in an orchestral fashion, fills in for the entire band before Holloway and Martino change the feel into that of an easy swing. That doesn't mean that McDuff leaves out the famous ending; he plays it as dramatically as would be expected. "Georgia" slows down into a languid retelling of the story, allowing for the musicians to fill in the rests with bluesiness and meaning. A hard-driving leader who demanded musical integrity from the people who worked for him, Jack McDuff remained true to the spirit of the music, even as he disdained fast licks for logical solo development. Brotherly Love is yet more proof that he understood the power of music, as he worked to channel that power to his audiences. ~ AAJ Staff  http://www.allaboutjazz.com/brotherly-love-jack-mcduff-concord-music-group-review-by-aaj-staff.php
 

Personnel: Jack McDuff, Joey DeFrancesco, Hammond B-3 organ; Andrew Beals, alto sax; Red Holloway, alto & tenor sax; Jerry Weldon, tenor sax; Pat Martino, John Hart, guitar; Frank Gravis, bass; Grady Tate, Rudy Petschauer, drums

Brotherly Love

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Gene Harris - Alley Cats

Bitrate: 320K/s
Time: 68:03
Size: 155.8 MB
Styles: Piano jazz
Year: 1999
Art: Front

[ 5:48] 1. Put It Where You Want It
[ 4:17] 2. Magic Lady
[11:09] 3. Blues March
[ 4:54] 4. Bird's Idea
[ 6:58] 5. Walkin' With Zach
[ 6:03] 6. Jive Samba
[ 6:19] 7. You've Changed
[ 5:35] 8. Guess Who
[11:50] 9. Listen Here
[ 5:05] 10. Please Send Me Someone To Love

Too many artists have gone their entire careers without providing any live albums, but that hasn't been a problem for Gene Harris whose live recordings from the 1980s and 1990s ranged from unaccompanied solo piano to big-band dates. Arguably, the best live album he gave listeners in the 1990s was Alley Cats; recorded live at Jazz Alley in Seattle on December 11-12, 1998, this CD finds Harris' working quintet (Harris on piano, Frank Potenza on guitar, Luther Hughes on bass, and Paul Kreibich on drums) joined by such accomplished soloists as Red Holloway (tenor sax), Ernie Watts (alto and tenor sax), and Jack McDuff (organ). Many inspired moments occur, and a 65-year-old Harris really goes that extra mile on gems ranging from Nat Adderley's "Jive Samba" and Benny Golson's "Blues March" to Joe Sample's "Put It Where You Want It" (which, in the 1970s, was introduced by the Crusaders before being covered by the Average White Band). A talented but underexposed singer (underexposed in the 1990s, anyway) who has recorded R&B albums but is quite capable of handling jazz, Harris' daughter Niki Harris is featured on earthy performances of "You've Changed," "Please Send Me Someone to Love," and "Guess Who." McDuff, meanwhile, brings his gritty, down-home Hammond B-3 to two songs: Eddie Harris' "Listen Here" and Gene Harris' "Walkin' With Zach." Soul-jazz enthusiasts will definitely want this excellent CD. ~Alex Henderson

Alley Cats

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