Booker Ervin - Booker And Brass

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 49:58
Size: 115,8 MB
Art: Front

(4:40)  1. East Dallas Special
(4:29)  2. I Lost My Sugar In Salt Lake City
(4:31)  3. Do You Know What It Means To Miss New Orleans
(5:06)  4. L.A. After Dark - Master Take-6
(3:22)  5. Kansas City
(4:39)  6. Baltimore Oriole
(4:21)  7. Harlem Nocturne
(4:16)  8. I Left My Heart In San Francisco
(4:13)  9. St. Louis Blues
(5:12) 10. L.A. After Dark - Alt. Take-3
(5:04) 11. L.A. After Dark - Alt. Take-7

To hear Booker Ervin as the leading solo voice on a recording with a larger ensemble is a treat, not only for his fans, but for those interested in modern big-band sounds grown from the bop era that are flavored with urban blues. A trio of different sessions done at Webster Hall in New York City features groups ranging from ten to eleven pieces, with personnel switched up, and no supplemental saxophonists. Freddie Hubbard is the only other soloist besides Ervin, the trombone section features top-rate players Bennie Green, Britt Woodman, and Garnett Brown, and the rhythm section of pianist Kenny Barron, bassist Reggie Johnson, and drummer Lenny McBrowne is as solid as can be. The session is based entirely on themes dedicated to major cities in the U.S. ~ Michael G.Nastos https://www.allmusic.com/album/booker-n-brass-mw0000041557

Personnel: Booker Ervin - tenor saxophone; Martin Banks (tracks 1-3, 5, 7 & 8), Johnny Coles (tracks 1, 2 & 5), Ray Copeland, Freddie Hubbard (tracks 3, 4 & 6-11), Charles Tolliver (tracks 4, 6 & 9-11), Richard Williams - trumpet; Garnett Brown (tracks 3, 4 & 6-11), Bennie Green, Britt Woodman (tracks 1, 2 & 5) - trombone; Benny Powell (tracks 1-3, 5, 7 & 8) - bass trombone; Kenny Barron - piano; Reggie Johnson - bass; Lenny McBrowne - drums; Teddy Edwards - arranger, conductor

Booker And Brass

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Roland Kirk - Left & Right

Styles: Saxophone Jazz
Year: 1968
File: MP3@320K/s
Time: 42:55
Size: 101,2 MB
Art: Front

( 1:18)  1. Black Mystery Has Been Revealed
(19:36)  2. Expansions
( 3:48)  3. Lady's Blues
( 3:41)  4. I X Love
( 3:24)  5. Hot Cha
( 4:13)  6. Quintessence
( 2:54)  7. I Waited For You
( 3:57)  8. A Flower Is A Lovesome Thing

The title of this album, Left and Right, no doubt refers to the sides of Rahsaan Roland Kirk's brain, which were both heavily taxed in the composing, arranging, conducting, and playing of this recording. For starters, the band is huge 17 players plus a 16-piece string section, all of it arranged and conducted by Kirk, a blind man. None of this would matter a damn if this weren't such a badass platter. Along with Kirk's usual crew of Ron Burton, Julius Watkins, Dick Griffin, Jimmy Hopps, and Gerald Brown, there are luminaries in the crowd including Alice Coltrane on harp, Pepper Adams on baritone saxophone, and no less than Roy Haynes helping out on the skins. What it all means is this: The man who surprised and outraged everybody on the scene as well as blew most away was at it again here in "Expansions," his wildly ambitious and swinging post-Coltrane suite, which has "Black Mystery Has Been Revealed" as its prelude. While there are other tracks on this record, this suite is its centerpiece and masterpiece despite killer readings of Billy Strayhorn's "A Flower Is a Lovesome Thing" and "Quintessence." "Expansions" has Kirk putting his entire harmonic range on display, and all of the timbral extensions he used in his own playing are charted for a string section to articulate. There are subtleties, of course, which come off as merely tonal variations in extant harmony with the other instruments, but when they are juxtaposed against a portrayal of the entire history of jazz from Jelly Roll Morton to the present day then they become something else: the storytellers, the timbres, and the chromatic extensions that point in the right direction and get listeners to stop in the right places. This is an extreme for Rahsaan  extremely brilliant and thoroughly accessible. ~ Thom Jurek https://www.allmusic.com/album/left-right-mw0000661555

Personnel: Roland Kirk: tenor saxophone, manzello, stritch, clarinet, flute, organ, narration, thumb piano, celesta; Jim Buffington, Julius Watkins: french horn; Frank Wess: woodwinds;   Richard Williams: trumpet;   Dick Griffith, Benny Powell: trombone;   Daniel Jones: basoon;  Pepper Adams: baritone saxophone;  Alice Coltrane: harp;   Ron Burton: piano;  Vernon Martin: bass;  Roy Haynes: drums;  Jimmy Hopps: drums;  Warren Smith: percussion, vocals;  Gerald "Sonny" Brown: percussion;  Gil Fuller: arranger

Left & Right

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Les McCann - Comment

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

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

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

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

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

Comment

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Booker Ervin - Cookin'

Styles: Saxophone Jazz 
Year: 1960
File: MP3@320K/s
Time: 43:22
Size: 101,7 MB
Art: Front

(7:32)  1. Dee Da Do
(5:18)  2. Mr. Wiggles
(7:25)  3. You Don't Know What Love Is
(6:13)  4. Down In The Dumps
(9:52)  5. Well, Well
(7:00)  6. Autumn Leaves

A very distinctive tenor with a hard, passionate tone and an emotional style that was still tied to chordal improvisation, Booker Ervin was a true original. He was originally a trombonist, but taught himself tenor while in the Air Force (1950-1953). After studying music in Boston for two years, he made his recording debut with Ernie Fields' R&B band (1956). Ervin gained fame while playing with Charles Mingus (off and on during 1956-1962), holding his own with the volatile bassist and Eric Dolphy. He also led his own quartet, worked with Randy Weston on a few occasions in the '60s, and spent much of 1964-1966 in Europe before dying much too young from kidney disease. Ervin, who is on several notable Charles Mingus records, made dates of his own for Bethlehem, Savoy, and Candid during 1960-1961, along with later sets for Pacific Jazz and Blue Note. His nine Prestige sessions of 1963-1966 (including The Freedom Book, The Song Book, The Blues Book, and The Space Book) are among the high points of his career. https://itunes.apple.com/us/album/cookin/3907000

Personnel:  Booker Ervin - tenor saxophone;  Richard Williams - trumpet;  Horace Parlan - piano;  George Tucker - bass;  Dannie Richmond - drums.

Cookin'

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Leo Wright - Blues Shout

Bitrate: MP3@320K/s
Time: 40:34
Size: 92.9 MB
Styles: Bop, Saxophone jazz
Year: 1960/2006
Art: Front

[3:26] 1. Sigi
[5:13] 2. Angel Eyes
[3:49] 3. Autumn Leaves
[7:05] 4. Indian Summer
[5:02] 5. Blues Shout
[5:26] 6. A Night In Tunisia
[4:42] 7. The Wind
[5:48] 8. Two Moods

Leo Wright's Atlantic debut, Blues Shout, effectively summarizes his career as a sideman, embracing the expressionist sensibilities of longtime boss Dizzy Gillespie as well as the Latin inspirations of longtime bandmate Lalo Schifrin to create a fiercely modern and uncommonly impassioned sound all its own. Joined by pianist Junior Mance, trumpeter Richard Williams, bassist Art Davis, and drummer Charlie Persip, Wright divides his attention between his signature alto sax and flute, delivering a series of thoughtful and lyrical solos that positively radiate energy. The blues referenced in the title are more a feeling than a sound, underscoring the emotional intensity that bristles below the surface of every note. ~Jason Ankeny

Blues Shout mc
Blues Shout zippy

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Gigi Gryce - The Hap'nin's

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 39:51
Size: 91,6 MB
Art: Front

(7:37)  1. Frankie And Johnny
(5:40)  2. Lover Man
(6:36)  3. Minority
(8:06)  4. Summertime
(4:07)  5. Nica's Tempo
(7:43)  6. Don't Worry 'Bout Me

Altoist Gigi Gryce, who would retire from playing altogether within a couple of years, leads his promising 1960 quintet on this CD reissue. Trumpeter Richard Williams and pianist Richard Wyands take fine solos on the six jazz standards (two of which, "Minority" and "Nica's Tempo," were Gryce's best-known tunes) while bassist Julian Euell and drummer Mickey Roker are fine in support. The hard bop set has its strong moments even this group was largely forgotten after Gryce's retirement. Worth investigating.

~ Scott Yanow https://www.allmusic.com/album/the-hapnins-mw0000177199

Personnel:  Gigi Gryce (alto saxophone); Richard Williams (trumpet); Richard Wyands (piano); Julian Euell (bass); Mickey Roker (drums).

The Hap'nin's

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Oliver Nelson - Screamin' The Blues

Styles: Saxophone Jazz 
Year: 1960
File: MP3@320K/s
Time: 39:54
Size: 91,4 MB
Art: Front

(10:59)  1. Screamin' The Blues
( 4:59)  2. March On, March On
( 5:49)  3. The Drive
( 6:43)  4. The Meetin'
( 6:25)  5. Three Seconds
( 4:58)  6. Alto-itis

Screamin' the Blues is an apt description of the soloists' approach on this 1960 session, here reissued as an RVG remaster, the first of three matching leader Oliver Nelson with avant-gardist Eric Dolphy. Although not as well-known as Nelson's masterpiece, Blues and the Abstract Truth (1961), the date is characterized, above all, by "generosity" on the part of all three principals, including the underrated trumpeter Richard Williams. Nelson's tenor solo on the title tune is the equivalent of an operatic tenor aria full-throated, dramatic, played to the back row. It alone is testimony to the remarkable player he was before putting the horn aside and arranging for everyone from Ringo Starr to Thelonious Monk to opera diva Rise Stevens. Add to these activities his film scores for Last Tango in Paris, Lady Sings the Blues, and Alfie, with a sound-track featuring Sonny Rollins, and you begin to wonder less at why he died so young than how he accomplished so much in his forty-three years. On both tenor and alto Nelson favored a pure but powerful sound. His vibrato spins tightly and he's forward on the beat, but otherwise the decisiveness and absolute assurance with which he "sticks" every note is prime-time Dexter Gordon. Moreover, he thinks like a composer constructing solos with a beginning, middle, and end, each musical narrative culminating in a majestic but hard-earned climax. As harmonically grounded as he is, no player is more averse to "running the changes"; in fact, Nelson incorporates the principle of tension and release practically to the extreme. He will repeat an identical phrase derived from a chord's "extension notes" to the point of discomfort before relinquishing it to the harmonic mainstream. Especially striking examples are his solos on "Perdido (Soul Battle, 1960) and "Mainstem (Mainstem, 1961). Following the stentorian statements of Nelson's tenor and Williams' trumpet on the title tune, Dolphy's squawking bass clarinet sounds like an odd duck. But once moving to alto for "March On, March On" he reveals the aggressive technique and bold harmonies that caused Nelson, a harmonic experimenter and virtuoso player in his own right, to see in Dolphy an adventurous musical soul and kindred spirit, someone capable of pushing the leader to greater risks and potentially greater rewards. Dolphy remains on alto for the next five tunes, frequently raising the bar for Nelson, whose musical-emotional rhetoric, fueled by Dolphy's range-busting top tones and volcanic technique, is not about to give an inch. 

After a particularly blistering solo by the guest alto player on the leader's "Alto-itis," Nelson starts his solo tenuously, as though planning his attack carefully before executing with breathtaking surgical precision, leaving the "screamin'" to the entire ensemble on the out chorus. Sounding no less eruptive than the Count Basie band from the Wyands-Duvivier-Haynes power plant to the three explosive horns each impersonating an entire section it's a fitting finale by musicians for whom feeling blue is an occasion for celebrating. ~ Samuel Chell https://www.allaboutjazz.com/screamin-the-blues-oliver-nelson-prestige-records-review-by-samuel-chell.php

Personnel: Oiver Nelson: tenor and alto saxophones; Eric Dolphy: alto saxophone and bass clarinet; Richard Williams: trumpet; Richard Wyands: piano; George Duvivier: bass; Roy Haynes: drums.

Screamin' The Blues

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Gigi Gryce Orch-tette - Reminiscin'

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 33:09
Size: 77,5 MB
Art: Front

(3:25)  1. Blue Light
(4:26)  2. Caravan
(4:00)  3. Reminiscing
(4:46)  4. Yesterdays
(3:21)  5. Gee Blues Gee
(5:13)  6. A Night In Tunisia
(4:20)  7. Dearly Beloved
(3:35)  8. Take The ''A'' Train

Gigi Gryce was a fine altoist in the 1950s, but it was his writing skills (including composing the standard "Minority") that were considered most notable. After growing up in Hartford, CT, and studying at the Boston Conservatory and in Paris, Gryce worked in New York with Max Roach, Tadd Dameron, and Clifford Brown. He toured Europe in 1953 with Lionel Hampton and led several sessions in France. After freelancing in 1954 (including recording with Thelonious Monk), Gryce worked with Oscar Pettiford's groups (1955-1957) and led the Jazz Lab Quintet (1955-1958), a band featuring Donald Byrd. He had a quintet with Richard Williams during 1959-1961, but then stopped playing altogether to become a teacher. During his short career, Gigi Gryce recorded as a leader for Vogue (many of the releases have been issued domestically on Prestige), Savoy, Metrojazz, New Jazz, and Mercury. ~ Scott Yanow https://itunes.apple.com/ca/album/reminiscin-orch-tette/id590705894

Personnel:  Alto Saxophone – Gigi Gryce;  Bass – George Duvivier , Julian Euell , Reginald Workman;  Drums – Bob Thomas,Walter Perkins;  Piano – Richard Wyands;  Trumpet – Richard Williams;  Vibraphone – Eddie Costa

Reminiscin'

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Gigi Gryce - The Rat Race Blues

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 40:32
Size: 93,2 MB
Art: Front

( 6:38)  1. The Rat Race Blues
( 7:49)  2. Strange Feelin'
( 7:03)  3. Boxer's Blues
( 7:48)  4. Blues In Bloom
(11:12)  5. Monday Through Sunday

Altoist Gigi Gryce's next to last album before permanently dropping out of jazz has been reissued on this CD. With trumpeter Richard Williams, pianist Richard Wyands, bassist Julian Euell, and drummer Mickey Roker also part of what was a working quintet, Gryce (underrated as a soloist and a particularly strong composer) had one of his finest bands. The group swings its way through two of Gryce's lesser-known originals and three then-recent obscurities. Interesting and generally fresh straight-ahead jazz. ~ Scott Yanow http://www.allmusic.com/album/the-rat-race-blues-mw0000263253

Personnel:  Gigi Gryce - alto saxophone;  Richard Williams – trumpet;  Richard Wyands – piano;  Julian Euell – bass;  Mickey Roker - drums

The Rat Race Blues

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Duke Jordan - Duke's Delight

Styles: Piano Jazz
Year: 1975
File: MP3@256K/s
Time: 60:14
Size: 110,4 MB
Art: Front

(7:55)  1. Truth
(5:36)  2. In My Solitude
(9:46)  3. Sultry Eve
(6:07)  4. Undecided Lady
(9:13)  5. Tall Grass
(7:25)  6. Duke's Delight
(6:32)  7. Undecided Lady Take 1
(7:36)  8. Duke's Delight Take 4

Duke's Delight is a classy recording from a pianist of renown. While the tape was rolling Duke Jordan's playing was inspired, and the band stayed right with him throughout this session, which includes five Jordan compositions and Duke Ellington's "In My Solitude." Playing piano in a sax and trumpet format is a setting long familiar to Jordon, and his clear, melodic lines rise above a tight band that is consistently up for the challenge. Charlie Rouse on tenor plays a straight forward bluesy sax, much different from his Thelonious Monk days, and Richard Williams on trumpet provides his precise, sometimes fiery, commentary. Bassist Sam Jones and drummer Al Foster round out a rhythm section that's honed and vigorous. This quintet can cook. 

Jordan is primarily remembered for his stellar work in the magnificent Charlie Parker Quintet the famous band that was graced with the presence of the young Miles Davis and the master drummer Max Roach. This was back in the late 1940's when Jordan was a key figure, often providing fine introductions, as well as riveting solos and intricate accompaniment to some of Parker's finest work. Jordan's solos have always been known for their clarity of construction and thoughtful swing. With Parker there was also a lyrical sweetness to his tone that meshed well with the dissonance of the edgier bebop compositions. His sophisticated mastery of the music ensured that he would continue to be an in-demand pianist. After recording with Stan Getz, Sonny Stitt, and a long line-up of other name players, Jordan moved to Denmark in 1978 and developed a productive relationship with SteepleChase Records until his death in 2006.

Duke's Delight is often considered one of Jordan's best SteepleChase recordings. The playing is up front and open, the band having the talent and rapport to sustain such honesty; while Jordan's compositions present solid material to work and develop. Jordan's compositions and arrangements have a similar clarity of construction as his solo work and there's a no-nonsense, sophisticated air about his conceptions that set the tone for this marvelous session. ~ Mike Neely  http://www.allaboutjazz.com/dukes-delight-duke-jordan-steeplechase-records-review-by-mike-neely.php

Personnel: Duke Jordan: piano; Richard Williams: trumpet; Charlie Rouse: tenor saxophone; Sam Jones: bass; Al Foster: drums.

Duke's Delight

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Richard Williams & Leo Wright Quintets - New Horn In Town + Blues Shout

Bitrate: MP3@320K/s
Time: 62:07
Size: 142.2 MB
Styles: Trumpet jazz, Saxophone jazz
Year: 2012
Art: Front

[6:16] 1. I Can Dream Can't I
[6:25] 2. I Remember Clifford
[4:58] 3. Ferris Wheel
[4:45] 4. Roucous Notes
[4:37] 5. Blues In Quandary
[8:43] 6. Over The Rainbow
[5:27] 7. Renita's Bounce
[5:00] 8. Blues Shout
[5:22] 9. A Night In Tunisia
[4:40] 10. The Wind
[5:51] 11. Two Moods

Tracks #1-7 are from the album “New Horn in Town” (Candid Stereo 9003). Recorded at Nola Penthouse Sound Studio, New York City, on November 19, 1960: Richard Williams, trumpet; Leo Wright, alto sax, flute, Richard Wyands, piano; Reggie Workman, bass; Bobby Thomas, drums.

Tracks #8-11 are taken from the album “Blues Shout” (Atlantic SD1358). Recorded in New York City, on May 25, 1960. Richard Williams, trumpet; Leo Wright, alto sax, Junior Mance, piano; Art Davis, bass; and Charlie Persip, drums. Gigi Gryce, arranger.

This CD features the leader recording premieres of trumpeter Richard Williams and reedman Leo Wright, whose emergence created quite a stir on the late Fifties jazz scene. Both played on each other’s debuts. Williams, whose power, range and ideas had impressed hugely with the Oliver Nelson and Gigi Gryce groups, made his expected appearance as leader with “New Horn in Town”, while Wright, whose direct, exciting alto and flute were showcased when he joined Dizzy Gillespie’s quintet in 1959, debuted with “Blues Shout”. Both were made in 1960 and fulfilled expectations of two rising young talents.

In these quintet sessions Williams displays his capacity for explosive and inventive playing, with the scope, sweep, conception, technique and the versatility of an assured young lion. Wright’s excellence is also self-evident, regardless of instrument; his style is straight-ahead, warm and emotional, uncluttered and flowing. To complete the success of these debut sessions, both rhythm sections provide vigorous, swinging support, with pianists Richard Wyands and Junior Mance adding further solo voices idiomatically on the button.

New Horn In Town + Blues Shout                

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