CURTIS FULLER — Two Bones (1958-2014) RM | SHM-CD | Serie Blue Note, The Masterworks | FLAC (tracks+.cue), lossless

 Tracklist & Credits :

CURTIS FULLER QUINTET — Blues ette (1959-1991) RM | FLAC (tracks+.cue), lossless

Sessions in any genre of music are all too often described as "sublime," but seldom has that description been better deserved than with this relaxed hard bop classic. One looks to other catchalls such as "effortless" and "loose," but even those slight this amazing date by implying a lack of intensity -- and intensity comes in all forms. For all intents and purposes, this is the first recorded meeting of what would become the famous Benny Golson/Art Farmer Jazztet (albeit without Farmer), a group most commonly associated with its 1960 Chess session, Meet the Jazztet. Curtis Fuller's next date, The Curtis Fuller Jazztet, and his appearance on the Chess date, only compound this point. Like perhaps Jimmy Smith's flagship, The Sermon, Blues-ette's brilliance manifests itself not only within the individual solos but also in the way the group functions as a collective. One gets the impression that these tunes could have continued for hours in the studio without the slightest lack of interest on anyone's part. This might be because many of the themes presented here are so basic and seemingly obvious that they don't seem like anything to write home about upon first listen. A day or so later, when you're walking down the street to the tempo of the title track, you may begin to think otherwise. These are some exceptionally catchy heads and many have since become standards. As far as individual performances are concerned, you're not likely to find better solos by any of the members of this quintet than you will here, though they all have extensive and very high-quality catalogs themselves. Picking highlights is a moot point. Blues-ette is best experienced as an entire LP. It would have surely made a greater impact upon its initial release had it been on a more high-profile label, such as Columbia or Blue Note, but there's no sense worrying about that now. Any serious jazz collection is incomplete without this record. Period. Brandon Burke   

CURTIS FULLER QUINTET — Blues-Ette, Part II (1993) FLAC (tracks+.cue), lossless

Curtis Fuller and Benny Golson were charter members in the Jazztet of the late '50s and early '60s. The band was revived a few times by Golson and founder Art Farmer, but this 1993 edition has no trumpeter. Tommy Flanagan, Ray Drummond, and Al Harewood comprise a dynamite rhythm section that allows the front-line musicians all the freedom they need to play tandem melodies signifying the happy feeling of the original Jazztet. Golson, the consummate player and especially composer, asserts his will on most of this date, while Fuller, the leader in name, follows merrily along and plays as cleanly as he ever has. Flanagan is a definite force, quoting phrase upon phrase of jazz standards spontaneously and adding his refined, unlimited string of genius ideas whether comping or playing harmonious chords. The best-known tracks of the collection are Golson's evergreens like the Art Blakey-adopted beloved standard and easy swinging "Along Came Betty" and an updated take of the classic hard bopper "Five Spot After Dark," identified by the perfect tandem melody from Golson and Fuller. "Love, Your Spell Is Everywhere" holds the most mysterious intrigue, with a patented Flanagan intro and a fine Fuller solo. There's an overall sense of cool, as nothing is rushed or blatantly fast. Though "How Am I to Know?" is quicker, it is not blindingly so, as the band also echoes the hopeful theme of "Watch What Happens" in a display of ultimate democracy and balance. Themes of "A Child Is Born" and "I Remember Clifford" convene during the sensitive Golson ballad "Is It All a Game?," while other hushed moments on the big-city blues "Manhattan Serenade" settle further into a slow, lazy mood. More of that exonerated good-time feeling is extracted during Fuller's "Capt' Kid," a bright parallel calypso to the Sonny Rollins standard "St. Thomas." It's clear the past and present are merging during the entire program, as the band snatches snippets to expound upon, most notably when Flanagan borrows blue phrases from show tune, Dizzy Gillespie, or Milt Jackson melodies during "Blues-ette '93" -- not a take on the famous Toots Thielemans tune "Bluesette." A solid recording from top to bottom with no filler or cereal, and showcasing a good chunk of Golson's many great works, this comes easily recommended to all modern mainstream jazz lovers without hesitation. Michael G. Nastos    Tracklist & Credits :

IKE QUEBEC — It Might as Well Be Spring (1962-2010) RM | SACD, Hybrid | Serie The Blue Note Reissues | FLAC (tracks+.cue), lossless

Working with the same quartet that cut Heavy Soul -- organist Freddie Roach, bassist Milt Hinton and drummer Al Harewood -- Ike Quebec recorded another winning hard bop album with It Might As Well Be Spring. In many ways, the record is a companion piece to Heavy Soul. Since the two albums were recorded so close together, it's not surprising that there a number of stylistic similarities, but there are subtle differences to savor. The main distinction between the two dates is that It Might As Well Be Spring is a relaxed, romantic date comprised of standards. It provides Quebec with ample opportunity to showcase his rich, lyrical ballad style, and he shines throughout the album. Similarly, Roach has a tasteful, understated technique, whether he's soloing or providing support for Quebec. The pair have a terrific, sympathetic interplay that makes It Might As Well Be Spring a joyous listen. Stephen Thomas Erlewine
Tracklist :

1 It Might as Well Be Spring 6:22

Oscar Hammerstein II / Richard Rodgers
2 A Light Reprieve 5:25
Ike Quebec
3 Easy - Don't Hurt 6:08
Ike Quebec
4 Lover Man 5:57
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
5 Ol' Man River 6:37
Oscar Hammerstein II / Jerome Kern
6 Willow Weep for Me 5:20
Ann Ronell
Credits :
Double Bass – Milt Hinton
Drums – Al Harewood
Organ – Freddie Roach
Tenor Saxophone – Ike Quebec

LEE KONITZ QUARTET - Ideal Scene (1986) FLAC (tracks+.cue), lossless

This Soul Note release features Lee Konitz with his 1986 quartet, a unit that also includes pianist Harold Danko, bassist Rufus Reid and drummer Al Harewood. Konitz, listed as playing soprano on the album but actually sticking exclusively to alto, not only interprets three veteran standards ("Ezz-thetic," "If You Could See Me Now" and "Stella by Starlight") but also three of Danko's then-recent originals and his own "Chick Came Around." The subtle but swinging music is harmonically advanced and full of surprising twists; no predictable bebop here. More than most members of his musical generation, Lee Konitz has continued to keep his music and improvising style fresh and enthusiastic while retaining his own original musical personality through the years. Scott Yanow
Tracklist :
1     Chick Came Around 6:13
Lee Konitz
2     Tidal Breeze 7:50
Harold Danko
3     Silly Samba 6:30
Harold Danko
4     Ezz-Thetic 4:35
George Russell
5     If You Could See Me Now 7:30
Tadd Dameron / Carl Sigman
6     Stare-Case 3:06
Harold Danko
7     Stella by Starlight 9:24
Ned Washington / Victor Young
Credits :
Alto Saxophone, Liner Notes – Lee Konitz
Artwork [Cover Art] – Giuliano Crivelli
Bass – Rufus Reid
Drums – Al Harewood
Piano – Harold Danko

LOU DONALDSON - Sunny Side Up (1960-2011) RM | SACD, Hybrid | The Blue Note Reissues | FLAC (tracks+.cue), lossless

Sunny Side Up is closer to hard bop than the straight-ahead bop that characterized Lou Donaldson's '50s Blue Note records. There's a bit more soul to the songs here, which pianist Horace Parlan helps emphasize with his lightly swinging grooves. The pair help lead the group -- which also features trumpeter Bill Hardman, drummer Al Harewood and bassist Sam Jones (Laymon Jackson plays bass on two of the eight songs) -- through a mellow set of standards and bluesy originals from Donaldson and Parlan. Even the uptempo numbers sound relaxed, never fiery. Despite the general smoothness of the session, Donaldson stumbles a little -- the quotation of "Flight of the Bumblebee" on "Blues for J.P." is awkward, as is the snippet of "Pop Goes the Weasel" on "Politely," and "Way Down Upon the Swanee River" sounds lazy -- but there's enough solid material to make Sunny Side Up a worthwhile listen for fans of Donaldson and early-'60s hard bop. Stephen Thomas Erlewine
Tracklist :
1    Blues For J.P. 5'40
Written-By – Parlan
2    The Man I Love 5'16
Written-By – Gershwin
3    Politely 5'53
Written-By – Hardman
4    It's You Or No One 3'58
Written-By – Styne-Cahn
5    The Truth 5'22
Written-By – Donaldson
6    Goose Grease 6'10
Written-By – Donaldson
7    Softly As In A Morning Sunrise 6'34
Written-By – Romberg-Hammerstein
8    Way Down Upon the Swanee River (Bonus Track) 5'58
Credits :
Alto Saxophone – Lou Donaldson
Bass – Laymon Jackson, Sam Jones
Drums – Al Harewood
Piano – Horace Parlan
Trumpet – Bill Hardman

LOU DONALDSON - Midnight Sun (1960-1980) lp | FLAC (tracks), lossless

Recorded in July of 1960, Midnight Sun sat unissued in Blue Note's vaults until the early '80s, when it was issued as part of their LT series. Like many of the previously unreleased albums in the series, it's clear that the only reason this remained in the vaults was because the label was releasing too many records, not because the session itself was second-rate. Granted, there are a couple of awkward moments on the date, but for the most part, Midnight Sun is as strong as any of the hard bop records Donaldson released in the early '60s. Part of the reason the quality is so high is the fact his supporting quartet is so strong. Pianist Horace Parlan has a number of fine moments on the record, and Lou's longtime rhythm section of bassist Ben Tucker, drummer Al Harewood, and conga player Ray Barretto is as reliable as ever. Any dedicated Donaldson fan should search for this record; even if it doesn't reach the heights of Blues Walk and Here 'Tis, it still has plenty of fine music. Stephen Thomas Erlewine
A1    Candy 6:12
Written-By – Alex Kramer, Joan Whitney, Mack David
A2    Midnight Sun 5:46
Written-By – Johnny Mercer, Lionel Hampton, Sonny Burke
A3    Avalon 5:18
Written-By – Al Jolson, Buddy G. De Sylva, Vincent Rose
B1    The Squirrel 3:33
Written-By – Tadd Dameron
B2    Si Si Safronia 4:31
Written-By – Lou Donaldson
B3    Exactly Like You 5:04
Written-By – Dorothy Fields, Jimmy McHugh
B4    Dog Walk 4:24
Written-By – Lou Donaldson
Credits :
Alto Saxophone – Lou Donaldson
Bass – Ben Tucker
Congas – Ray Barretto
Drums – Al Harewood
Engineer – Rudy Van Gelder
Piano – Horace Parlan

LOU DONALDSON - Lush Life (1967-2007) RM | RVG Edition | FLAC (image+.cue), lossless

After brief sojourns at Argo and Cadet, Lou Donaldson marked his 1967 return by recording Lush Life, the grandest project he ever attempted. With its plush arrangements and unabashedly pretty melodies, Lush Life stands in stark contrast to everything else he cut in the '60s. There are no blues, no stabs at soul-jazz grooves, no hard bop -- only sweet, sensitive renditions of romantic standards. Donaldson shone on ballads before, but it's nevertheless surprising how successful he is on this set of slow love songs. His tone is full and elegant -- it's easy to get lost in his rich readings of these familiar melodies, as well as his slyly seductive improvisations. Of course, it helps that his instrumental backdrops are as lovely as those his nine-piece backing band provide. Nonets are unwieldy, to be certain, but Duke Pearson's arrangements are clean, sparkling, and attractive, and the superstar band -- Wayne Shorter (tenor sax), Jerry Dodgion (alto sax, flute), Pepper Adams (bari sax), Freddie Hubbard (trumpet), Garnett Brown (trombone), McCoy Tyner (piano), Ron Carter (bass), Al Harewood (drums) -- knows enough to provide sympathetic support and not steal the show. When they do take solos, it enhances Donaldson's original statements, and helps make Lush Life the singularly enchanting record it is. Stephen Thomas Erlewine
Tracklist :
1    Sweet Slumber 5'56
Lucky Millinder / Al J. Neiburg / Henri Woode
2     You've Changed 4'23
Bill Carey / Carl Fischer    
3     The Good Life 4'53
Jean Broussole / Sacha Distel    
4     Star Dust 3'40
Hoagy Carmichael    
5     What Will I Tell My Heart 4'25
Irving Gordon / Jack Lawrence / Peter Tinturin
6     It Might as Well Be Spring 5'58
Oscar Hammerstein II / Richard Rodgers
7     Sweet and Lovely 5'58
Gus Arnheim / Jules LeMare (Chas. N. Daniels) / Harry Tobias
Credits :
Alto Saxophone – Lou Donaldson
Alto Saxophone, Flute – Jerry Dodgion
Arranged By – Duke Pearson
Baritone Saxophone – Pepper Adams
Bass – Ron Carter
Drums – Al Harewood
Piano – McCoy Tyner
Recorded By, Remastered By – Rudy Van Gelder
Tenor Saxophone – Wayne Shorter
Trombone – Garnett Brown
Trumpet – Freddie Hubbard

BENNY CARTER - Cookin' At Carlos I (1988) FLAC (image+.cue), lossless

During the late '80s up to the present, Benny Carter (now an octogenarian) has recorded a string of consistently excellent and frequently superb CDs for Music Masters. This particular effort is a rare live recording for Carter with his regular group which in 1988 consisted of pianist Richard Wyands, bassist Lisle Atkinson and drummer Al Harewood. The repertoire is typical of his club performances: five standards, a blues and just one of Carter's compositions, "Key Largo." A special treat is Carter's trumpet solo on "Time for the Blues"; otherwise his wonderful alto dominates this fine set. Scott Yanow
Tracklist :
1     You'd Be So Nice to Come Home To 8:11
Cole Porter    
2     All the Things You Are 9:07
Oscar Hammerstein II / Jerome Kern    
3     Key Largo 8:40
Benny Carter / Karl Suessdorf / Leah Worth
4     Just Friends 8:05
John Klenner / Sam M. Lewis    
5     My Romance 10:22
Lorenz Hart / Richard Rodgers    
6     'S Wonderful 8:15
George Gershwin / Ira Gershwin    
7     Time for the Blues 8:18
Benny Carter
Credits :
Alto Saxophone, Trumpet – Benny Carter
Bass – Lisle Atkinson
Drums – Al Harewood
Piano – Richard Wyands

AHMED ABDUL-MALIK - Jazz Sahara (1958-1993) RM / FLAC (image+.cue), lossless

This CD reissue is an early example of fusing jazz with world music. Abdul-Malik switches between bass and oud; interacts closely with the droning violin of Naim Karacand, Jack Ghanaim's kanoon (a 72-string instrument), and Mike Hamway's darabeka (a percussive drum); and mixes in Al Harewood's drums and (on three of the four selections) the tenor of Johnny Griffin. The music is a qualified success, essentially Middle Eastern folk music with Griffin added in. This set is interesting and, in its own way, innovative but not essential. by Scott Yanow
Tracklist :
1    Ya Annas = Oh, People    11:10
Ahmed Abdul-Malik
2    Isma'a = Listen    9:10
Ahmed Abdul-Malik
3    El Haris = Anxious    11:28
Ahmed Abdul-Malik
4    Farah' Alaiyna = Joy Upon Us    6:59
Ahmed Abdul-Malik
Credits :    
Drums – Al Harewood
Goblet Drum [Darabeka] – Mike Hamway
Oud, Bass – Ahmed Abdul-Malik
Strings [Kanoon] – Jack Ghanaim
Tambourine – Bilal Abdurrahman
Tenor Saxophone – Johnny Griffin (pistas: 1 to 3)
Violin – Naim Karacand

AHMED ABDUL-MALIK - East Meets West (1959-1995) FLAC (tracks+.cue), lossless

The late Ahmed Abdul-Malik was best known to jazz listeners as a bassist with Thelonious Monk, Randy Weston, Coleman Hawkins, and many others. He made a few records as a leader, with this one being his most exotic and also the hardest to find. The Brooklyn native was of Sudanese descent; in addition to playing bass on this interesting blend of Middle Eastern instruments with those from the world of jazz, he also plays oud, the forerunner to the lute. The musicians on Malik's eight originals vary from track to track. On the mournful "La Ibky (Don't Cry)," Malik's oud shares the spotlight with a tenor sax (either Benny Golson or Johnny Griffin) plus trumpeter Lee Morgan. "Rooh (The Soul)" features the 72-string kanoon (which is sort of a brittle sounding and much smaller harp) played by Ahmed Yetman, along with Malik's arco bass and the droning violin of Naim Karacand. The Middle Eastern instruments are absent during "Searchin'," which is sort of a hard bop vehicle featuring trombonist Curtis Fuller and Jerome Richardson on flute, along with the tenor sax. "Takseem (Solo)" omits the jazz instruments; the slowness of the variations of the music and rather piercing vocal make it harder for Western ears to comprehend. Not a release of interest to everyone but, for the most part, this fusion of vastly different styles of music is quite enjoyable; it's obvious from the start that the musicians were enjoying themselves as it was recorded. This long out print LP will be difficult to locate. by Ken Dryden
Tracklist :
1. E-lail (The Night) 4:17
Violin – Naim Karacand
Trumpet – Lee Morgan
Tenor Saxophone – Johnny Griffin
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Musical Box [Kanon] – Ahmed Yetman
Drums – Al Harewood
Drum [Darabeka] – Bilal Abdurraham
2. La Ibky (Don't Cry) 4:55
Violin – Naim Karacand
Trumpet – Lee Morgan
Tenor Saxophone – Johnny Griffin
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Musical Box [Kanon] – Ahmed Yetman
Drum [Darabeka] – Bilal Abdurraham
Drums – Al Harewood
3. Takseem (Solo) 5:08
Violin – Naim Karacand
Viola – Jakarawan Nasseur
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Musical Box [Kanon] – Ahmed Yetman
4. Searchin' 4:02
Trombone – Curtis Fuller
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Drums – Al Harewood
Flute – Jerome Richardson
5. Isma'a (Listen) 4:15
Violin – Naim Karacand
Trumpet – Lee Morgan
Tenor Saxophone – Johnny Griffin
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Musical Box [Kanon] – Ahmed Yetman
Drums – Al Harewood
Drum [Darabeka] – Bilal Abdurraham
6. Rooh (The Soul) 3:37
Trombone – Curtis Fuller
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Flute – Jerome Richardson
Drums – Al Harewood
7. Mahawara (The Fugue) 4:12
Trombone – Curtis Fuller
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Drums – Al Harewood
Flute – Jerome Richardson
8. El Ghada (The Jungle) 3:06
Trombone – Curtis Fuller
Tenor Saxophone – Benny Golson
Oud, Surbahar – Ahmed Abdul-Malik
Drums – Al Harewood
Flute – Jerome Richardson

STANLEY TURRENTINE - Look Out (1960-2016) FLAC (tracks+.cue), lossless

Although he is best known for his bluesy soul-jazz outings, tenor saxophonist Stanley Turrentine's first Blue Note session as a leader was a much more traditional bop affair, and the resulting album, Look Out!, featuring a rhythm section of Horace Parlan on piano, George Tucker on bass, and Al Harewood on drums, shows as much artful restraint as it does groove. Not that this is a bad thing, since it allows Turrentine's big, clear tone to shine through in all its muscular sweetness, giving Look Out! a wonderful and flowing coherence. Among the highlights here are the pretty ballad "Journey Into Melody" and the gently funky "Little Sheri."  by Steve Leggett
Tracklist :
1. Look Out 7:07
Stanley Turrentine
2 Journey Into Melody 4:52
Robert Farnon
3 Return Engagement 4:40
Horace Parlan
4.  Little Sheri 7:46
Stanley Turrentine
5.  Tiny Capers 4:56
Clifford Brown
6.  Minor Chant 6:17
Stanley Turrentine
Credits :
Bass – George Tucker
Drums – Al Harewood
Piano – Horace Parlan
Tenor Saxophone – Stanley Turrentine 

GRANT GREEN - Grantstand (1961-2003) RVG Edition / FLAC (image+.cue), lossless

Grant Green's third album to be released, Grantstand teams the clear-toned guitarist with an unlikely backing group of musicians who rarely appeared with Blue Note otherwise: tenor saxophonist Yusef Lateef (who doubles on flute), organist Brother Jack McDuff, and drummer Al Harewood. Although Lateef was beginning to delve deeply into Eastern tonalities and instruments around the same time, his playing here is pretty straightforward and swinging, fitting the relaxed, bop-tinged soul-jazz that makes up most of the session. For his part, McDuff is mellower than his usual ferocious self, laying back and swinging with a blissful ease. Green contributes two bluesy originals, the nine-minute title track and the 15-minute "Blues in Maude's Flat," which are turned into loose, loping jams that rank as some of the best examples of Green's ability to work an extended groove. (The CD bonus track, "Green's Greenery," is in much the same vein, though not as long.) Elsewhere, Green leads a delicate, sensitive exploration of "My Funny Valentine" that ended up as his greatest standard performance to date, setting the stage for a great deal more work in this vein that was soon to be forthcoming (including his brilliant sessions with Sonny Clark). Still, the groove is what reigns supreme for most of the album; if you're looking for Green the soul-jazz groovemaster, Grantstand is an excellent place to find him. by Steve Huey
Tracklist  :
1    Grantstand 9:03
Written-By – Green
2    My Funny Valentine 9:06
Written-By – Rodgers-Hart
3    Blues In Maude's Flat 15:00
Written-By – Green
4    Old Folks 4:11
Written-By – Hill, Robison
5    Green's Greenery 5:10
Written-By – Grant Green
Credits :
Drums – Al Harewood
Guitar – Grant Green
Organ – Jack McDuff
Tenor Saxophone, Flute – Yusef Lateef

BENNY GOLSON - Gone with Golson (1959-1994) RM / FLAC (tracks+.cue), lossless

Shortly before the formation of The Jazztet, tenor-saxophonist Benny Golson and trombonist Curtis Fuller teamed up for this quintet set with pianist Ray Bryant, bassist Tommy Bryant and drummer Al Harewood. Although Golson contributed three of the six songs ("Blues After Dark" is the best-known one), the emphasis is on his playing; the tenor is quite heated on the uptempo blues "Jam for Bobbie." The CD reissue adds "A Bit of Heaven" (originally on a sampler but part of the same session) to the original program, a fine example of hard bop of the late '50s. by Scott Yanow
Tracklist:
1 Staccato Swing 4:51
Ray Bryant
2 Autumn Leaves 6:50
Joseph Kosma / Johnny Mercer / Jacques Prévert
3 Soul Me 6:40
Benny Golson
4 Blues After Dark 8:38
Benny Golson

5 Jam for Bobbie 9:26

Benny Golson

6 A Bit of Heaven 4:21

Curtis Fuller
Credits:
Ray Bryant - Piano
Tommy Bryant - Bass
Curtis Fuller - Trombone
Benny Golson - Sax (Tenor)
Al Harewood - Drums
Rudy Van Gelder Engineer

BARBARA LONG - Soul: The Voice Of Barbara Long [1961] SAVOY

It is very easy to call this the definitive Barbara Long album (or her best) because it is the only one she ever made. The obscure singer had a swinging style and a soft voice whose pitch sometimes wandered a little. She definitely had an adventurous spirit, starting the date with a very uptempo "Trolley Song" and stretching herself on some of the dozen songs. This Savoy reissue from the Japanese Denon label features Long with a fine backup group that includes trumpeter Billy Howell (who has an active role), pianist Nat Phipps, bassist George Tucker, drummer Al Harewood, and (on two songs) the great tenor Booker Ervin. This sincere effort is worth a few spins.  by Scott Yanow
Tracklist
1 Trolley Song
2 Gee Baby 3:10
3 Largo To Oscar 3:32
4 When You Are Smiling 3:06
Bronislaw Kaper / Ned Washington
5 Call Me Darling 2:23
Mark Fisher / Joe Goodwin / Larry Shay
6 Where Is Lonesome 3:17
7 Green Dolphin Street 3:10
8 You Don't Know What Love Is 4:00
Andy Razaf / Don Redman
9 Serenade 1:45
10 Squeeze Me 3:14
11 Swan Lake 2:50
Gene DePaul / Don Raye
12 It's Heaven 4:03
Credits
Arranged By, Trumpet – Billy Howell
Bass – George Tucker
Drums – Al Harewood
Piano – Nat Phipps
Tenor Saxophone – Booker Ervin
Vocals – Barbara Long

BARBARA LONG - Soul: The Voice Of Barbara Long

 [1961] SAVOY / CBR320 / scans

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