Laid-back and loosely swinging, Good Move captures organist Freddie Roach near the peak of his form. Roach never leans too heavily on his instrument, preferring a calmer, tasteful attack, yet he is never boring because he has a strong sense of groove. He keeps things moving on slower numbers like Erroll Garner's "Pastel" and Gershwin's "It Ain't Necessarily So," but the true highlights are on originals like "Wine, Wine, Wine" and "On Our Way Up," where the bluesy structures and fluid rhythms give Roach a chance to stretch out. Throughout the record, he is capably supported by guitarist Eddie Wright and drummer Clarence Johnston, as well as trumpeter Blue Mitchell and tenor saxophonist Hank Mobley, who both contribute fine solos. Stephen Thomas Erlewine
Tracklist :
1. It Ain't Necessarily So (5:02)
George Gershwin / Ira Gershwin
2. When Malindy Sings (5:21)
Paul Lawrence Dunbar / Oscar Brown, Jr.
3. Pastel (4:31)
Erroll Garner
4. Wine, Wine, Wine (6:32)
Freddie Roach
5. On Our Way Up (6:20)
Freddie Roach
6. 'Tain't What You Do (4:59)
Sy Oliver / Trummy Young
7. Lots of Lovely Love (4:59)
Richard Rodgers
8. I.Q. Blues (5:21)
Freddie Roach
Credits :
Freddie Roach - Organ
Blue Mitchell - Trumpet
Hank Mobley - Tenor sax
Eddie Wright - Guitar
Clarence Johnston - Drums
15.7.24
FREDDIE ROACH — Good Move! (1963-2000) FLAC (tracks+.cue), lossless
14.7.24
THE HORACE SILVER QUINTET & TRIO — Blowin' the Blues Away (1959) Two Version (2004, RM | Serie Blue Note 決定盤 1500 – 21) + (2011, RM | SACD, Hybrid | Serie The Blue Note Reissues) FLAC (tracks+.cue), lossless
Blowin' the Blues Away is one of Horace Silver's all-time Blue Note classics, only upping the ante established on Finger Poppin' for tightly constructed, joyfully infectious hard bop. This album marks the peak of Silver's classic quintet with trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor, and drummer Louis Hayes; it's also one of the pianist's strongest sets of original compositions, eclipsed only by Song for My Father and Horace Silver and the Jazz Messengers. The pacing of the album is impeccable, offering up enough different feels and slight variations on Silver's signature style to captivate the listener throughout. Two songs -- the warm, luminous ballad "Peace" and the gospel-based call-and-response swinger "Sister Sadie" -- became oft-covered standards of Silver's repertoire, and the madly cooking title cut wasn't far behind. And they embody what's right with the album in a nutshell -- the up-tempo tunes ("Break City") are among the hardest-swinging Silver had ever cut, and the slower changes of pace ("Melancholy Mood") are superbly lyrical, adding up to one of the best realizations of Silver's aesthetic. Also, two cuts ("Melancholy Mood" and the easy-swinging "The St. Vitus Dance") give Silver a chance to show off his trio chops, and "Baghdad Blues" introduces his taste for exotic, foreign-tinged themes. Through it all, Silver remains continually conscious of the groove, playing off the basic rhythms to create funky new time patterns. The typical high-impact economy of his and the rest of the band's statements is at its uppermost level, and everyone swings with exuberant commitment. In short, Blowin' the Blues Away is one of Silver's finest albums, and it's virtually impossible to dislike. Steve Huey
Tracklist :
1 Blowin' The Blues Away 4:44
Horace Silver
2 The St. Vitus Dance 4:10
Horace Silver
3 Break City 4:56
Horace Silver
4 Peace 6:02
Horace Silver
5 Sister Sadie 6:19
Horace Silver
6 The Baghdad Blues 4:52
Horace Silver
7 Melancholy Mood (New Version) 7:10
Horace Silver
– BONUS TRACK –
8 How Did It Happen 4:4
Credits :
Bass – Eugene Taylor
Drums – Louis Hayes
Piano – Horace Silver
Recorded By – Rudy Van Gelder
Tenor Saxophone – Junior Cook
Trumpet – Blue Mitchell
9.7.24
SAM JONES PLUS 10 — The Chant (1961-1994) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless
Bassist Sam Jones's Riverside recordings have long been underrated. This CD reissue features Jones on bass and cello for four songs apiece with a particularly strong supporting cast including cornetist Nat Adderley, trumpeter Blue Mitchell, trombonist Melba Liston, altoist Cannonball Adderley (who only takes one solo) and Jimmy Heath on tenor; Victor Feldman and Heath provided the colorful arrangments. Highlights include "Four," "Sonny Boy," Jones's "In Walked Ray" and "Over the Rainbow" but all eight selections in this straightahead set are rewarding. Scott Yanow
Tracklist :
1 The Chant 3:24
Victor Feldman
2 Four 4:23
Miles Davis / Jon Hendricks
3 Blues On Down 5:45
Benny Golson
4 Sonny Boy 4:54
Lew Brown / Buddy DeSylva / Ray Henderson / Al Jolson
5 In Walked Ray 4:04
Written-By – Sam Jones
6 Bluebird 4:10
Charlie Parker
7 Over The Rainbow 6:37
Harold Arlen / E.Y. "Yip" Harburg
8 Off-Color 4:26
Written-By – Rudy Stevenson
Credits :
Alto Saxophone – Julian "Cannonball" Adderley
Arranged By – Jimmy Heath, Victor Feldman
Baritone Saxophone – Tate Houston
Bass – Keter Betts (tracks: 4 to 7), Sam Jones (tracks: 1 to 3, 8)
Cello – Sam Jones (tracks: 4 to 7)
Cornet – Nat Adderley
Drums – Louis Hayes
Guitar – Les Spann (tracks: 1 to 3, 8)
Piano – Victor Feldman (tracks: 1 to 3, 5, 8), Wynton Kelly (tracks: 4, 6, 7)
Tenor Saxophone – Jimmy Heath
Trombone – Melba Liston
Trumpet – Blue Mitchell
Vibraphone – Victor Feldman (tracks: 4 to 7)
1.7.24
ELMO HOPE — Homecoming! (1961-1992) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless
Homecoming! is a particularly high-spirited record for this stage in Hope's troubled career. Following an extended stay in Los Angeles, a number of the day's top players helped welcome a refreshed Hope back to New York on this session. Tenor saxophonists Frank Foster and Jimmy Heath, as well as trumpeter Blue Mitchell, form the front line on the sextet numbers, while on all tracks Hope is joined by the rhythm section of Percy Heath and Philly Joe Jones. Four of the album's (original) seven tracks are sextet performances and the two alternate takes only appear on the Fantasy Original Jazz Classics CD reissue. The Dameron-esque bop numbers sizzle and weave and the tenor work of Frank Foster is especially rewarding on the album's bouncing opener, "Moe, Jr.," take four on the CD. The three ballads are equally fresh and less doom-ridden than comparable performances found elsewhere in his catalog. Expect fine performances by all. This great hard bop record is highly recommended. Brandon Burke
Tracklist :
1 Elmo Hope Sextet– Moe, Jr. (Take 4) 5:52
Composed By – Elmo Hope
2 Elmo Hope Sextet– Moe, Jr. (Take 2) 4:37
Composed By – Elmo Hope
3 Elmo Hope Trio– La Berthe 3:10
Composed By – Elmo Hope
4 Elmo Hope Sextet– Eyes So Beautiful As Yours 6:28
Composed By – Elmo Hope
5 Elmo Hope Trio– Homecoming 5:04
Composed By – Elmo Hope
6 Elmo Hope Trio– One Mo' Blues 6:44
Composed By – Elmo Hope
7 Elmo Hope Sextet– A Kiss For My Love (Take 5) 5:29
Composed By – Elmo Hope
8 Elmo Hope Sextet– A Kiss For My Love (Take 4 - Previously Unissued) 5:35
Composed By – Elmo Hope
9 Elmo Hope Trio– Imagination 6:39
Composed By – Jimmy Van Heusen And Johnny Burke
Credits :
Bass – Percy Heath
Drums – "Philly" Joe Jones
Piano, Arranged By – Elmo Hope
Producer – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Frank Foster (tracks: 1, 2, 4, 7, 8), Jimmy Heath (tracks: 1, 2, 4, 7, 8)
Trumpet – Blue Mitchell (tracks: 1, 2, 4, 7, 8)
24.2.24
THE HORACE SILVER QUINTET — Song for My Father (1964-2004) RM | Serie Blue Note 決定盤1500 – 51 | FLAC (tracks+.cue), lossless
One of Blue Note's greatest mainstream hard bop dates, Song for My
Father is Horace Silver's signature LP and the peak of a discography
already studded with classics. Silver was always a master at balancing
jumping rhythms with complex harmonies for a unique blend of earthiness
and sophistication, and Song for My Father has perhaps the most
sophisticated air of all his albums. Part of the reason is the faintly
exotic tint that comes from Silver's flowering fascination with rhythms
and modes from overseas -- the bossa nova beat of the classic "Song for
My Father," for example, or the Eastern-flavored theme of "Calcutta
Cutie," or the tropical-sounding rhythms of "Que Pasa?" Subtle touches
like these alter Silver's core sound just enough to bring out its hidden
class, which is why the album has become such a favorite source of
upscale ambience. Song for My Father was actually far less focused in
its origins than the typical Silver project; it dates from the period
when Silver was disbanding his classic quintet and assembling a new
group, and it features performances from both bands. Still, it hangs
together remarkably well, and Silver's writing is at its tightest and
catchiest. The title cut became Silver's best-known composition, partly
because it provided the musical basis for jazz-rock group Steely Dan's
biggest pop hit "Rikki Don't Lose That Number." Another hard bop
standard is introduced here in the lone non-Silver tune, tenor
saxophonist Joe Henderson's "The Kicker," covered often for the
challenge of its stuttering phrases and intricate rhythms. Yet somehow
it comes off as warm and inviting as the rest of the album, which is
necessary for all jazz collections -- mainstream hard bop rarely comes
as good as Song for My Father. Steve Huey
Tracklist:
1 Song for My Father 7:18
Horace Silver
2 The Natives Are Restless Tonight 6:10
Horace Silver
3 Calcutta Cutie 8:31
Horace Silver
4 Que Pasa? 7:47
Horace Silver
5 The Kicker 5:26
Joe Henderson
6 Lonely Woman 7:02
Horace Silver
Credits:
Piano – Horace Silver
Bass – Gene Taylor (tracks: 3, 6), Teddy Smith (tracks: 1, 2, 4, 5)
Drums – Roger Humphries (tracks: 1, 2, 4, 5), Roy Brooks (tracks: 3, 6)
Trumpet – Blue Mitchell (tracks: 3, 6), Carmell Jones (tracks: 1, 2, 4, 5)
Tenor Saxophone – Joe Henderson (tracks: 1, 2, 4, 5), Junior Cook (tracks: 3, 6)
Recorded By – Rudy Van Gelder
15.1.24
JOE ZAWINUL — The Rise & Fall Of The Third Stream + Money In The Pocket (1994) RM | Serie Atlantic Jazz Gallery | FLAC (tracks+.cue), lossless
Two of keyboardist Joe Zawinul's finest recordings as a leader were reissued on this single CD. The Money in the Pocket album from 1965 features Zawinul on acoustic piano in a sextet with trumpeter Blue Mitchell, tenor saxophonist Joe Henderson, and baritone saxophonist Pepper Adams playing superior hard bop, highlighted by the funky title cut, "If," and "My One and Only Love." The other session utilizes a string quartet, trumpeter Jimmy Owens, and the tenor and arrangements of William Fischer. Its diverse music hints at fusion (Zawinul doubles on electric piano) and has many colorful moments. This gem of a CD is highly recommended. Scott Yanow Tracklist & Credits :
JOE ZAWINUL — Concerto Retitled (1976-2007) FLAC (tracks+.cue), lossless
As Joe Zawinul's electric band Weather Report gathered momentum in the '70s, Atlantic put together a single-LP anthology of Zawinul's earlier two albums for Atlantic and one for Vortex. The irony, of course, is that the Zawinul of most of these tracks basically did not exist as of 1976, nor has this compulsively forward-looking musician returned to his acoustic jazz roots since. Fully half of the tracks - the Tatumesque solo number, "My One and Only Love," the straight-ahead "Riverbed," and trio numbers "Del Sasser" and "Sharon's Waltz" (with Cannonball Adderley's rhythm section, Sam Jones and Louis Hayes) come from the Money in the Pocket album. "From Vienna with Love" and "Concerto Retitled" (both from The Rise and Fall of the Third Stream) are backed by William Fischer's brooding neo-classical arrangements for cello and three violas. From these relatively conventional pursuits, it is a jolt to hear two hauntingly spiritual tracks - the electronically slowed-down "His Most Journey" and "In a Silent Way - " from the Zawinul album, the prelude to Weather Report. Though all of this stuff is out on CD in complete form, this is still useful as a quick trip through Zawinul's extraordinary changes over a short span of time. Richard S. Ginell Tracklist & Credits :
10.1.24
RAY BROWN — The Best Of The Concord Years (2002) 2xCD | FLAC (image+.cue), lossless
Ray Brown was in at the beginning of the Concord Jazz record label in the early '70s, and starting with Brown's Bag in 1975, he recorded a dozen albums as a leader for Concord before departing for Telarc Records in the early '90s. This two-disc compilation, with a running time of almost two hours and 20 minutes, presents 24 selections drawn from 19 Concord Jazz albums recorded between 1973 and 1993, including live performances at the Concord Jazz Festivals, recordings by Brown's trio and the L.A. 4, and a Brown duet with Jimmy Rowles, among other configurations. As a bass player, Brown only rarely solos, so one usually notices the horn players (Harry "Sweets" Edison, Red Holloway, Plas Johnson, Richie Kamuca, Blue Mitchell, Ralph Moore, and Bud Shank), the pianists (Monty Alexander, George Duke, Gene Harris, Art Hillery, and Rowles), or other frontline musicians (guitarists Laurindo Almeida, Herb Ellis, and Joe Pass, violinist John Frigo) before the rhythm section. But even when Brown isn't stepping out, he is maintaining the group's swing, along with drummers John Guerin, Jeff Hamilton, Jake Hanna, Gerryck King, Shelly Manne, Mickey Roker, and Jimmie Smith, and he also wrote a number of the tunes. Brown had done relatively few sessions as a leader in the 30 years of his career prior to his association with Concord, so, while the label owes him a lot, he also was enabled to flourish with the company in a way he had not before, and that is reflected in this well-chosen compilation. William Ruhlmann
Tracklist & Credits :
8.1.24
RAY BROWN — Brown's Bag (1976-1991) Concord Jazz Collector's Series | FLAC (tracks), lossless
Bassist Ray Brown's debut for Concord (and his first recording as a leader in six years) features him with two separate groups: a quintet also including trumpeter Blue Mitchell, tenor-saxophonist Richie Kamuca, pianist Art Hillery and drummer John Guerin and (on three of the seven songs) a quartet with keyboardist Dave Grusin, guitarist John Collins and drummer Jimmie Smith. While the former group has some hot moments (particularly on "Blues for Eddie Lee" and "Surrey with the Fringe on Top"), the latter band sticks to dreamy ballads. The fact that this CD reissue has less than 35 minutes is a minus; plus none of the selections are really all that memorable despite the strong playing. Not one of the more significant Ray Brown albums. Scott Yanow Tracklist & Credits :
10.12.23
RED GARLAND QUINTET — Red's Good Groove (1963-2001) RM | FLAC (tracks+.cue), lossless
Although this is a one time studio blowing session, things obviously gelled quickly for everyone as they got underway on this 1962 recording by Red Garland, which features both Blue Mitchell and Pepper Adams in prominent supporting roles. The pianist gets things off on the right foot with his relaxed blues "Red's Good Groove," while Mitchell, who had already recorded a number of dates as a leader himself, delivers a confident yet understated trumpet solo. Baritone saxophonist Pepper Adams contributed the oddly named "Excerent!" (a title which somewhat puzzled the original liner note writer Peter Drew but likely refers to the tendency of some Orientals to substitute the letter "r" for "l," long before such humor would be considered politically incorrect, it's a hard bop tune that isn't the least bit reminiscent of the Far East. The core of the date consists of several standards, concluding with a driving take of "Falling in Love with Love." Bassist Sam Jones and drummer Philly Joe Jones supply the fluid rhythm that powers the quintet throughout this very enjoyable session. Ken Dryden Tracklist & Credits :
6.10.22
LOU DONALDSON - The Complete Blue Note Lou Donaldson Sessions 1957-60 (2002) RM | MONO | 6xCD | FLAC (tracks+.cue), lossless
A soul survivor in every sense of the term, this alto saxophonist is one of the few remaining jazz artists who made a major impact on the jazz community via an extensive run with producer Alfred Lion and the Blue Note label (Horace Silver being another Blue Note legend that comes to mind). From his first recordings for the label with Art Blakey's Jazz Messengers, it was clear that Lou Donaldson put melody and sound at a premium, coming up with an amalgam that combined the creamy smoothness of Johnny Hodges with the quicksilver bop inflections of Charlie Parker.
Over the course of some 20 albums that Donaldson would cut for Blue Note beginning with his first sessions in 1953, you can trace the course of popular jazz styles, from bop inflected quintets to soul jazz organ combos. The majority of this new six disc set covers the type of bebop fare that is the core of Donaldson's musical persona and much of this material has been available previously on compact disc, although there are a few items that could only be found previously on pricey Japanese imports.
For the record, the albums included herein are Wailing with Lou, Swing and Soul, Lou Takes Off, Blues Walk, LD + 3, The Time Is Right, Sunny Side Up, Light-Foot, Gravy Train, and Midnight Sun.
Seven of the original sessions feature Donaldson in stripped down quartet formats, with conga player Ray Barretto added on occasion. Pianist Herman Foster is a mainstay on several of these dates and he shares a strong affinity with our leading man, especially on the albums Swing and Soul and Light-Foot. Of course, the cream of the crop in this category has to be Blues Walk, a certifiable Blue Note gem with bop ditties such as 'Move' and 'Callin' All Cats' mixing beautifully with lush ballad as found on 'The Masquerade Is Over' and 'Autumn Nocturne.' Never before available in the U.S. on disc, the transcendent L.D. + 3 should be considered the sleeper of these quartet/quintet sides, with Gene Harris and the Three Sounds helping to cast a bluish hue that finds Donaldson at his most sublime. In fact, it wouldn't be an exaggeration to suggest that this session alone is worth the price of admission.
The rest of the set finds Donaldson working with larger groups, starting with 1957's Lou Takes Off. Strictly a blowing session, the four extended performances allow Donald Byrd, Curtis Fuller, and Donaldson to stretch out at length, with the rhythm section of Sonny Clark , George Joyner, and Art Taylor booting things along at a medium tempo for the most part. For Wailing With Lou, The Time Is Right, and Sunny Side Up, things revert to a quintet format that places trumpet and alto as the lead voices. The latter two albums are excellent Blue Note dates of the period that make the most of pianist Horace Parlan's bluesy grass roots approach. Plus, trumpeters Blue Mitchell and Bill Hardman make perfect foils to Donaldson in that each has a lyrical style that meshes beautifully with altoist's own melodic muse.
Closing this durable set and serving as a signpost of groovier things to come, namely the organ combo records that Donaldson would launch into beginning with The Natural Soul, 1960's Midnight Sun and the following year's Gravy Train, wrap up this set in a funky vein with Barretto (and Alec Dorsey on Gravy Train ) back to add a little percussive spice. Pieces like 'Dog Walk,' 'Twist Time,' and 'Gravy Train' are modern blues numbers with just a touch of soul and a flavor that would make them jukebox classics at the time—their crossover appeal was very strong.
In typical Mosaic fashion, this set is housed in a 12 x 12 inch box (although the company now is not fastening the top and bottom sections of the box; the top simply slips on top of the bottom half). Along with the 24-bit sound in this package, a 16-page booklet includes original session photographs by Francis Wolff and commentary by Bob Blumenthal. All recordings are available solely through Mosaic Records: 35 Melrose Place; Stamford, CT 06902; (203) 327-7111.
LOU DONALDSON - Complete 1952 Blue Note Sessions (1952-2002) APE (image+.cue), lossless
Tracklist :
1 Tahiti 3'29
Milt Jackson
2 Lillie 3'15
Milt Jackson
3 Bag's Groove 3'04
Milt Jackson
4 What's New 3'12
Haggart-Burke
5 Don't Get Around Much Anymore 2'59
Ellington / Russell
6 On The Scene 2'43
Lou Donaldson
7 Skippy 3'02
T. Monk
8 Hornin' In 3'15
T. Monk
9 Sixteen 3'39
T. Monk
10 Carolina Moon 3'28
Davis / Burke
11 Let's Cool One 3'48
T. Monk
12 I'll Follow You 3'48
Turk / Ahlert
13 Roccus 3'24
H. Silver
14 The Things We Did Last Summer 3'20
Styne / Cahn
15 Cheek To Cheek 3'01
I. Berlin
16 Lou's Blues 3'44
Lou Donaldson
17 Sweet Juice 3'29
H. Silver
18 If I Love Again 2'38
Murray / Oakland
19 Down Home 3'19
Lou Donaldson
20 The Best Things In Life Are Free 3'22
De Sylva / Brown / Henderson
Credits :
Alto Saxophone – Lou Donaldson with
1-6
Bass – Percy Heath
Vibes - Milt Jackson
Piano - John Lewis
Drums – Kenny Clark
7-12
Trumpet - Kenny Dorham
Tenor Sax - Lucky Thompson
Piano - Thelonious Monk
Bass - Nelson Boyd
Drums - Max Roach
13-16
Piano - Horace Silver
Bass - Gene Ramey
Drums - Art Taylor
17-20
Trumpet - Blue Mitchell (except on # 17)
Piano - Horace Silver
Bass - Percy Heath
Drums - Art Blakey
5.10.22
LOU DONALDSON - Quartet / Quintet / Sextet (1957-1999) RM | MONO | 24 Bit By RVG | FLAC (tracks+.cue), lossless
Since Quartet/Quintet/Sextet is Lou Donaldson's first full-length album, it's not surprising that it captures the alto saxophonist at the height of his Charlie Parker influence. Throughout the album -- on CD, the collection features all the music on the 12" LP, music from its 10" incarnation, and three alternate takes -- Donaldson plays in a straight bop vein, whether on up-tempo swingers or ballads. Most of the songs on the collection are standards, with a couple of fine originals from Donaldson and pianist Horace Silver spicing the mix; in particular, Silver's rollicking, Latin-tinged "Roccus" is a standout. While Donaldson's tone isn't quite as full as it would be within just five years, he impresses with his bold, speedy technique and fine phrasing. He doesn't play anything out of the ordinary, but he plays it very, very well, and his playing is enhanced by the three stellar bands that support him on these sessions. Among his fellow musicians on Quartet/Quintet/Sextet are Silver, bassist Gene Ramey, drummer Art Taylor, trumpeter Blue Mitchell, pianist Elmo Hope, and trumpeter Kenny Dorham. Everyone plays in a straight bop and hard bop tradition, contributing fine performances to a strong debut effort by Donaldson. Stephen Thomas Erlewine
Tracklist :
1 If I Love Again 2:41
Jack Murray / Ben Oakland
2 Down Home 3:21
Lou Donaldson
3 The Best Things in Life Are Free 3:26
Lew Brown / Buddy DeSylva / Ray Henderson
4 Lou's Blues 3:44
Lou Donaldson
5 Cheek to Cheek 3:04
Irving Berlin
6 Sweet Juice 3:32
Horace Silver
7 The Stroller 5:38
Lou Donaldson
8 Roccus 3:27
Horace Silver
9 Caracas 6:02
Lou Donaldson
10 Moe's Bluff 5:08
Elmo Hope
Credits :
Alto Saxophone – Lou Donaldson
Bass – Gene Ramey, Percy Heath
Drums – Art Blakey, Arthur Taylor
Piano – Elmo Hope, Horace Silver
Recorded By [Recording By], Remastered By – Rudy Van Gelder
Trombone – Matthew Gee
Trumpet – Blue Mitchell, Kenny Dorham
4.10.22
LOU DONALDSON - The Time Is Right (1960-2011) RM | SACD, Hybrid | The Blue Note Reissues | FLAC (tracks+.cue), lossless
Tracklist :
1 Lou's Blues 5'55
Written-By – Lou Donaldson
2 Be My Love 5'45
Written-By – Nicholas Brodszky, Sammy Cahn
3 Idaho 5'10
Written-By – Jesse Stone
4 The Nearness Of You 4'42
Written-By – Hoagy Carmichael, Ned Washington
5 Mack The Knife 5'17
Written-By – Bertolt Brecht, Kurt Weill, Marc Blitzstein
6 Crosstown Shuffle 5'15
Written-By – Lou Donaldson
7 Tangerine 4'57
Written-By – Johnny Mercer, Victor Schertzinger
Credits :
Alto Saxophone – Lou Donaldson
Bass – Laymon Jackson
Congas – Ray Barretto
Drums – Dave Bailey
Engineer [SACD Authoring] – Gus Skinas
Piano – Horace Parlan
Recorded By – Rudy Van Gelder
Trumpet – Blue Mitchell
2.10.22
LOU DONALDSON - Mr. Shing-A-Ling (1967-2006) RM | Blue Note 決定盤1500 - 282 | APE (image+.cue), lossless
Lou Donaldson does attempt to loosen up a bit with Mr. Shing-A-Ling, but the whole affair is a bit stilted and misconceived. Not quite the full-fledged electric funk workout that was becoming commonplace for old-guard soul-jazz musicians in the late '60s, but not quite the bop-inflected soul-jazz of the early '60s. either, Mr. Shing-A-Ling falls into a netherworld that won't connect either with jazz purists or fans of grooving jazz-funk. When the group does try to get funky on the record, the results just sound lazy -- there's no spark to the rhythms, or to Donaldson's melody lines, especially on the embarrassing cover of the pop hit "Ode to Billie Joe." When the quintet settles into a midtempo vamp, Donaldson, trumpeter Blue Mitchell, and organist Lonnie Smith do spin out some good solos, but the lack of energy and enthusiasm the group has for the material makes Mr. Shing-A-Ling a bit of a tiring listen. Stephen Thomas Erlewine
Tracklist :
1 Ode to Billie Joe 6'33
Bobbie Gentry
2 The Humpback 5:28
Lou Donaldson
3 The Shadow of Your Smile 6:26
Johnny Mandel / Paul Francis Webster
4 Peepin' 8:21
Lonnie O. Smith
5 The Kid 11:00
Harold Ousley
Credits :
Alto Saxophone – Lou Donaldson
Drums – Leo Morris
Guitar – Jimmy "Fats" Ponder
Organ – Lonnie Smith
Trumpet – Blue Mitchell
LOU DONALDSON - The Midnight Creeper (1968-2014) RM | SHM-CD | Blue Note, The Masterworks | FLAC (tracks+.cue), lossless |
As he delved deeper into commercial soul-jazz and jazz-funk, Lou Donaldson became better at it. While lacking the bite of his hard bop improvisations or the hard-swinging funk of Alligator Bogaloo, Midnight Creeper succeeds where its predecessor, Mr. Shing-A-Ling failed: it offers a thoroughly enjoyable set of grooving, funky soul-jazz. The five songs -- including two originals by Donaldson and one each by Lonnie Smith (who also plays organ on the record), Teddy Vann, and Harold Ousley -- aren't particularly distinguished, but the vibe is important, not the material. And the band -- Donaldson, Smith, trumpeter Blue Mitchell, guitarist George Benson, and drummer Leo Morris -- strikes the right note, turning in a fluid, friendly collection of bluesy funk vamps. Donaldson could frequently sound stilted on his commercial soul-jazz dates, but that's not the case with Midnight Creeper. He rarely was quite as loose on his late-'60s/early-'70s records as he is here, and that's what makes Midnight Creeper a keeper. Stephen Thomas Erlewine
Tracklist :
1 Midnight Creeper 6:32
Lou Donaldson / Dr. Lonnie Smith
2 Love Power 7:46
Teddy Vann
3 Elizabeth 5:37
Lou Donaldson
4 Bag of Jewels 9:44
Lonnie Liston Smith
5 Dapper Dan 6:30
Harold Ousley
Credits :
Alto Saxophone – Lou Donaldson
Drums – Leo Morris
Guitar – George Benson
Organ – Lonnie Smith
Recorded By [Recording By] – Rudy Van Gelder
Trumpet – Blue Mitchell
1.10.22
LOU DONALDSON - Say It Loud ! (1969-2005) FLAC (tracks+.cue), lossless
The title of Say It Loud! is taken from James Brown's anthem "Say It Loud, I'm Black and I'm Proud," the R&B/funk classic that Lou Donaldson covers on this album. Instead of providing a thematic and musical touchstone for the rest of the record, the song is an attempt to prove that Donaldson is still on top of musical trends, but the lazy groove he and his band -- trumpeter Blue Mitchell, guitarist Jimmy Ponder, organist Charles Earland, drummer Leo Morris -- work up shows they're not quite comfortable with this contemporary funk. They sound much more at ease with standards like "Summertime" and "Caravan," which give them a chance to stretch out, even if they are arranged like commercially oriented soul-jazz. Nevertheless, their simple presence on the album puts the stiffness of Donaldson's groove-oriented soul-jazz in sharper relief. Midnight Creeper was a successful soul-jazz record because the group managed to hit the right tone and groove, but here his group sounds awkward and uneasy. There are a few good moments scattered throughout the album, particularly by Mitchell, but overall, Say It Loud! is one of the weakest records in Donaldson's catalog. Stephen Thomas Erlewine
Tracklist :
1 Say It Loud (I'm Black and I'm Proud) 7:32
James Brown / Pee Wee Ellis
2 Summertime 5:49
George Gershwin / Ira Gershwin / DuBose Heyward
3 Caravan 5:22
Duke Ellington / Irving Mills / Juan Tizol
4 Snake Bone 9:31
Lou Donaldson
5 Brother Soul 8:17
Lou Donaldson / Leon Spencer
Credits :
Alto Saxophone – Lou Donaldson
Drums – Leo Morris
Guitar – Jimmy Ponder
Organ – Charles Earland
Recorded By – Rudy Van Gelder
Trumpet – Blue Mitchell
LOU DONALDSON - Everything I Play Is Funky (1970-1995) Blue Note Rare Groove Series | FLAC (tracks+.cue), lossless
Although purists might not find it as much to their taste as Midnight Creeper, Everything I Play Is Funky is easily one of the best examples of Lou Donaldson's commercially accessible period of the late '60s and early '70s. Donaldson's forays into funk and R&B-driven soul-jazz could sometimes sound stiff, but the grooves here -- which feature many of the same players -- are consistently limber and unforced. And, typical of the style, the grooves (not adventurous improvisation) are what make the album tick. For once, Donaldson's attempt at an R&B cover -- in this case, the Lee Dorsey-sung, Allen Toussaint-penned "Everything I Do Gonna Be Funky (From Now On)" -- is pulled off well enough to make for an entirely convincing statement of purpose. That number kicks off an entertaining program also highlighted by three Donaldson originals -- the cooking funk number "Donkey Walk," which seems to inspire the fieriest solos on the record, the cheery calypso "West Indian Daddy," and the hard bop-flavored "Minor Bash." There's also a version of "Over the Rainbow" done in Donaldson's caressing, melodic ballad style, and the simple funk vamp "Hamp's Hump." It's a nicely varied assortment, all anchored by the percolating rhythm section of guitarist Melvin Sparks, bassist Jimmy Lewis, and drummer Idris Muhammad (Charles Earland and Dr. Lonnie Smith switch off on organ, and Blue Mitchell and Eddie Williams do the same on trumpet). This is the sort of record that modern-day Donaldson disciples like the Sugarman Three cherish, and one of his few truly consistent efforts in this style. Recommended wholeheartedly to funk and rare-groove fans. Steve Huey
Tracklist :
1. Everything I Do Gonna Be Funky (From Now On) 5'15
Allen Toussaint
2. Hamp's Hump 6'35
P. Hampton / Paul Hampton
3. Over The Rainbow 7'05
Harold Arlen / E.Y. "Yip" Harburg
4. Donkey Walk 6'32
Lou Donaldson
5. West Indian Daddy 6'22
Lou Donaldson
6. Minor Bash 6'08
Lou Donaldson
Credits :
Lou Donaldson - Alto Saxophone
Blue Mitchell - Trumpet (tracks 1-3, 6)
Eddie Williams - Trumpet (tracks 4,5)
Idris Muhammad - Drums
Melvin Sparks - Guitar
Jimmy Lewis - Bass Guitar
Charles Earland - Organ (tracks 4,5)
Lonnie Smith - Organ (tracka 1-3, 6)
LOU DONALDSON - Pretty Things (1970-1993) FLAC (tracks+.cue), lossless
Lou Donaldson has recorded many strong sessions throughout his career but this CD reissue brings back one of the less-significant ones. Organist Leon Spencer dominates the ensembles, the material is a bit trivial and the altoist/leader uses a baritone sax on some of the selections which makes him sound much less individual than usual. Trumpeter Blue Mitchell's solos and a fine closing jam on "Love" help upgrade the music a bit but there are many better Donaldson recordings to acquire first. Scott Yanow
Tracklist :
1 Tennessee Waltz 6:39
Pee Wee King / Redd Stewart
2 Curtis' Song 5:48
L. Spencer Jr.
3 Sassie Lassie 6:35
H. Ousley
4 Just For a Thrill 5:28
Lil Hardin Armstrong / Don Raye
5 Pot Belly 8:12
Lou Donaldson
6 Love 6:04
Milt Gabler / Bert Kaempfert
Credits :
Alto Saxophone – Lou Donaldson
Drums – Idris Muhammad
Electric Bass – Jimmy Lewis
Guitar – Melvin Sparks, Ted Dunbar
Organ – Leon Spencer, Jr., Lonnie Smith
Recorded By – Rudy Van Gelder
Trumpet – Blue Mitchell
30.9.22
LOU DONALDSON - Blue Breakbeats (1998) APE (image+.cue), lossless
Back in 1998, Blue Note came out with a series of little 35- to 45-minute "Breakbeats" samplers taken from the thick, rich catalogs of Bobbi Humphrey, Grant Green, Reuben Wilson, Lee Morgan, Donald Byrd, and Lou Donaldson. What you get on this particular volume are six very enjoyable examples of Lou Donaldson's best jazz-funk grooves harvested from the golden formative years of this well-loved style (1963-1970). The collective personnel is pretty wicked, and includes Blue Mitchell, Melvin Sparks, Grant Green, Charles Earland, and Idris Muhammad. As usual, the background for the music is way bigger and runs much deeper than many folks realize. Anyone who has gone back and assessed Donaldson's entire career knows that he was one of the few alto players who didn't switch to tenor in the shadow of Charlie Parker during the 1950s. Donaldson's chops were always as formidable as Bird's or Earl Bostic's, James Moody's or Cannonball Adderley's. His recorded legacy is a lot more diverse than you would imagine if all you went by were the funky tracks that have since been lucratively "legitimated" by the recording industry in response to the sampling habits of a whole generation of DJ mixologists. Not to complain -- it's very cool that Lou Donaldson's funk-jazz is getting reissued and is being enjoyed by people young enough to be his great-grandchildren. It's just that it would be awfully nice if more people were aware of the considerable stylistic range of his music. The root system of these "Breakbeats" exists in the amazing and to some extent overlooked records that Lou Donaldson made between 1952 and 1963. For maximum enjoyment and fulfillment, get some context for the funk and you'll enjoy it like never before. arwulf arwulf
Tracklist :
1 Turtle Walk 7:54
Lou Donaldson
Drums - Idris Muhammad
Trumpet – Ed Williams
Organ – Charles Earland
Guitar – Melvin Sparks
Alto Saxophone – Lou Donaldson
2 Brother Soul 8:13
Lou Donaldson / Leon Spencer
Drums - Idris Muhammad
Trumpet – Blue Mitchell
Organ – Charles Earland
Alto Saxophone – Lou Donaldson
Guitar – Jimmy Ponder
3 Minor Bash 6:08
Lou Donaldson
Organ – Dr. Lonnie Smith
Drums - Idris Muhammad
Trumpet – Blue Mitchell
Guitar – Melvin Sparks
Alto Saxophone – Lou Donaldson
4 Pot Belly 8:05
Lou Donaldson
Drums - Idris Muhammad
Trumpet – Blue Mitchell
Organ – Leon Spencer, Jr.
Alto Saxophone – Lou Donaldson
Guitar – Ted Dunbar
5 One Cylinder 6:45
Freddie McCoy
Drums - Idris Muhammad
Alto Saxophone – Lou Donaldson
Guitar – George Benson
Trumpet – Melvin Lastie
Organ – Dr. Lonnie Smith
6 Caracas 7:19
Lou Donaldson
Drums – Ben Dixon
Organ – John Patton
Alto Saxophone – Lou Donaldson
Guitar – Grant Green
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ESBJÖRN SVENSSON TRIO — Winter In Venice (1997) FLAC (tracks+.cue), lossless
Esbjörn Svensson has stood not only once on stage in Montreux. He was already a guest in the summer of 1998 at the jazz festival on Lake Gen...