Tuesday, 29 September 2009

John Coltrane/Paul Quinichette "Cattin' With Coltrane And Quinichette"

John Coltrane/Paul Quinichette

(LP Prestige, 1957)
Catalog # PRLP 7158

Personnel :
Paul Quinichette, Tenor Sax
John Coltrane, Tenor Sax 1/4
Mal Waldron, Piano
Julian Euell, Bass
Ed Thigpen, Drums

Recorded at Rudy Van Gelder Studio, Hackensack, NJ, May 17, 1957

Tracklisting :
01 Cattin'
02 Sunday
03 Exactly Like You
04 Anatomy
05 Vodka
06 Tea For Two [*]

[*] Bonus Track

also issued on Fantasy OJC 460, OJCCD 460-2

Review :
John Coltrane (tenor sax) and Paul Quinichette (tenor sax) join forces for four out of the six selections on Cattin' with Coltrane and Quinichette (1958). Mal Waldron (piano) steps into his role as bandleader, pianist and primary composer alongside Julian Euell (bass) and Ed Thigpen (drums). This personnel is featured on all but the final track -- a cover of "Tea for Two," which was recorded several years earlier -- by Quinichette with Kenny Drew (piano), Freddie Green (guitar), Gene Ramsey (bass), and Gus Johnson (drums). Waldron's title track, "Cattin'," commences the album with the song's author melodically forming lines before landing into Coltrane's series of clean, compact, 12-bar blues runs. Once Quinichette takes over, the song adapts an exceedingly soulful and bluesy dialogue. While each co-lead offers something unique, their common ground during the opening and closing choruses foreshadow the treats to come. "Sunday" is one such delight and quickly evolves into a quintessential gathering place for the saxophonist's distinctly different approaches. Quinichette's discreet sound provides a response or reaction to Coltrane's energetic excursions. Particularly potent are the examples of 'Trane's seminal "sheets of sound" during his second solo. "Exactly Like You" is one of two numbers without Coltrane. While his perspective is conspicuously absent, it gives Quinichette an opportunity to fly his own flag with minimal yet effective metronomic assertions via the rhythm section. Coltrane's second attempt at "Anatomy" is as appealing as his first, which occurred the previous year in an all-star lineup under the direction of Waldron himself. Perhaps in deference to his associate, Coltrane remains self-restrained within his sonic explorations. On the surface that might seem disingenuous, however plenty of space remains for Quinichette's tuneful style and a few similarly strong contributions from Waldron. Taking a practically 180-degree approach is "Vodka" as the opportunity presents itself for blissfully beautiful unison performances by Quinichette and Coltrane. They seamlessly trade off and counterbalance as if they were natural stylistic foils for one another, leaving one to wish there had been more to enjoy.
by Lindsay Planer [AMG]

By Rob

Sunday, 27 September 2009

Terry Gibbs And His Big Band "Swing Is Here!"

Terry Gibbs And His Big Band

(LP Verve,1960)
Catalog # MGVS-6140

Personnel :
John Audino - Trumpet
Conte Candoli - Trumpet
Buddy Clark - Bass
Bob Edmundson - Trombone
Terry Gibbs - Vibraharp
Charlie Kennedy - Alto Sax
Lou Levy - Piano
Mel Lewis - Drums
Joe Maini - Lead Alto Sax
Bill Perkins - Tenor Sax
Al Porcino - Trumpet Leader
Bobby Pring - Trombone
Frank Rosolino - Trombone
Jack Schwartz - Baritone Sax
Ray Triscari - Trumpet
Stu Williamson - Trumpet

Recorded in Los Angeles, CA, February 23-24, 1960

Tracklisting :
01 The Song Is You (2:30)
02 It Might As Well Be Swing (3:11)
03 Dancing In The Dark (3:06)
04 Moonglow (2:41)
05 Bright Eyes (5:04)
06 The Fat Man (3:05)
07 My Reverie (2:58)
08 Softly As In A Morning Sunrise (3:42)
09 Evil Eyes (5:20)
10 Back Bay Shuffle (2:44)

Reissue on Verve 0602517967137

Review :
The title Swing Is Here would have been more appropriate for the 1930s instead of 1960 when this album was originally issued, and the big-band era had long since waned. Yet vibraphonist Terry Gibbs kept the home fires burning out in California with this exceptional orchestra of cool jazz giants playing a stack of standards and modern compositions by Bill Holman or Gibbs, and one look back with an Artie Shaw number. What is most interesting about these arrangements is that they are always different in emphasizing the fleet, dampened sound of Gibbs in contrast, apart from, or in tandem with the woodwinds and brass instruments. They also never get in each other's way, making for some delightful tonic music-making that reflects both the dance tradition and more modernized precepts of big-band music. Reflecting the style of the Count Basie band with a big helping of Woody Herman or Stan Kenton, the band leaps into "The Song Is You" as Gibbs plays the first melody line, then the band takes over, while the opposite ploy is utilized during "Dancing in the Dark." Holman's originals "Bright Eyes" and "Evil Eyes" are different from the rest and each other, the former a lively bop chart with jumping counterpoint saxes and brass, the latter led out by pianist Lou Levy and the horns, with Gibbs holding up the rear guard of the band. A 12-bar blues, "The Fat Man" has, over time, become a favorite Gibbs composition covered repeatedly by his bands, and here is the original recording. "It Might as Well Be Swing" is a cleverly modified title from the standard "It Might as Well Be Spring" but is closer to Duke Ellington's "Satin Doll" in its elegant, sophisticated imagery. Claude Debussy's "My Reverie," on the other hand, dismisses its composers early morning visage for a classic jazz sound that is truly the epitome signature style Gibbs portrays.
The Artie Shaw tribute to Boston "Back Bay Shuffle" has drummer Mel Lewis codifying and extending Gene Krupa's bompity bomp rhythmic dance remarks in a danceable yet enlivened manner. There are some extraordinary musicians in the band, such as trumpeter and ostensible
leader Al Porcino, "second" trumpeters Conte Candoli and Stu Williamson, trombonist Frank Rosolino (listed third on the depth chart), lead alto saxophonist Joe Maini, and Bill Perkins, and Med Flory on tenor saxes. Gibbs plays a lot on this album, a testament to his tenacity as a unique voice on his instrument, and a good example of how this well-defined music refused to die even though it fell out of favor due to sheer economics.
by Michael G. Nastos [AMG]


Not available on the blog free edition.

By Rob

Saturday, 26 September 2009

Coleman Hawkins "Sirius"

Coleman Hawkins
(LP Pablo Records, 1974)
Catalog # 2310-707

** also issued on Fantasy OJCCD 861-2

Personnel :
Coleman Hawkins, Tenor sax
Barry Harris, Piano
Bob Cranshaw, Bass
Eddie Locke, Drums

NYC, December 20, 1966

Tracklisting :
01 The Man I Love
02 Don't Blame Me
03 Just A Gigolo
04 The One I Love (Belongs To Somebody Else)
05 Time On My Hands (You In My Arms)
06 Sweet And Lovely
07 Exactly Like You
08 Street Of Dreams
09 Sugar (That Sugar Baby O' Mine)

Review :
Hawkins's final studio session is rather sad. Due to an excess of drink and his unwillingness to eat, the great tenor-saxophonist went steadily downhill between 1965 and his death four years later. Recorded in late 1966, this quartet set finds Hawk constantly short of breath and unable to play long phrases. He is able to get away with this deficiency on the faster pieces but the ballads are rather painful to hear. Even at this late stage Hawkins still had his majestic tone but this recording is only of historical interest.
by Scott Yanow [AMG]

Thursday, 24 September 2009

Gianni Basso & Irio De Paula "Recado Bossa Nova"

Gianni Basso & Irio De Paula
(Pony Canyon Inc., 2009)

Personnel :
Gianni Basso, Sax
Irio De Paula, Guitar
Gegè Munari, Drums
Giorgio Rosciglione, Double Bass
Riccardo Biseo, Piano, Arrangements

Recorded and Mixed in November 2007
at Top Studio di Benini Pietro, Ravenna (Italy)

01 Lamento (Antonio Carlos Jobim, Vinicius De Moraes)
02 Blue Bossa (Kenny Dorham)
03 Quo Vadis Samba (Dusan Gojkovic)
04 The Lamp Is Low (Mitchell Paris, Peter De Rose,
Bert A. Shefter, Maurice Joseph Ravel)
05 Recado Bossa Nova (Luiz Antonio, Djalma Ferreira)
06 Cartao De Visita (Vinicius De Moraes, Carlos Lyra)
07 Groovy Sambas (Sergio Mendes)
08 It Might As Well Be Spring (Richard Rogers,
Oscar Hammerstein)
09 What A Difference A Day Made (Maria Grever,
Stanley Adams)

Review :
Bossa jazz, done Italian style -- handled here by two wonderful leaders in a groove that's as laidback as it is soulful! Tenorist Gianno Basso sounds beautiful here -- gliding gracefully across flowing rhythms that offer a really unique take on the bossa -- quite spacious at points, and with a lightness that's quite fresh -- not like any other modern bossa jazz dates we can think of, thanks to the talents of arranger Riccardo Biseo, who also plays piano on the set. The guitar of Irio De Paula has a sharpish edge, even when skipping along the grooves -- a rasp that brings even more humanity into the record next to Basso's tenor. Titles include "Lamento", "Cartao De Visita", "Recado Bossa Nova", "Groovy Samba", "Blue Bossa", and "Quo Vadis Samba". Produced by Paolo Scotti.
© 1996-2009, Dusty Groove America, Inc.

By Rob

Joe Sample/David T. Walker "Swing Street Café"

Joe Sample/David T. Walker

(LP MCA Records, 1981)
Catalog # 254 257-1

James Jamerson : Bass
Earl Palmer : Drums
David T. Walker : Guitar
Joe Sample : Keyboards
Ernie Fields , Herman Riley , John Kelson : Saxophone
Albert Aarons, Trumpet

1. Hallelujah, I Love Her So (5:02) [Ray Charles]
2. Rockhouse (3:38) [Mabelle Smith]
3. Honest I Do (3:29) [J.Reed-E.G.Abner,Jr.]
4. Next Time U See Me (4:52) [E.Forest-B.Harvey]
5. Woke Up This Morning (4:15) [R.King-J.Taub]
6. C.C. Rider (4:15) [Chuck Willis]
7. Honky Tonk (5:15) [B.Dogget-S.Shepherd-C.Scott-B.Butler-H.Glober]
8. After Hours (4:30) [Gilbert Roe]

Recorded: November 29,30, 1978 at A&M Recording Studios

Review :
After releasing three very successful solo albums of contemporary jazz in a row -- 1978's Rainbow Seeker, 1979's Carmel, and 1980's Voices in the Rain -- Crusaders' pianist Joe Sample decided that a return to his roots was necessary, and recorded this date with famed soul and jazz session guitarist David T. Walker and released this tribute to classic rhythm and blues. Interestingly, the date had actually been recorded between Rainbow Seeker and Carmel, but remained unreleased until 1981 because of the chart success of the previous albums and his sold-out touring dates as a solo act and with the Crusaders. Sample and Walker hired the best in the business and the rhythm section here is made up of Motown bassist James Jamerson and famed Capitol session drummer Earl Palmer. In addition, the pair hired a horn section comprised of Herman Riley, Al Aarons, John Kelson, and Ernie Fields, Jr. The material is made up of wonderfully articulated covers of R&B touchstones such as Ray Charles' "Hallelujah, I Love Her So," Jimmy Reed's "Honest I Do," Chuck Willis' "C.C. Rider," and Bill Doggett's "Honky Tonk," to name a few. Produced by the Crusaders own production company, this date was recorded in two days and feels like its participants had a ball. Sample is at his most boisterous here, playing both Rhodes piano and upright, letting it just rip with both boogie-woogie runs, tough blues licks, and extended vamps (check his Professor Longhair New Orleans style barrelhouse piano on a cover of "Woke Up This Morning" where Walker lets loose too). Walker is an understated but brilliant guitarist in the same league with Phil Upchurch. He's a bit more meat and potatoes here; he's always funky and in the groove, but elegantly so. This adds a nice textural element to these otherwise hard swinging, gutbucket tunes. This album suffers from none of the production curses that doomed so much of '80s jazz and funk. It's merely a celebration by old friends of the music that shaped them.
By Thom Jurek [AMG]

By Rob

Monday, 21 September 2009

Hiatus (or hyatus...)

Hey folks,
i am on hiatus for sometime.

Hope will be back soon.



Sunday, 20 September 2009

Osiris ''Since Before Our Time''


''Since Before Our Time''
( LP Warner Bros. Records, 1979 )
Catalog # BSK 3311

A1 Gamin' (6:12)
Written-By - M. Bond, O. Marsh, T. Brunson
A2 My Love (4:36)
Written-By - O. Marsh, R. McNair
A3 Almost (Never Gets There) (5:07)
Written-By - G. Graham, M. Bond, O. Marsh
B1 What's The Use? (3:54)
Written-By - M. Bond, O. Marsh
B2 Consistency (3:24)
Written-By - O. Marsh
B3 Damn (7:48)
Written-By - O. Marsh

Personnel & Credits:
Artwork By [Art Direction] - Peter Whorf
Artwork By [Design] - Frank Mulvey & David Fleming/Gribbitt!
Artwork By [Illustration] - Jeff Wack
Bass - Rusty Cunningham, Tony Jones, Tyrone Brunson
Drums - Bobby Manigault , Kelvin Nelson, Kenny Jones
Engineer - Frankie D'Augusta
Executive Producer - Tom Meyerhoff
Flute - Sherri Winston
Guitar - Brent Mingle, Elliott Randall, John Kimsey, LeBurn Maddox
Keyboards - Maceo Bond
Mastered By - Chris Bellman
Percussion - Jimmy "Sha-Sha" Stapelton, Norman Pride
Producer - Osiris Marsh
Saxophone - Ron Holloway
Vocals - Osiris Marsh

Recorded at Mediasound Studios - September 1977 & January 1978 and Bias Recording - June 1978.
Remixed at the Hit Factory - June 1978.
Mastered at Alan Zentz
Year on Inner Sleeve & Record Cover: 1979
Year on Center label: 1978
Included a Lyrics Sheet.
Format:Vinyl, LP, Album

Recorded in 1977 and 1978 and released in 1979, Osiris' debut album, Since Before Our Time, is a perfect example of a solid soul/funk release that fell through the cracks and did very little commercially. One can speculate on the reasons why this little known LP was ignored. Some might argue that Osiris' Sly Stone-influenced material wasn't disco enough for 1979, but then, Maze and Frankie Beverly had no problem going gold in the late 1970s without jumping on the disco bandwagon. From a commercial standpoint, the problem with Since Before Our Time isn't a lack of disco--it's the lack of a really strong single. Tunes like "Damn," "Almost (Never Gets There)" and "Consistency" work well on an album, but they're missing the sort of immediacy that a single would have needed to grab a program director's attention. It's quite possible that some programmers at R&B radio heard Since Before Our Time and said, "Interesting album, but where's the single?" Not surprisingly, Warner Bros. dropped Osiris--and it didn't take long for this LP to go out of print and end up in the cutout bins.
By Alex Henderson (AMG)

Led by singer Osiris Marsh, Osiris was a fine but obscure soul/funk outfit that was active in Washington, D.C., in the late '70s. The band's influences included Sly & the Family Stone and Funkadelic, and like Earth, Wind & Fire, Osiris was interested in the culture of ancient Egypt. Osiris' debut album, Since Before Our Time, came out on Warner Bros. in 1979; unfortunately, the LP received very little attention, and Osiris (which Warner dropped), broke up without ever recording a second album. In addition to lead singer Marsh, Osiris' members included bassist Tony Jones, keyboardist Maceo Bond, saxman Ron Holloway, bassist Tyrone Brunson, guitarist Brent Mingle, drummer Kenny Jones, and percussionist Jimmy "Sha Sha" Stapleton. After Osiris' breakup, Holloway kept busy as a jazz musician and went on to record several hard bop albums for Milestone/Fantasy in the 1990s.
By Alex Henderson (AMG)

Courtesy of Funkysoul59

Saturday, 19 September 2009

Melvin Rhyne ''The Legend''

Melvin Rhyne

''The Legend''
( Criss Cross Records, 1994 )
Catalog # 1059

1 Licks-A-Plenty Davis 6:51
2 Serenata Anderson 9:50
Composed by: Anderson
Performed by: Rhyne, Peter Bernstein, Kenny Washington
3 Stompin' at the Savoy Goodman, Razaf, Sampson, Webb 5:56
Composed by: Goodman, Razaf, Sampson, Webb
Performed by: Rhyne, Peter Bernstein, Kenny Washington
4 The Trick Bag Montgomery 5:35
Composed by: Montgomery
Performed by: Rhyne, Peter Bernstein, Kenny Washington
5 Old Folks Hill, Robison 8:34
Composed by: Hill, Robison
Performed by: Rhyne, Peter Bernstein, Kenny Washington
6 Next Time You See Me Forest, Harvey, Harvey 6:56
Composed by: Forest, Harvey, Harvey
Performed by: Rhyne, Peter Bernstein, Kenny Washington
7 Groovin' High Gillespie 5:42
Composed by: Gillespie
Performed by: Rhyne, Peter Bernstein, Kenny Washington
8 Blues for Wes Rhyne 12:42

Personnel & Credits:
Peter Bernstein Guitar, Group Member
Max Bolleman Engineer
Don Braden Sax (Tenor)
Brian Lynch Trumpet
Melvin Rhyne Quartet Organ, Group Member
Melvin Rhyne Organ
Lora Rosner Liner Notes
Gerry Teekens Producer, Photography, Cover Design, Cover Photo
Kenny Washington Drums, Group Member

Other than an obscure date for Jazzland in 1960, this record was organist Melvin Rhyne's debut as a leader. Famous for his association with Wes Montgomery but in obscurity ever since in Milwaukee, Rhyne gradually emerged during the late '80s and was found to still be in prime form. Joined by guitarist Peter Bernstein and drummer Kenny Washington, Rhyne had the rare opportunity of being the center of attention on this set, which includes a variety of standards (such as "Groovin' High," "Old Folks" and "Stompin' at the Savoy") plus Eddie "Lockjaw" Davis' "Licks A-Plenty" and Montgomery's "The Trick Bag." The easily recommended record concludes with a lengthy "Blues for Wes," which finds trumpeter Brian Lynch and tenor saxophonist Don Braden making the group a quintet.
By Scott Yanow (AMG)

By Pier

Thursday, 17 September 2009

Various Artists ''The Complete Motown Singles Collection'' (Hitsville USA: The Motown Singles Collection 1959-1971) FLAC

Various Artists

''The Complete Motown Singles Collection''
(Hitsville USA: The Motown Singles Collection 1959-1971)

Release Date: 1992
Genre: R&B/Motown/Soul
18.47gb | FLAC (separate files)
This 4-CD box set contains a 68-page booklet featuring artist biographies, track-by-track annotations, a historical Motown timeline, musician credits, rare photos and memorabilia from the Motown archives. Also included are essays by Harry Weinger, Janie Bradford, Larry Gabriel, Paul Grein, Elvis Mitchell, David Ritz, Leo Sacks, Allan "Dr. Licks" Slutsky and Adam White.
Engineers include: Mike McClain, Lawrence Horn, Robert Bateman.
Compilation producers: Cary E. Mansfield and Patti Drosins.
This is part of the Motown Master Series.

01. Barrett Strong - Money (That's What I Want)
02. The Miracles - Shop Around
03. The Marvelettes - Please Mr. Postman
04. Eddie Holland - Jamie
05. Mary Wells - The One Who Really Loves You
06. The Contours - Do You Love Me
07. The Marvelettes - Beechwood 4-5789
08. Mary Wells - You Beat Me To The Punch
09. Marvin Gaye - Stubborn Kind Of Fellow
10. Mary Wells - Two Lovers
11. The Miracles - You've Really Got A Hold On Me
12. Martha Reeves & The Vandellas - Come And Get These Memories
13. Marvin Gaye - Pride And Joy
14. Stevie Wonder - Fingertips Part 2
15. Martha Reeves & The Vandellas - (Love Is Like A) Heatwave
16. The Miracles - Mickey's Monkey
17. Eddie Holland - Leaving Here
18. The Temptations - The Way You Do The Things You Do
19. Mary Wells - My Guy
20. Shorty Long - Devil With The Blue Dress
21. Brenda Holloway - Every Little Bit Hurts
22. Four Tops - Baby I Need Your Loving
23. Martha Reeves & The Vandellas - Dancing In The Street
24. Carolyn Crawford - My Smile Is Just A Frown (Turned Upside Down)
25. The Velvelettes - Needle In A Haystack
26. The Supremes - Baby Love
27. The Supremes - Come See About Me
28. Marvin Gaye - How Sweet It Is (To Be Loved By You)

01. The Temptations - My Girl
02. The Velvelettes - He Was Really Sayin Somethin'
03. Four Tops - Ask The Lonely
04. Junior Walker & The All Stars - Shotgun
05. Martha Reeves & The Vandellas - Nowhere To Run
06. Brenda Holloway - When I'm Gone
07. The Miracles - Ooo Baby Baby
08. Four Tops - I Can't Help Myself (Sugar Pie Honey Bunch)
09. The Contours - First I Look At The Purse
10. The Miracles - The Tracks Of My Tears
11. Four Tops - It's The Same Old Song
12. Martha Reeves & The Vandellas - Love (Makes Me Do Foolish Things)
13. Kim Weston - Take Me In Your Arms (Rock Me A Little While)
14. Stevie Wonder - Uptight (Everything's Alright)
15. The Marvelettes - Don't Mess With Bill
16. The Elgins - Darling Baby
17. Isley Brothers - This Old Heart Of Mine (Is Weak For You)
18. The Monitors - Greetings (This Is Uncle Sam)
19. Shorty Long - Function At The Junction
20. Junior Walker & The All Stars - (I'm A) Roadrunner
21. The Temptations - Ain't Too Proud To Beg
22. Jimmy Ruffin - What Becomes Of The Brokenhearted
23. Junior Walker & The All Stars - How Sweet It Is (To Be Loved By You)
24. Chris Clark - Love's Gone Bad
25. The Supremes - You Can't Hurry Love
26. The Temptations - Beauty Is Only Skin Deep
27. The Elgins - Heaven Must Have Sent You

01. Four Tops - Reach Out I'll Be There
02. The Temptations - I'm Losing You
03. Four Tops - Standing In The Shadows Of Love
04. Marvin Gaye & Kim Weston - It Takes Two
05. The Marvelettes - Hunter Gets Captured By The Game
06. Martha Reeves & The Vandellas - Jimmy Mack
07. Four Tops - Bernadette
08. Marvin Gaye & Tammi Terrell - Ain't No Mountain High Enough
09. Smokey Robinson & The Miracles - More Love
10. Gladys Knight & The Pips - I Heard It Through The Grapevine
11. Smokey Robinson & The Miracles - I Second That Emotion
12. The Temptations - I Wish It Would Rain
13. Rita Wright - I Can't Give Back The Love I Feel For You
14. Bobby Taylor & The Vancouvers - Does Your Mama Know About Me
15. Marvin Gaye & Tammi Terrell - Ain't Nothing Like The Real Thing
16. Diana Ross & The Supremes - Love Child
17. Stevie Wonder - For Once In My Life
18. The Temptations - Cloud Nine
19. Marvin Gaye - I Heard It Through The Grapevine
20. Smokey Robinson & The Miracles - Baby, Baby Don't Cry
21. Edwin Starr - Twenty Five Miles
22. David Ruffin - My Whole World Ended (The Moment You Left Me)
23. Junior Walker & The All Stars - What Does It Take (To Win Your Love)
24. The Temptations - I Can't Get Next To You
25. The Originals - Baby I'm For Real
26. The Supremes - Up The Ladder To The Roof

01. The Jackson Five - I Want You Back
02. The Originals - The Bells
03. Rare Earth - Get Ready
04. The Jackson Five - ABC
05. The Temptations - Ball Of Confusion (That's What The World Is Today)
06. The Jackson Five - The Love You Save
07. Stevie Wonder - Signed, Sealed, Delivered (I'm Yours)
08. Edwin Starr - War
09. The Spinners - It's A Shame
10. Diana Ross - Ain't No Mountain High Enough
11. Four Tops - Still Water (Love)
12. The Jackson Five - I'll Be There
13. Smokey Robinson & The Miracles - The Tears Of A Clown
14. The Supremes - Stoned Love
15. Gladys Knight & The Pips - If I Were Your Woman
16. The Temptations - Just My Imagination (Running Away With Me)
17. Marvin Gaye - What's Going On
18. The Jackson Five - Never Can Say Goodbye
19. The Supremes - Nathan Jones
20. Gladys Knight & The Pips - I Don't Want To Do Wrong
21. The Undisputed Truth - Smiling Faces Sometimes
22. Marvin Gaye - Mercy Mercy Me (The Ecology)
23. Rare Earth - I Just Want To Celebrate

Not available on the blog free edition

Links in comments.

By Celo

Ivan "Boogaloo Joe" Jones "Snake Rhythm Rock'' & "Black Whip'' Re-Uploaded

Ivan “Boogaloo Joe” Jones ”Black Whip”

Ivan “Boogaloo Joe” Jones ”Snake Rhythm Rock”

Wednesday, 16 September 2009

Mel (Melvin) Rhyne ''Organ-izing''

Mel (Melvin) Rhyne

( LP Jazzland Records, 1960 )
Catalog # JP-916
(2000, Original Jazz Classics # 1055, Remastered)

01. Things Ain’t What They Used to Be
02. Blue Farouq
03. Barefoot Sunday Blues
04. Shoo Shoo Baby

Andy Simpkins - Bass
Albert "Tootie" Heath - Drums
Johnny Griffin - Saxophone, Sax (Tenor)
Gene Harris - Piano
Blue Mitchell - Trumpet
Melvin Rhyne - Organ

Mel Rhyne is best known as Wes Montgomery’s organist on and off in the late 1950s and ’60s. He led few dates of his own until his rediscovery in the 1990s, so the CD reissue of this early jam session is quite welcome. Rhyne leads an all-star {censored}tet that also includes trumpeter Blue Mitchell, tenor saxophonist Johnny Griffin, pianist Gene Harris (the piano and organ work quite well together), bassist Andy Simpkins, and drummer Albert "Tootie" Heath. Each of the four basic tunes are at least eight-and-a-half minutes long, with all but one exceeding ten-and-a-half minutes. However, with four strong soloists, the music never slows down or loses its momentum. Highly recommended.
By Scott Yanow (AMG)

By Pier

Melvin Rhyne Quartet ''Boss Organ''

Melvin Rhyne Quartet

''Boss Organ''
( Criss Cross Jazz Records, 1994 )
Catalog # Criss 1080 CD

1 Hattush's Blues (9:00)
Written-By - Melvin Rhyne
2 Full House (10:13)
Written-By - Wes Montgomery
3 You And I (6:59)
Written-By - Stevie Wonder
4 Born To Be Blue (6:43)
Lyrics By - Mel Tormé
Music By - Robert Wells
5 Shades Of Light (5:33)
Written-By - H. Laws
6 All God's Chillun Got Rhythm (5:59)
Written-By - Bronislaw Kaper, Walter Jurmann
7 Bear's Tune (6:33)
Written By - L. Taylor
8 Jeannine (10:13)
Written-By - Duke Pearson

Personnel & Credits:
Drums - Kenny Washington
Engineer - Max Bolleman
Guitar - Peter Bernstein
Organ - Melvin Rhyne
Producer - Gerry Teekens
Saxophone - Joshua Redman

Rec. 6 January 1993 at RPM Studio, NYC

Mel Rhyne, best known for his association in the 1960s with Wes Montgomery, re-emerged with this Criss Cross CD as one of the finest jazz organists around. He is matched with guitarist Peter Bernstein, drummer Kenny Washington, and young tenor great Joshua Redman for a set of good-natured and often hard-swinging performances. In addition to superior versions of "All God's Chillun Got Rhythm" and "Jeannine," the quartet explores lesser-known songs such as Hubert Laws' "Shades of Light," Stevie Wonder's "You and I," and Mel Torme's "Born to Be Blue." The music is consistently stimulating and swinging.
By Scott Yanow (AMG)

Organist Melvin Rhyne's greatest fame is his participation on four Wes Montgomery Riverside sessions (including Montgomery's first and last album for the label). Fortunately, Rhyne survived long enough, after some lean years, to return to the major-league jazz scene and record some CDs of his own. Born in Indianapolis, Rhyne (a largely self-taught pianist) was an important part of the city's jazz scene. He played with the then-unknown Roland Kirk during 1955-1956, and soon switched to organ. He also had opportunities to back a series of blues (including T-Bone Walker and B.B. King) and R&B artists. Rhyne was part of Montgomery's group for most of 1959-1964. In 1969, he moved to Madison, WI, and four years later he relocated to Milwaukee, where he remained active if obscure for the next two decades. In 1990, he emerged, recording with Herb Ellis and Brian Lynch. Mel Rhyne went on to record two excellent sets for Criss Cross, including a quartet session that has Joshua Redman as his sideman, and has shown that he is an excellent soul-jazz and hard bop soloist in his own right.
By Scott Yanow (AMG)

Cover & Scans here.

By Pier

Melvin Rhyne Quintet ''Stick To The Kick''

Melvin Rhyne Quintet

''Stick To The Kick''
( Criss Cross Jazz Records, 1995 )
Catalog # 1137

J. Robin (Melvin Rhyne)
Captain McDuff (Melvin Rhyne)
Lady Bird (Tadd Dameron)
Laura (Mercer / Raksin / Robbins)
Killer Ray (Melvin Rhyne)
Wail (Bud Powell)
It's Love (Melvin Rhyne)
Light, Life, Love (Melvin Rhyne)
Stick To The Kick (Melvin Rhyne)

Personnel & Credits:
Recorded December 22, 1994
& December 9, 1995 in New York City, NY, USA by Max Bolleman
Melvin Rhyne (Org)
Ryan Kisor (Tp)
Eric Alexander (Ts)
Peter Bernstein (G)
Kenny Washington (D)

Review By Greg Turner
On his fourth Criss Cross release, organist Melvin Rhyne is joined by trumpeter Ryan Kisor, tenor saxophonist Eric Alexander, guitarist Peter Bernstein, and drummer Kenny Washington to perform six Rhyne originals, two jazz classics, and one standard, the beautiful ballad "Laura," a feature for Alexander's tenor sax. Best known for a stint with Wes Montgomery during the late '50s and early '60s, Rhyne displays an understated but distinctive organ sound and strong basslines, complementing the youthful energy that Kisor and Alexander bring to the session. Bernstein and Washington are veterans of Rhyne's other three Criss Cross releases, two of them by the trio, resulting in what could be a great working group. Other favorites include "J. Robin," a medium swinger that alternates between funk and Latin feels in the head, "Captain McDuff," a medium shuffle written in tribute to fellow organist Jack McDuff, Bud Powell's aptly titled "Wail" (taken at a blazing tempo), and the relaxed groove of "It's Love." This is a welcome addition to Rhyne's growing discography.

By Pier

L.T.D. ''L.T.D. (Love Togetherness & Devotion)''

L.T.D. (Love Togetherness & Devotion)

''L.T.D. (Love Togetherness & Devotion)''
( LP A&M Records, 1974 )
Catalog # SP 3602

1 To the Bone
2 Elegant Love
3 Not on Your Life
4 Gestures Unfulfilled
5 What Goes Around
6 Success
7 Thank You Mother
8 How Could You Be So Cold?
9 I Told You I'd Be Back
10 Lucky Day

Personnel & Credits:
Jerry Butler Executive Producer
Milt Calice Assistant Engineer
Lorenzo Carnegie Sax (Alto), Sax (Soprano), Sax (Tenor)
Calvin Carter Producer
Henry Davis Bass (Electric)
Jimmie Davis Piano, Piano (Electric), Vocals (bckgr), Clavinet
Henry Lewy Engineer
Billy Osborne Organ, Percussion, Piano, Vocals, Vocals (bckgr)
Jeffrey Osborne Percussion, Drums, Vocals, Vocals (bckgr)
Jake Riley Percussion, Trombone
Carle Vickers Flute, Percussion, Trumpet, Flugelhorn, Vocals (bckgr)
Toby Wynn Sax (Alto), Sax (Baritone)

Major labels aren't always big on artist development -- if your first album isn't a hit, you can expect to be dropped. But back in the 1960s and 1970s, they were more patient. If a major label seriously believed in an act, they were, in many cases, willing to give it several albums to develop. Take L.T.D., for example. Although L.T.D. evolved into one of the finest, most successful soul/funk outfits of the late '70s, it was hardly an overnight sensation -- in fact, the band didn't enjoy a major commercial breakthrough until its third album, Love to the World, came out in 1976. And if A&M had been impatient, it would have missed out. Released in 1974, L.T.D.'s debut album, Love, Togetherness & Devotion, was hardly a major hit. This LP received very little attention, and it isn't in a class with gems like Love to the World, 1977's Something to Love, and 1978's Togetherness. Overall, the material is decent but not great. In 1974, L.T.D. had a recognizable sound and a charismatic, expressive lead vocalist in Jeffrey Osborne, but it still had some growing and developing to do. And thankfully, A&M was willing to stick around long enough for L.T.D. to make the transition from good to excellent. Although Love, Togetherness & Devotion is far from L.T.D.'s best or most essential album, it is interesting to listen to if you're a serious R&B historian.
By Alex Henderson (AMG)

The first record by LTD -- and an excellent bit of 70s soul that has the group working at their tightest! The tracks are shorter and a lot more focused than on later albums, and in a way, they sort of remind us of the ensemble funky soul sound that you'd hear on some of the early New Birth albums. Jeffrey Osborne's singing lead vocals on most cuts, but the group also features Celeste Cole taking the lead on a few other cuts. There's some nice Latiny percussion on the album, and at points the groove has slight Chicano-funky touches of groups like Mandrill or War. Titles include "Success", "Not On Your Life", "To The Bone", "Gestures Unfulfilled", "Lucky Day", "I Told You I'd Be Back", and "Whatcha Wanna Do". (Includes original inner sleeve. Cover has a bit of pen.)
© 1996-2009, Dusty Groove America, Inc.

Courtesy of Xensma

Tuesday, 15 September 2009

The ''Infringing Copyright'' Post!

Dexter Gordon (With Bud Powell)

''Our Man In Paris''
( LP Blue Note Records, 1963 )
Catalog # BN-91722

1. Scrapple From The Apple
2. Willow Weep For Me
3. Broadway
4. Stairway To The Stars
5. A Night In Tunisia
6. Our Love Is Here To Stay - (bonus track)
7. Like Someone In Love - (bonus track)

Dexter Gordon (tenor saxophone);
Bud Powell (piano);
Pierre Michelot (bass);
Kenny Clarke (drums)
Recorded at CBS Studios, Paris, France on May 23, 1963.

This 1963 date is titled for Dexter Gordon's living in self-imposed Parisian exile and recording there with two other exptriates and a French native. Along with Gordon, pianist Bud Powell and Kenny "Klook" Clarke were living in the City of Lights and were joined by the brilliant French bassman Pierre Michelot. This is a freewheeling bop date with the band working out on such categoric standards as "Scrapple from the Apple," and "A Night in Tunisia." In addition, American vernacular tunes such as "Willow Weep for Me" and "Stairway to the Stars" are included. Gordon is at the very top of his game here. His playing is crisp, tight, and full of playful fury. Powell, who at this stage of his life was almost continually plagued by personal problems, never sounded better than he does in this session. His playing is a tad more laid-back here, but is nonetheless full of the brilliant harmonic asides and incendiary single-note runs he is legendary for. The rhythm section is close-knit and stop-on-a-dime accurate. This Rudy Van Gelder-remastered edition of the reissue features the same extras the original CD issue did, but with marginally improved sound; these were derived from two-track masters anyway so they already sound great. If you aren't an audiophile you won't hear the difference and this is a waste of money; it's another blatant attempt by Blue Note to get you to shell out hard-earned dollars for something you already have that's already very fine. If you're going to obsess until you can't stand it and break down anyway, then go ahead, get it over with. But the earlier set release is plenty fine for most listeners, so no thank you Blue Note — this record is unnecessary.
By Thom Jurek (AMG)

Not available on the blog free edition (...)


MFS Link:
password: myfavouritesound

Open Links:

By Rob, Pier and the entire Equipe

Remember when home taping was killing music?

''Back in 1906 the composer John Philip Sousa predicted “a marked deterioration” in musical tastes as newfangled gramophones “reduce the expression of music to a mathematical system of megaphones, wheels, cogs, disks, cylinders and all manner of revolving things”. Similar battles were fought over the printing press, photocopier, mechanical piano, radio and television. Remember how home taping was going to kill music a generation ago? Music seems to have survived.''


Also visit:

Image available here:

Various Artists ''The Blue Box - Blue Note's Best'' (4 CD)

Various Artists

''The Blue Box - Blue Note's Best'' (4 CD)

FLAC(Tracks) | 1.7 Gb | 04:35:43

CD 1:
01 - Dat Dere (Art Blakey)
02 - Maiden Voyage (Herbie Hancock)
03 - Day Dream (Kenny Burrell)
04 - Summertime (Sidney Bechet)
05 - Una Mas (Kenny Dorham)
06 - The Wanderer (McCoy Tyner)
07 - Blues Walk (Lou Donaldson)
08 - Black Byrd (Donald Byrd)
09 - Eleanor Rigby (Stanley Jordan)

CD 2:
01 - It Never Entered My Mind (Miles Davis)
02 - Turtle Shoes (Bobby McFerrin)
03 - Canteloupe Island (Herbie Hancock)
04 - Three O'Clock In The Morning (Dexter Gordon)
05 - Straight, No Chaser (Thelonius Monk)
06 - Blue Train (John Coltrane)
07 - A Child Is Born (Carmen McRae)
08 - Viscosity [Alternate Take] (Jay Jay Johnson)
09 - Senor Blues (Horace Silver)
10 - Collard Greens And Black-Eyed-Peas (Bud Powell)
11 - Avila And Tequila (Hank Mobley)
12 - The Sidewinder (Lee Morgan)

CD 3:
01 - 'Round Midnight (Thelonius Monk)
02 - Message To My Friend (John Scofield)
03 - Stompin' AT The Savoy (The Three Sounds)
04 - Jelly Rock (Donald Byrd)
05 - Back At The Chicken Shack (Jimmy Smith)
06 - Speak No Evil (Wayne Shorter)
07 - Sookie, Sookie (Grant Green)
08 - Blue Bossa (Joe Henderson)
09 - Lullaby (Michel Petrucciani)
10 - C.T.A. (Miles Davis)
11 - Decision (Sonny Rollins)

CD 4:
01 - God Bless The Child (Stanley Turrentine)
02 - Song For My Father (Horace Silver)
03 - Footprints (Wayne Shorter)
04 - Now He Sings, Now He Sobs (Chick Corea)
05 - Everything I Do Gonh Be Funky (Lou Donaldson)
06 - Open Sesame (Freddie Hubbard)
07 - Speak Low (Grant Green)
08 - Lover Man (Jay Jay Johnson)
09 - Un Poco Loco (Bud Powell)
10 - Don't Explain (Dexter Gordon)
11 - Sister Cheryl (Tony Williams)

Links in comments.

Not available on the blog free edition

Courtesy of Mr.CLDR

Various Artists ''One Night With Blue Note [1985-2003]'' (DVD)

Various Artists

''One Night With Blue Note [1985-2003]''

1. Cantaloupe Island (Freddie Hubbard, Joe Henderson, Herbie Hancock, Ron Carter, Tony Williams)
2. Recorda-me (Hubbard, Henderson, Hancock, Carter, Williams, Bobby Hutcherson)
3. Little B’s Poem (Hutcherson, Hancock, Carter, Williams, James Newton)
4. Bouquet (Hancock, Carter, Hutcherson)
5. Jumpin’ Jack (Stanley Jordan)
6. Summertime (Grover Washington Jr., Kenny Burrell, Reggie Workman, Grady Tate)
7. Moanin’ (Hubbard, Johnny Griffin, Curtis Fuller, Walter Davis Jr., Workman, Art Blakey)
8. Sweet and Lovely (McCoy Tyner)
9. Appointment in Ghana (Woody Shaw, Jackie McLean, Tyner, Cecil McBee, Jack DeJohnette)
10. Tone Poem (Charles Lloyd, Michel Petrucciani, McBee, DeJohnette)
11. Blues Walk (Lou Donaldson, Jimmy Smith, Burrell, Tate)
12. Jumpin' the Blues (Stanley Turrentine, Smith, Burrell, Tate)
13. Scratch My Back (Turrentine, Smith, Burrell, Tate)
14. Pontos Cantados (Cecil Taylor)

Special Features
Blue Note Abum-Cover Art Gallery
Francis Wolff Photo Gallery

Links in comments.

Not available on the blog free edition.

Courtesy of Mr.CLDR

Various Artists ''Blue Note 50 Anniversary Collection'' (5 CD Box Set)

Various Artists

''Blue Note 50 Anniversary Collection'' (5 CD Box Set)

Release Date : 1989
Label: Blue Note
Genre: Jazz
Quality: APE+Log
Rip: EAC + Monkey's Audio

1. Twos and Fews — Albert Ammons, Meade "Lux" Lewis
2. Summertime — Sidney Bechet
3. Profoundly Blue — Edmond Hall
4. Blue Harlem — Ike Quebec
5. 'Round Midnight — Thelonious Monk
6. Lady Bird — Tadd Dameron, Fats Navarro
7. Tin Tin Deo — James Moody
8. Poco Loco — Bud Powell
9. Criss-Cross — Thelonious Monk
10. Bags' Groove — Milt Jackson
11. Glass Enclosure — Bud Powell
12. Tempus Fugit — Miles Davis
13. Easy Living — Clifford Brown, Clifford Brown
14. Preacher — Horace Silver
15. Avila and Tequila — Hank Mobley
16. Decision — Sonny Rollins
17. Champ — Jimmy Smith

1. Blue Train — John Coltrane
2. Appointment in Ghana — Jackie McLean
3. Autumn Leaves — Cannonball Adderley, Miles Davis
4. Cheese Cake — Dexter Gordon
5. Mosaic — Art Blakey & the Jazz Messengers
6. Speak No Evil — Wayne Shorter
7. Maiden Voyage — Herbie Hancock
8. Little B's Poem — Bobby Hutcherson
9. Moontrane — Larry Young

1. Señor Blues — Horace Silver
2. Moanin' — Art Blakey & the Jazz Messengers
3. Back at the Chicken Shack — Jimmy Smith
4. Cristo Redentor — Donald Byrd
5. Blue Bossa — Kenny Dorham, Joe Henderson
6. Song for My Father — Horace Silver
7. Fungii Mama — Blue Mitchell
8. Sidewinder — Lee Morgan
9. Alligator Boogaloo — Lou Donaldson

1. O.T.B. — Out Of The Blue
2. Life Of The Party — Tony Williams
3. Calling Miss Khadija — Freddie Hubbard/Woody Shaw
4. Broadway Blues — Ornette Coleman
5. Black Fire — Andrew Hill
6. She Did It Again — Michel Petrucciani
7. Song From The Old Country — Don Pullen/George Adams Quartet
8. Passion Dance — McCoy Tyner
9. Beatrice — Joe Henderson
10. Out To Lunch — Eric Dolphy

1. Windjammer — Grant Green
2. Angelina — Earl Klugh
3. Living for the City — Noel Pointer
4. Black Byrd — Donald Byrd
5. Harlem River Drive — Bobbi Humphrey
6. Always There — William Jeffrey, Ronnie Laws
7. Lady in My Life — Stanley Jordan
8. Boogie on Reggae Woman — Stanley Turrentine
9. All Night Dance — Bennie Wallace
10. Thinkin' About Your Body — Bobby McFerrin
11. Better Days — Dianne Reeves
12. Never Said — Dianne Reeves
13. Timotheé — Bireli Lagrene

Courtesy of The Equipe

Not available on the blog free edition.

Link in comments.

Freddie McCoy ''Peas`n Rice''

Freddie McCoy

''Peas`n Rice''
( LP Prestige Records, 1967 )
Catalog # PR 7487

You Stepped Out Of A Dream
Summer In The City
Call Me
Lightning Strikes
One Cylinder
My Funny Valentine
Peas 'N' Rice

Players on tracks 1,4,8
Joanne Brackeen piano,organ
Eustis Guillimet bass
Kalil Mahdi drums
Players on tracks 2,3,5,6,7
Edward David Williams trumpet
Wilber"Dud Bascombe trumpet
Joanne Brackeen piano
Wally Richardson guitar
Eustis Guillimet bass guitar
Ray Lucas drums
Players on track 9
Charles Williams piano
Steve Davis bass (and snooker cue??)
Rudy Lawless drums

Recorded at Rudy Van Gelder Studios in October 6, 1965, April 10, 1967, May 4, 1967

Soul-jazz vibraphonist Freddie McCoy was never a hit with the critics, spending most of his time laying down coolly funky grooves and covering contemporary R&B and pop tunes (or doing original material in a similarly accessible vein). However, his albums later became underground collector's items among acid jazz and rare-groove enthusiasts. McCoy started out with Johnny "Hammond" Smith in 1961, then signed with Prestige and cut his first album, Lonely Avenue, in 1963. Over the next five years, McCoy cut seven albums for the label, highlighted by 1965's Spider Man, 1967's Beans and Greens, and 1968's Listen Here. His groups usually featured pianist/organist Joanne Brackeen, in some of her first work after temporarily retiring to raise her family. McCoy later recorded for the small Buddah subsidiary Cobblestone, debuting with Gimme Some!, a circa-1971 jazz-funk session featuring some trippy electric piano work. However, the label was short-lived, and McCoy disappeared from jazz after its demise.
By Steve Huey (AMG)

Courtesy of Bill

Due Paroline...

Dopo una settimana dal ''fattaccio'' (denuncia alle autorità di alcuni nostri post), permettetemi di dire due paroline.
Almeno qui in privato, fra amici.
E mi scusino gli affezionatissimi lettori e amici che non parlano l'italiano (use a traduction tool, please!), ma ci sono cose che si esprimono e si dicono bene solo nella propria lingua madre.

Worpress è uno dei servizi politicamente più infami e fascisti che abbia visto in Web da quando la frequento (e sono anni).
Ci hanno trattato come ladri, e della peggiore specie, senza dare possibilità di replica o spiegazioni, ma anzi agendo come il vecchio KGB sovietico: intimando perentoriamente, e poi deletando/esecutando il blog senza preavviso.
Trattati peggio dei cani, noi che siamo sempre stati attenti a non dispiacere a nessuno (parlo di diritti d'autore), sempre pronti a deletare immediatamente i link se non addirittura i post segnalati (come nei casi di Isabelle Antena o di Van Morrison), pubblicando costantemente avvisi pro-copyright e pro-musicisti, e soprattutto (e siamo stati SEMPRE criticati per questo da molti lettori) postando clip di bassa qualità. Per caso avete visto qualche Ape o Flac o Wav qui sul blog?
Ah, se le autorità agissero così ''bene'' e ''rapidamente'' con mafiosi o delinquenti ''veri''...Comunque hanno buttato alle ortiche tutto il lavoro (nostro) di anni..Bravi!

Sembra, anzi non sembra perchè ne é stata rastrellata la traccia (tracking) lasciata sul blog e quindi comunicata a chi di dovere (avvocati), che un ''emerito'' visitante abbia fatto una serie di denuncie agli organi competenti. Come giá detto, sappiamo chi è al 90%, ed é ''uno'' che si accanì contro di noi durante la fine del 2007 inizio 2008. A quell'epoca mandó a deletare i link su rapidshare e mediafire (poi subito da noi ripostati), e ci coprí di insulti e minacce.
Che evidentemente hanno avuto un seguito. Peccato però che il nostro amico si sia dimenticato di non lasciare tracce, e presto riceverá nostre notizie legali. Eh sì, l'abbiamo presa sul serio stavolta. Non la passa liscia l'infamone. Eppoi il blog è sempre vivo e vegeto (My Favourite Sound© The Only & Original ♪ Free Edition) e come al solito siamo lì, ''belli come il sole''.
Vi dico comunque che il ''personaggino'' a volte lascia commenti su altri blog...ne stiano attenti i proprietari perchè abbiamo a che fare con un demente mentale con evidenti problemi di pscicopatia grave.

Il nostro blog é cominciato per gioco, creato da ex-professionisti del genere, collezionisti e semplici amanti della buona musica e dell'informazione.
Non abbiamo mai pensato a fare soldi col blog, non ne abbiamo bisogno e poi non é questo il nostro fine. Non abbiamo il bottone pay-pal, non vendiamo copie on line e, se si verificassero i nostri cc bancari, si scoprirebbe tutta la verità nient'altro che la verità.
Il blog é nato, vive e sopravvive alle ''cannonate'' inferte perché il suo scopo é meramente didattico-informativo. Sul blog sono raccolte fonti per ricercare e studiare (se se ne ha bisogno) la storia e i percorsi musicali di molti artisti, famosi e no. Si ha la possibilità di avere un servizio on-web, pensiamo utile. Qui ci si scambiano informazioni ed idee...non soldi o assegni.
Questo é il nostro scopo.
Se ci si vuol zittire...che vengano ma che sappiano che non sará popolare quello che fanno.
E la prossima volta (io spero che non ci sarà perché ultimamente il blog mi ha preso un sacco di tempo...) speriamo che non ci giustizino senza appello, ma che ci diano la possibilità di spiegarci prima di ammazzarci (...).



Monday, 14 September 2009

Al Green "Al Green Is Love"

Al Green

"Al Green Is Love"
( LP Hi Records, 1975 )
Catalog # SHL 32092

A1 L-O-V-E (Love) (3:03)
A2 Rhymes (3:33)
A3 The Love Sermon (6:36)
A4 There Is Love (3:03)
A5 Could I Be The One (4:05)
B1 Love Ritual (4:18)
B2 I Didn't Know (7:47)
B3 Oh Me, Oh My (Dreams In My Arms) (2:45)
B4 I Gotta Be More (Take Me Higher) (2:45)
B5 I Wish You Were Here (3:17)

Personnel & Credits:
Michael Allen Piano, Rhythm Section
Sandra Chalmers Vocals (bckgr)
Chris Clough Mastering Supervisor
Lewis Collins Horn (Tenor), Sax (Tenor)
Bill Dahl Liner Notes
Duncan Sisters Vocals (bckgr)
Colin Escott Liner Notes
Al Green Vocals, Producer
Howard Grimes Bongos, Conga, Drums, Rhythm Section
Jack Hale Trombone, Horn Section
Charles Hodges Organ, Piano
Leroy Hodges Bass, Rhythm Section
Mabon "Teenie" Hodges Guitar
Teenie Hodges Guitar, Rhythm Section
Wayne Jackson Trumpet, Horn Section
Larry Lee Guitar
Bob Levy Photography
Andrew Love Horn (Tenor), Sax (Tenor), Horn Section
The Memphis Strings Strings
James Mitchell Sax (Baritone), String Arrangements
Willie Mitchell Producer, Engineer, String Arrangements, Remixing
Bob Norberg Remastering
Rhodes Vocals (bckgr)
Rhodes, Chalmers & Rhodes Vocals (bckgr)
Alan Robinson Liner Notes
Phil Smee Typography
Archie Turner Piano, Rhythm Section

In a short time, Al Green became a premier singer in R&B and pop. With songs like "Look What You've Done for Me" and "Here I Am (Come and Take Me)," among many others, Green and producer Willie Mitchell refined the sounds of each genre. As Al Green Explores Your Mind was the peak of Green's insouciance, Al Green Is Love finds a starker reality -- the majority of the tracks here are ruminative but not always coherent. The first track, the propulsive "L-O-V-E (Love)," would be even more believable if Green didn't sound so ambivalent. Other up-tempo tracks, "I Gotta Be More" and "Rhymes," are edgy and dark, with great riffs from guitarist Mabon Hodges. The heart of Al Green Is Love is the ballads, though Green's not very happy, and those looking for heartwarming thoughts on romance won't find it here. "The Love Sermon" and, even better, "I Didn't Know" are spare, dirge-like songs that give Green great opportunities to turn in raw and emotional performances. "I Wish You Were Here" and "Could I Be the One" have producer Willie Mitchell offering suitably bleak arrangements to go with Green's airy vocals. The best track here, "There Is Love," strikes a balance between the customary production grace and the album's pervading sorrow. Al Green Is Love might be too depressing for some, but his fans will find Green's truthfulness appealing and some of the songs among his best.
By Jason Elias (AMG)

By Celo

Galactic ''Crazyhorse Moongoose''


''Crazyhorse Moongoose''
( Capricorn Records LLC, 1997 )

01 - Hamp's hump
02 - Love on the run
03 - Crazyhorse mongoose
04 - Witch doctor
05 - Metermaid
06 - Change my ways (part 1)
07 - Change my ways (part 2)
08 - Denny's village rundown
09 - Tighten your wig
10 - Cafe declouet
11 - Start from scratch
12 - Quiet please

Personnel & Credits:
Produced, recorded, edited and mixed by Dan Prothero for Frog City Productions
Stanton Moore: drums
Robert Mercurio: bass
Jeff Raines: guitar
Rich Vogel: keyboards
Theryl deClouet: vocals
Ben Ellman: tenor and baritone sax
Jason Mingledorff: tenor and alto sax

New Orleans funksters Galactic return with Crazyhorse Mongoose, the follow-up to their superb 1996 debut, Coolin' Off. While the band takes the same approach as the debut ('70s production, soulful singing from vocalist Theryl de Clouet, long but memorable instrumental jams, etc.), Crazyhorse Mongoose is the better album. Since the band tours constantly, they've grown even tighter musically. And Galactic are one of the few young bands of the '90s that plays as a unit; they know that the most important thing is to keep the song's groove going. As on their debut, de Clouet is limited to showing his vocal talents on just a few tracks ("Change My Ways," "Love On the Run," "Start From Scratch," etc.), while the talented instrumentalists of Galactic never let the red-hot funk cool down. The title track, "Quiet Please," "Meter Maid," and "Tighten Your Wig" are all prime examples of Galactic doing what they do best.
By Greg Prato (AMG)

Not available on the blog free edition.

Courtesy of O Homem Da Gravata Florida

Galactic ''Coolin' Off''


''Coolin' Off''
( Capricorn Records LLC, 1996 )

01 - Go go
02 - Welcome to new orleans
03 - Something's wrong with this picture
04 - Funky bird
05 - Stax jam
06 - Church
07 - On the one
08 - Mystery tube
09 - Doo rag
10 - Percussion interlude
11 - Everybody wants some (part 1)
12 - Everybody wants some (part 2)
13 - Everybody wants some (part 3)
14 - Goodnight

Personnel & Credits:
Produced, recorded, edited and mixed by Dan Prothero for Frog City Productions
guitar: Jeff Raines
keyboards: Rich Vogel
bass: Robert Mercurio
drums: Stanton Moore
vocals: Theryl deClouet
special guests
Erik Jekabson (trumpet)
Mark Mullins (trombone)
Eric Traub (tenor saxofone)

After listening to Galactic's 1996 debut release, Coolin' Off, it's hard to believe that the band isn't comprised of seasoned funk veterans. Instead of showing off their instrumental chops at every given opportunity, the members of Galactic play as an ensemble, who know when to step back and let their soulful music groove and breath on its own. Vocalist Theryl de Clouet is only featured on a few of the album's tracks ("Something's Wrong With This Picture," "Everybody Wants Some -- Part 3," etc.), but his voice often steals the show when it's featured. The majority of Coolin' Off consists of funky instrumentals with a sound straight out of the '70s, but the band knows how to mix it up and avoid monotony. The opening "Go Go" is a good example of Galactic's sound: a prominent bassline is merged with horns and wah-wah guitar, while an organ creates a memorable melody. Other groove-oriented tracks include "Funky Bird," "Stax Jam," "Doo Rag," and "Church." Coolin' Off is an excellent debut from a band that is destined for great things.
By Greg Prato (AMG)

Not available on the blog free edition.

Courtesy of O Homem Da Gravata Florida

The Rimshots ''Down To Earth''

The Rimshots

''Down To Earth''
( LP Stang Records, 1976 )
Catalog # ST-1028

A1 Now Is The Time (3:15)
A2 Do What You Feel (Part 1) (3:44)
A3 I Wanna Be Myself (5:00)
A4 Super Disco (3:28)
Producer - Tommy Keith
B1 Groove Bus (3:15)
Producer - Tommy Keith
B2 Walter's Inspiration (3:27)
Producer - Bernadette Randle
B3 Being Down To Earth (3:15)
B4 Do What You Feel (Part 2) (3:15)
B5 7, 6, 5, 4, 3, 2, 1 (Blow Your Whistle) (3:05)
Producer - Sammy Lowe

Personnel & Credits:
Arranged By [Orchestrations] - Sammy Lowe
Bass - Jonathan Williams
Drums - Clarence Oliver
Engineer - Al Goodman , Allan Tucker
Guitar [Lead, Rhythm] - Walter Morris
Guitar [Rhythm] - Tommy Keith
Organ - Mozart Pierre-Louis
Piano, Synthesizer [ARP], Keyboards [Clavinet] - Bernadette Randle
Producer - Al Goodman (tracks: A1, A2, B1, B3 to B5),
Harry Ray (tracks: A1, A2, B1, B3 to B5),
Walter Morris (tracks: A1, A2, B1 to B5)

Recorded and mastered at All Platinum Recording Studios, Englewood, New Jersey
Format:Vinyl, LP

The Rimshots were the house band at Joe and Sylvia Robinson's All Platinum/Stang label family during the '70s, and also released their own records, mostly on the latter imprint. Led by guitarists and sometime composers and producers Walter Morris and Tommy Keith, their ranks also included drummer Clarence Oliver, bassist Jonathan Williams, and keyboardist Bernadette Randle. Their highest-profile backup appearances were with label flagship artists the Moments, whose Harry Ray and Al Goodman sometimes penned material for them. The Rimshots began releasing their own singles in 1972, when their brand of funk was harder than the disco-flavored sound they would later adopt. Early songs like "Soul Train, Pts. 1 & 2" and "Save That Thing" would go on to become rare collector's items, as would their 1972 debut LP Soul Train. Over the next couple of years, the Rimshots continued to release high-quality, non-LP singles -- "Dance Girl," "Harvey Wallbanger," "Who's Got the Monster" -- that cemented their future standing as a reliable source for hip-hop samples. By 1975, singles like "Do What You Feel, Pt. 1" and "(7-6-5-4-3-2-1) Blow Your Whistle" were beginning to move the Rimshots into smoother disco territory, and 1976's "Super Disco" and "We've Got You Singing" solidified the transition. 1976 also saw the release of the Rimshots' second album, Down to Earth, and the group contributed two tracks to the lesser-known blaxploitation soundtrack Patty. In addition to their work as the Stang house band, the Rimshots backed Etta James on her funky blues outing Etta Is Betta Than Evah. The 2000 Sequel compilation 7-6-5-4-3-2-1 (Blow Your Whistle) reissued both Soul Train and Down to Earth, plus additional non-album material.
By Steve Huey (AMG)

By Pier

Sunday, 13 September 2009

Willis Jackson ''Nothing Butt''

Willis Jackson

''Nothing Butt''
( LP Muse Records, 1980 )
Catalog # MR 5294

2.Just the Way You Are
3.Nothing Butt
4.Hittin' and Missin'
5.Autumn Leaves

* Buddy Caldwell
* Conga
* Willis "Gator" Jackson
* Sax (Tenor), Main Performer
* Charles Earland
* Organ
* Pat Martino
* Guitar
* Grady Tate
* Drums

Tenor saxophonist Willis Jackson got into a routine on his Muse albums, but never lost his enthusiasm and creativity within the genre. This album features Jackson on a current hit ("Just the Way You Are"), a couple of ballads, and three romps ("Nothing Butt," "Hittin' and Missin'," and "Move"). Guitarist Pat Martino is heard in excellent form just before a serious illness; organist Charles Earland is up to his usual groovin' form, and drummer Grady Tate and percussionist Buddy Caldwell keep the music moving. An excellent effort full of enjoyable and fairly accessible music.
By Scott Yanow (AMG)

Courtesy of Lupo

Bill Mason ''Gettin’ Off''

Bill Mason

''Gettin’ Off''
( LP Eastbound Records, 1972 )
Catalog # EB 9000

1. Gettin' Off
2. Let's Stay Together
3. Now Run And Tell That
4. Stone
5. Mr Jay

Hubert Laws
Gary Chandler
Wilbert Longmire
Gordon Edwards
Idris Muhammad
Ron Coleman

My favorite Jazz Funk record ever. Top choice organ funk with Idris Muhammed & Hubert Laws, engineered by Rudy Van Gelder. Bill Mason was an unknown organ player and this is one of his rare appearences. I also think that this is his only solo LP. He is joined by Hubert Laws, Gary Chandler, Wilbert Longmire, Gordon Edwards, Idris Muhammad and Ron Coleman.
All songs feature screaming organ, tight guitar rhythms and fantastic drumming. I'm really blown away by Hubert Law's flute and sax playing. Tasty! You'll find plenty of sampling oppurtunities, as there are loops, breaks and beats all over. Funk and Jazz fans will like this.

By Pier

Frank Walton ”Reality”

Frank Walton

( LP Delmark Records, 1978 )
Catalog # DS 436
Also Cat. # Delmark 436

1. Safari (Crystal, Penson, Raisin)
2. Spongie (Frank Walton)
3. Waltz of the Prophets (Ari Brown)
4. Shorter’s Vibes (Ari Brown)
5. Change of Mode (Frank Walton)

Recorded March 27 – April 27, 1978

Personnel & Credits:
Frank Walton (trumpet and flugelhorn)
Henry Threadgill (alto sax)
Ari Brown (tenor and soprano sax)
Jodie Christian (piano)
Rudolph Penson (bass)
Ben Montgomery (drums)

This was Chicago trumpeter Frank Walton’s first release. He opens things up with a really funky fusion song called Safari that also appears on one of the Dusty Fingers compilations. The song has a great play between bass player Rudolph Penson and Joe Christian on the keys, with the horns as highlights. The rest of the album isn’t that impressive. You have bluesy jazz in Spongie, straight jazz in Waltz Of The Prophets, and some more fusion with Shorter’s Vibes, but nothing that matches the groove of Safari.

By Pier

Saturday, 12 September 2009



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Friday, 11 September 2009

The Harold Wheeler Consort ''Black Cream''

The Harold Wheeler Consort

''Black Cream''
( LP RCA Records, 1975 )
Catalog # BGL1-0849

A1 Black Cream
A2 Then Came You
A3 Don´t Cry Girl
A4 The Need To Be
A5 Let´s Put It All Together
B1 Color Me Soul
B2 Corner Of The Sky
B3 Feel Like Makin´ Love
B4 Send In The Clowns
B5 Mack The Knife

Format: Vinyl, LP, Album
Country: US
Released: 1975

By Pier

Tony Monaco Trio & Friends ''Fiery Blues''

Tony Monaco Trio & Friends

''Fiery Blues''
( Summit Records, 2004 )
Catalog # DCD 425

Goin’ to a Meetin'
Everyday I Have the Blues
Greasy Spoon
Mellow Soul
Crosscut Saw
The Hooker
Stormy Monday
All Blues
The Preacher
Takin’ My Time Blues

Personnel & Credits:
Steve Adam Photography
Tom Carroll Guitar
Owen Cordle Author
Derek DiCenzo Guitar
Pete Fallico Liner Notes
Ken Franckling Author
Robert Kraut Guitar
Tony Monaco Organ (Hammond), Producer, Engineer, Executive Producer, Mastering, Mixing
Willie Pooch Vocals
Jim Rupp Drums
Neil Tesser Author
Ned Torney Author
Daniel Traynor Package Design
Louis Tsamous Drums
Gene Walker Saxophone

We’ve all heard of Chicago Style and the New Orleans Sound in jazz, but did you know there was a “Columbus, Ohio sound?” Well, B3 master Tony Monaco - who lives there - knows, and made it the theme of his new record. The general idea is a strongly rhythmic blend of the blues with jazz. He chose tunes associated with some of the many jazz organists who came out of the Columbus music scene, and sought to bring the Columbus Sound up to date with his playing on both his legacy B3 and New B3. He used two different drummers and three different guitarists on the 11 tracks. Saxist Gene Walker is heard on six of the tracks and vocalist Willie Pooch comes in on three tracks, including the rockin’ Everyday I Have the Blues. Tony gets in one of his originals on “Ashleen.” Can’t get enough of that unique B3 sound ah say,,,
By John Henry (Audaud)

Tony Monaco, whose organ playing is similar to that of Jimmy Smith in the late '50s, performs nine diverse blues on this set plus Horace Silver's "The Preacher." Monaco has an enthusiastic and spirited style, one that is a constant joy to hear. Even with the program having nine straight blues, there is a surprising amount of variety due to the many tempos, moods and changes in instrumentation. Several different guitarists have their spots, tenor-saxophonist Gene Walker is on six numbers and Willie Pooch's three vocals are an asset. After "The Preacher" concludes, there is a "hidden track," "Takin' My Time Blues," that is repeated from the previous record Intimately Live at the 501. All in all, this is an excellent outing easily recommended to fans of jazz organ and swinging soul-jazz.
By Scott Yanow (AMG)

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