The Ramsey LEWIS Trio - The In Crowd 1965

The Ramsey LEWIS Trio - The In Crowd 1965
LPS 757

Jazz

If Ramsey should pull a Grover Washington Jr. today, he would forever be known for this album and "Sun Goddess" with Earth Wind & Fire.This truly a classic. The grand piano he plays comes flowing out of my Bose speakers with so much soul and inspiration.Eldee Young's bass and cello solid to the core.Like the brother wrote the book with Ray Brown. Red Holt's drumming is right there every time you expect it to be.A must have for the collection. Jazz at it's best.
By Russell Fellezs.
**
This is the record that put the legendary Ramsey Lewis on the map. Lewis is known as an incredible stylist on piano, comfortably adapting almost any kind of music into his own jazz fusion vision. Film scores, pop, light classical hall fit comfortably into his music, and this album is an excellent example of his vision. But, it's not only Lewis alone. His absolutely fabulous rhythm section of Red Holt (drums) and Eldee Young on (basscello) frame all of Ramsey's performances with funk and grace and a superior forward momentum. Aside from the groovin' hit The in Crowd, the album contains fantastic readings of Duke Ellington's Come Sunday and the Love Theme From Spartacus. This album is one of the places where Afro and funk-jazz started, and aside from it's historical significance, it's a stone groove.
By Matthew Greenwald, All Music Guide.
**
Eldee Young- Bass, Cello
Red Holt- Drums
Ramsey Lewis- Piano
**
A1. The 'In' Crowd 5:47
A2. Since I Fell For You 4:04
A3. Tennessee Waltz 5:53
A4. You Been Talkin' 'Bout Me Baby 2:56  
B1. Spartacus (Love Theme From) 6:10
B2. Felicidade (Happiness) 4:25  
B3. Come Sunday 4:42
**

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Yusef LATEEF - The African-American Epic Suite For Quintet & Orchestra 1996

Yusef LATEEF - The African-American Epic Suite For Quintet & Orchestra 1996

Jazz

When you've paid your dues like Yusef Lateef they call you Doctor.  They also let you do whatever the hell you want with an orchestra.   So, as people like Duke Ellington and Charles Mingus did before him, Lateef made an epic suite.  Lateef's quintet play more than enough instruments for an orchestra by themselves.  You can hear instruments from 6 of the 7 continents of the world here.  If anyone actually lived in Antarctica and had invented an instrument, it most certainly would have appeared on The African-American Epic Suite.  Maybe he could have hugged a penguin and recorded the sound it made?

It all adds up to incredibly emotional music with spurts of turmoil.  Duke Ellington's Far East Suite and Charles Mingus' The Black Saint and the Sinner Lady are still in a class all their own though.  For now, Lateef will just have to remain the most incredible musician I've had the pleasure of hearing.
**
Yusef Lateef- Tenor Saxaphone, Germanic Flute, Alto Flute, Indian Flute, Bamboo Flutes, Indian temple Flute, Moan Flute, Algaita, Shannie
Cologne Radio Orchestra (Kölner Rundfunkorchester)- Group
David de Villiers- Orchestra Director
Eternal Wind- Performers
Ralph Jones- Tenor and Soprano Sax, Flute, Bass Clarinet, Hichiriki, Bamboo Flutes
Charles Moore- Dumbek, Flugelhorn, Shofar, Conch Shells
Frederico Ramos- Acoustic and Elecric Guitars, Gimbri
Adam Rudolph- Small Percussion, Cymbals, Drums, Bells, Gong, Tabla, Didjiridoo, Whistles, Udu Clay Drums, Hand Drums, Kalgu, Kalngu (Talking drum)
**
01. 1st Movement  The African as Non-American  6:16
02. 2nd Movement  Transmutation  12:40
03. 3rd Movement  Love For All  11:46
04. 4th Movement  Freedom  15:22
**

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Marcus MILLER - Tutu Revisited 30th Leverkusener Jazztage 2009

Marcus MILLER - Tutu Revisited 30th Leverkusener Jazztage 2009
LeverkusenGermany, 7th November 2009
Bootleg

Jazz

Marcus Miller- B, Bcl
Christian Scott- Tp
Alex Han- Reeds
Federico Gonzalez Pena- Kb
Ronald Bruner- Dr
**
01. Tomaas (M. Miller  M. Davis) 8:52
02. Backyard Ritual (G. Duke) 8:17
03. Splatch (M. Miller) 11:18
04. Hannibal (M. Miller) 9:14
05. Jean Pierre (M. Davis) 8:30
06. When I Fall In Love (E. Heyman  V. Young) 3:01
07. Tutu (M. Miller) 10:53
**

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Robben FORD - Blues Connotation 1996

Robben FORD - Blues Connotation 1996
ITMP 970083

Jazz

If you are a fan of Robben Ford, you'll be aware of his good taste, excellent style and beautiful tone. In this album however, it is totally different. It's not what you would expect from Mr Ford...
But I wouldn't let this put you off. I think album show cases what an adaptable musician Robben Ford is. He fits in with the other band members including Bill Frisell (guitar) and Kenny Garrett (alto sax) and performs some rather complex jazz. It might not be everyone's cup of tea, but it's worth listening to if you can get you're head round the fact that it is purely jazz. I reckon he's decided to push the boat out and has possibly challenged himself. I tip to my hat to him for whatever reason.
So if you like Jazz (especially the hardcore stuff) then go for it, I can't imagine you'd be disappointed - all the songs are pure jazz. If you like Robben Ford, then this is him at a different angle. It's worth a shot!
**
Kenny Garret- Alto Sax
Ralph Towner- Synthesize
Julian Priester- Trombon
Charlie Haden- Bass
Bill Frisell- Guitar
Anthony Cox- Bass
Jerry Granelli- Perc, Synthesize
Robben Ford- Guitar
**
01. City Life   9:28
02. One Day at a Time   8:33
03. I Could See Forever   6:27
04. Wanderlust   7:46
05. Billie's Bounce   6:23
06. I Put a Spell on You   7:30
07. Blues Connotation   6:06
08. Blues Connotation Reprise   4:07
**

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The Dave Brubeck Quartet (With Bill Smith) – Near Myth 1961

The Dave Brubeck Quartet (With Bill Smith) – Near Myth 1961
1995 Issue.OJCCD-236-2

JAzz

This is the third and final guest appearance by clarinetist Bill Smith in the place of Paul Desmond with the Dave Brubeck Quartet. Like the earlier record dates, this 1961 session focuses exclusively on Smith's compositions, resulting in a very different sound for the band than its normal mix of the leader's songs and standards. Smith was a member of Brubeck's adventurous octet of the late '40s and, like the pianist, also studied with French composer Darius Milhaud. So the clarinetist is willing to take chances, utilizing a mute on his instrument in "Pan's Pipes," and having drummer Joe Morello use his timpani sticks on the piano strings in the swinging "The Unihorn." Smith proves himself very much in Desmond's league with his witty solos and equally amusing, pun-filled liner notes. While none of these songs became a regular part of Brubeck's repertoire, even after Smith replaced tenorist Jerry Bergonzi as a member of the quartet in 1982, this is easily the best of the three albums that he made with Dave Brubeck during the late '50s and early '60s.
By Ken Dryden. AMG.
**
I think this CD is yet another display of how great a musician Dave Brubeck, and every musician he works with, is. I have always enjoyed the Quartet, but have never found anything on the Octet. This, just shows me how awesome Dave Brubeck can be.The solos are phenomenal. From the alto sax solos, which go beyond anything I could ever imagine, to the clarinet solos which range from octive to octive so effortlessly, the whole CD is a magnifiscent work of art.
**
Dave Brubeck (Piano)
Bill Smith (Clarnet)
Eugene Wright (bass)
Joe Morello (Drums)
**
01. The Unihorn5:13
02. Bach an’ All 3:49
03. Siren Song 5:41
04. Pan’s Pipes 4:10
05. By Jupiter 3:54
06. Baggin’ the Dragon 6:46
07. Apollo’s Axe 3:22
08. The Sailor and the Mermaid 4:13
09. Nep-Tune 2:51
10. Pan Dance 3:43
**

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Thelonious MONK Quartet Plus Two – At The Blackhawk 1960

Thelonious MONK Quartet Plus Two – At The Blackhawk 1960
RLP 1171

Jazz

The sextet sessions from which this one sprung started out as a collaboration between Monk and drummer Shelly Manne. The chemistry between the two was deemed uninspired after two days of playing, at which point tenorman Harold Land and trumpeter Joe Gordon were added for a new project. The result, culled from this one-night-only quartet+2's spot at San Francisco's Blackhawk, is high-energy bop.

The trumpet/double-tenor texture is interesting, giving tunes like "Four In One" a thick forcefulness on the head and a fun pluralism in the solo section. Land is busy and energetic over the changes, while Rouse plays in a more narrative style, referring more often to the melody. "San Francisco Holiday" has an almost big band sort of gaiety to it, with Gordon blowing sonic party streamers out of his horn. Monk is relatively conservative in his comping, but steps out with a mad energy on his solos.Down Beat (1960) - 4.5 Stars - Very Good Plus - "..heartily recommended for the excellent work of [tenor saxophonist] Rouse and Monk...the degree to which Rouse has absorbed his leader's outlook is still amazing...Their empathy is similar to that of Earl Hines and Louis Armstrong.."
From CD Universe.
**
A stunning session from Thelonious Monk, a really great live date that has Monk's familiar quartet augmented by west coast players Joe Gordon on trumpet and Harold Land on tenor! Given that Charlie Rouse is already in the group on tenor, the addition of Land's horn makes for a very soulful set and Gordon's one of those players we love whenever we get a chance to hear him on record, which isn't that often, given how few sessions he cut! Other players include John Ore on bass and Billy Higgins on drums and titles include "Four In One", "Let's Call This", and "Worry Later".
From Dusty Groove.
**
Thelonious Monk- (Piano);
Charlie Rouse, Harold Land- (Tenor Sax);
Joe Gordon- (Trumpet);
John Ore- (Bass);
Billy Higgins- (Drums).
**
A1. Let's Call This   8:26
A2. Four in One   8:32
A3. I'm Getting Sentimental Over You   6:09
B1. San Francisco Holiday (Worry Later)   9:03
B2. 'Round Midnight   12:09
B3. Epistrophy (Closing Theme)   0:59
**

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Susan MAUGHAN - Hey Look Me Over 1967

Susan MAUGHAN - Hey Look Me Over 1967
2007 Issue.UICY-6750

Jazz

Susan Maughan turns on, tunes in and drops out with Hey Look at Me, the kind of self-consciously groovy vocal jazz set that is unmistakably the product of Swingin' London circa 1967. A square, frustratingly sentimental singer on previous LPs, Maughan digs into pop hits like "There's a Kind of Hush" and "I'm a Believer" with gusto, but what pulls the record back from the precipice of kitsch is the smart, sophisticated arrangements of pianist Laurie Holloway, who manages to generate some truly soulful moments.
By Jason Ankeny. AMG.
**
01. Hey Look Me Over (1:40)
02. Great Day (2:44)
03. I'm A Believer (2:03)
04. More (2:29)
05. On Green Dolphin Street (2:59)
06. I'm All Smiles (3:10)
07. Let's Fall In Love (2:00)
08. Call Me (3:00)
09. Matchmaker, Matchmaker (2:29)
10. There's A Kind Of Hush (2:51)
11. Cute (2:14)
12. Softly As I Leave You (2:05)
**

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