Yusef LATEEF with Charles MINGUS at Birdland 1961 (Flac&MP3)

Yusef LATEEF with Charles MINGUS at Birdland 1961 (Flac&MP3)
All The Credits Go  To *inconstantsol*
Charlie Mingus And His Jazz Workshop
October 21, 1961 (Live) Radio Broadcast
Birdland, New York City

Jazz

This tries to clarify the seven broadcasts that were made from Birdland in New York City between October 21, 1961 and October 26, 1962. These WADO AM (1280) broadcasts were taped by Boris Rose, hence the reference to "Boris Rose tapes". He manufactured acetates from those tapes and the recordings were released on (his own?) bootleg labels such as Alto, Ozone, Session Disc and Yadeon. None of this material has been legitimately released (a hint to Revenge Records, if you still exist).

The most important audio source for this discography is an unissued "connoisseur set" on three CD-R's called "The Complete Birdland Broadcasts 1961-1962". This set includes all seven broadcasts with radio announcements and is mastered from four reels (inserts for these reels, scanned as JPEG files: Tape No. 1 (98 kb), Tape No. 2 (94 kb), Tape No. 3 (93 kb), Tape No. 4 (86 kb)) that were recorded from acetates made by Boris Rose from his original reels. I have used this set for all timings which I have measured with an audio software. The timings do not include any count-ins, introductions etc. unless there is music going on, for example under Symphony Sid's speech. The timings are as accurate as possible with -/+ 1 second marginal.

For comparisons I've also used the following releases from my own collection: "Vital Savage Horizons" (Alto AL 714), "Live At Birdland 1962" (Jazz View COD 028), "Charles Mingus" (Frequenz 044-011) and some miscellaneous sources that have accumulated over the years. For other releases I've relied on the information provided by Luigi Turrino (Tempo di jazz CDTJ 704, Musica Jazz 2 MJP 1067, Jazzman JM 11741).

The discographical data is based on Priestley's Mingus discography and has been compared to other relevant discographies such as Tom Lord's The Jazz Discography Volume 15 and Michael Fitzgerald's Henry Grimes Discography. For session artist titles I've used announcements by Pee Wee Marquette and Symphony Sid, but basically this is Charles Mingus And The Jazz Workshop All Stars all the way.

Unless you already know my email address please use the email form at the Fiasko Records website to send me corrections and additions. The reason for not putting my email address on this page is because I receive so much spam that it's difficult to cope with it even with the efficient spam filter (POPFile) I'm using. When sending corrections etc. try to be as specific as possible and cite the sources for your information (e.g. do you personally have the recording etc.).
By Esa Onttonen.
**
Jimmy Knepper- (Trombone)
Yusef Lateef- (Tenor Sax)
Roland Kirk- (Tenor Sax, Strich, Manzello)
Charles Mingus, Doug Watkins- (Bass)
Dannie Richmond- (Drums)
Pee Wee Marquette- (Musical Cond)
**
A.  [unknown title] 7:12 Alto AL 714 (BAT 5-8, Frequenz 044-011)
B.  Ecclusiastics (Mingus) 9:15 Alto AL 714 (BAT 5-8)
C.  Hog Callin' Blues (incomplete; fade-out) (Mingus) 3:08 BAT 5-8

Notes:
[1] Despite Mingus's introduction the first item (track a) bears no relationship to Blue Cee (Priestley, 1983). It is possible that this composition was later recorded on November 6, 1961 for Atlantic and is one of the unissued tracks that were destroyed in the Atlantic Records vault fire in February 1978. The solo order is Kirk, Mingus, Lateef and Knepper.

[2] On Alto AL 714 all introductions by Mingus and Pee Wee Marquette have been edited away. The titles, Improvisation (track a) and Ecclestiastes (track b), are also incorrect/mistitled.

[3] On Frequenz 044-011 liner notes incorrectly claim Roland Hanna on piano and Mingus on bass. The first track (a) is also misidentified as Blue Cee.
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Tsuyoshi YAMAMOTO Trio - Blues To East 1978

Tsuyoshi YAMAMOTO Trio - Blues To East 1978
RJD 1

Jazz

Imagine listening to a piano trio,alone in the middle of the night as you sip your favourite drink.Tsuyoshi Yamamolo Trio offers just such a mood.Yamamoto is highly musical and his expressions nalural.neilher overly technical nor overly serious,and his performance is relaxed and melodious.
**
Tsuyoshi Yamamoto(p),
Tsutomu Okada(b),
Hiroshi Murakami(dr)
**
A1. Our Delight 4:40
A2. Love Theme From Spartacus 9:27
A3. All In Love Is Fair 2:27
B1. Love For Sale 5:45
B2. My Old Flame 5:12
B3. Blues To East 5:33
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Stanley TURRENTINE – Everybody Come On Out 1976

Stanley TURRENTINE – Everybody Come On Out 1976
F-9508

Jazz

From the cover photo, it appears to be a beautiful day in Mr. Turrentine's neighborhood, which on this 1976 session with horns and strings takes in a vast territory. A key to the tenor giant's success as a crossover artist is illustrated clearly here--Turrentine applies a passionate commitment to everything he plays that make musician and material sound of a piece. Philly soul, Jamaican reggae, British pop, and Hollywood soundtracks are among the styles that sound second-nature to the Pittsburgh native, as Turrentine and a first-call rhythm section (including Joe Sample, Lee Ritenour, Headhunters Paul Jackson and Harvey Mason, and George Duke under his nom de disque Dawilli Gonga) dig deeply into Wade Marcus's arrangements and make the large ensembles soar.
**
This is an all-out riveting soul session with Stanley Turrentine, Joe Sample, Lee Ritenour, and Paul Jackson, just to name a few. The opening number (title song) will definitely get your party started! It is a seering scorcher! "Many Rivers To Cross" is so fine yet funky. Stanley & Joe cook! "All By Myself" has full-bodied satisfaction. "I'm Not In Love" shines.

Recorded in 1976, these songs have a full-bodied orchestral sound that came out of some of the most brilliant sophisticated soul ever recorded. Then to add richness and depth, this collection was remastered in 1996. A very fine production from start to finish! Full of perfectly sweet surprises, this album flows with tasteful desserts for the
By Beverly Praiswater.
**
Arranged By, Conductor - Wade Marcus
Bass [Electric] - Paul Jackson (2)
Bongos, Congas, Percussion - Bill Summers
Cello - David Speltz (tracks: A2, B1 to B4) , Dennis Karmazyn (tracks: A2, B1 to B4) ,
Ronald Cooper (tracks: A2, B1 to B4)
Double Bass - Richard Feves (tracks: A2, B1 to B4)
Drums - Harvey Mason
Electric Piano - Joe Sample
Flute, English Horn, Saxophone [Baritone] - Bill Green* (tracks: A1, A4, B1, B2, B4)
Flute, Saxophone [Tenor] - Buddy Collette (tracks: A1, A4, B1, B2, B4)
Guitar - Craig McMullen , Lee Ritenour
Harp - Dorothy Ashby (tracks: A2, B1 to B4)
Saxophone [Tenor] - Stanley Turrentine
Synthesizer - Dawilli Gonga (tracks: A1, A3, B3)
Trombone - Charles Loper (tracks: A1, A4, B1, B2, B4) , George Bohanon (tracks: A1, A4, B1, B2, B4)
Trombone [Bass] - Lew McCreary (tracks: A1, A4, B1, B2, B4)
Trumpet, Flugelhorn - Bob Findley (tracks: A1, A4, B1, B2, B4) ,
Oscar Brashear (tracks: A1, A4, B1, B2, B4) ,
Paul Hubinon (tracks: A1, A4, B1, B2, B4)
Trumpet, Trumpet [Slide], Flugelhorn - Chuck Findley (tracks: A1, A4, B1, B2, B4)
Viola - Art Royval (tracks: A2, B1 to B4) , David Campbell (tracks: A2, B1 to B4) ,
Denyse Buffum (tracks: A2, B1 to B4) , Pamela Goldsmith (tracks: A2, B1 to B4)
Violin - Carl LaMagna (tracks: A2, B1 to B4) , Charles Veal Jr. (tracks: A2, B1 to B4) ,
Glenn Dicterow (tracks: A2, B1 to B4) , Janice Gower (tracks: A2, B1 to B4) ,
Ken Yerke* (tracks: A2, B1 to B4) , Michelle Grab (tracks: A2, B1 to B4) ,
Mitchell Markowitz (tracks: A2, B1 to B4) , Robert Dubow (tracks: A2, B1 to B4) ,
Robert Lipsett (tracks: A2, B1 to B4) , Winterton Garvey (tracks: A2, B1 to B4)
**
A1. Everybody Come On Out  4:17
A2. Stairway to Heaven  3:58
A3. There Is a Place (Rita's Theme)  6:15
A4. Many Rivers to Cross  4:16
B1. Hope That We Can Be Together Soon  5:52
B2. All By Myself  3:40
B3. Airport Love Theme  5:35
B4. I'm Not in Love  4:02
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Jimi HENDRIX - Jimi By Himself 1968

Jimi HENDRIX - Jimi By Himself 1968
The Home Recording
PDP 1006
Bootleg

Blues

Something of this stature deserves a review. Out of all of the various Hendrix "bootlegs" I have acquired over the years, nothing even comes close to the quality of the sound presented here. It's as if you're sitting in Jimi's apartment with the master and just kicking back and listening to him play right fucking there. And the master fails to disappoint, breathing life into songs before they were ever recorded. If I could only keep one thing besides Hendrix' released material it would be this- hands down.
**
This is Jimi alone in his apartment in New York sometime in 1968, rehearsing songs that would be on Electric Ladyland with just a guitar, one mike, and a small amp.

The sound quality is what is absolutely stunning about these songs---there is virtually no tape hiss, dead silence in ambient background, just Jimi, playing very relaxed and laid-back.  You can hear him turning pages of sheet music during some bridges and breaks between songs, and just when you think you've heard everything, the phone rings (and goes unanswered) near the end of the album.

I was trying to figure out why the sound quality on this would be so unbelieveable, and it dawned on me that at the time, guys like Jimi and Pete Townshend and the Stones could virtually afford the very best sound recording equipment available.  So it's not a stretch to think of the best Neumann mike, the best Revox or Studer reel-to-reel being used to put these songs down.

There's not a lot of jaw-dropping pyrotechnics (although some picking during Voodoo Chile / Cherokee Mist is enough to make you shake your head), just lots of rhythm strumming and some great singing on these songs.

I've played these songs for a good friend of mine from England who is a record producer, and he was in shock, amazed to have heard just how fresh, raw (and brilliant) a solo rehearsal from Jimi could be.  

Just another musician, sitting at home working on some tunes...
**
01 1983... (A Merman I Should Turn to Be)   7:45
02 Angel   3:28
03 Cherokee Jam   3:12
04 Hear My Train A Comin'   1:22
05 Voodoo Chile/Cherokee Mist   10:09
06 Gypsy Eyes   2:59

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Yusef LATEEF - Into Something 1962

Yusef LATEEF - Into Something 1962
NJLP 8272

Jazz

I don't know why, maybe it's because of the other Lateef albums I've listened to, but I expected more fire then is initially found here. It doesn't command your attention immediately. As a down-tempo album, is it meant to? I don't think so. One is ill advised to fault an album for being slow if that's it's intention. For those of us not needing our hands held (we all do from time to time), who are willing to listen and for those in the right mood - there's much to recommend here.

First. Intention. I'll take Hentoff's liner notes at face value and accept that the songs chosen for this album are ones admired by Lateef. It's easy to be cynical and assume that inclusion of songs like "When You're Smiling" have a commercial angle. Hentoff quotes Lateef as saying he remembers his father singing the song and he tells Hentoff he appreciates the song's message. So, it's inclusion is a personal one - fair enough. Any jazzbo knows a quality jazzman will alter the most inane pop song beyond recognition. Miles Davis took songs like "Some Day My Prince Will Come" and "Surrey With a Fringe on Top" and made them something to listen to. Coltrane renovated an old clunker like "My Favorite Things" and made it shine. Lateef's treatment of "When You're Smiling" is a good example of what an imaginative player can do with a tired old tune. He states the melody without too much surprise for maybe a minute (tops) and then explodes the thing into several pieces. The majority of the song has Lateef making 2- or 3-note statements from the familiar melodic phrase and then he runs off into inventive asides of stuttered lines and skronks and all manner of imaginative ideas; then, another small cluster of notes advancing the melody, leading into more extemporaneous runs. And so on. It's quite brilliant and is similar to Coltrane's method - though far less grand in scale. This is a good and restful (?) alternative - with Coltrane it's often so difficult to follow his reasoning, separated so thoroughly by seeming chaos, that a listener feels like a latter day Theseus who's forgotten the twine.

Listen to this album when you're willing to listen. Side A is entirely contemplative. The flip side lets loose a bit more and even approaches what some would call "outside". Elvin Jones handles drums for this date. He's a smart drummer. He's also a team player. He does exactly what's expected of him here which is to say he lays back and does not shake things up too much. His much loved polyphony pokes out numerous times throughout Into Something, but don't expect fireworks.

The oboe on Rasheed sounds full-bodied and satisfying on vinyl; at least on my system, with my ears. It's a nice sounding instrument and I prefer it to his flute playing - at least as found on this album. Another "ballads" album is the previous year's Eastern Sounds - a masterpiece where once again Lateef uses the oboe with great success.
**
Yusef Lateef- (Tenor Sax, Flute, Oboe)
Barry Harris- (Piano)
Herman Wright- (Bass)
Elvin Jones- (Drums)
**
A1. Rasheed 5:26
A2. When You're Smiling 4:43 
A3. Water Pistol 5:40
A4. You've Changed 4:53
B1. I'll Remember April 6:51
B2. Koko's Tune 6:29
B3. P Bouk 7:11
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Maggie BELL - Suicide Sal 1975

Maggie BELL - Suicide Sal 1975
SS 8412

Blues

The success of Angel Air's series of Maggie Bell reissues can be easily judged by the Scottish singer's return to the U.K. after residing for years abroad, a planned autobiography, and her intention of touring. Although critically feted in the U.K., Bell, both solo and with her former band Stone the Crows, never quite achieved the commercial breakthrough everyone had so expected. Always a bridesmaid, never a bride, Bell's recording career was punctuated by a sole Stone the Crows charting album. With that band's demise in 1973, the soul singer went solo, releasing the (again) critically acclaimed Queen of the Night album, with 1975's Suicide Sal following. A tougher, more energized set than its predecessor, Sal's electrifying live feel reflects the incendiary stage shows Bell and her new backing band had been playing in the intervening time between recordings. The two bonus tracks, recorded at a gig later that year, capture their live ferocity. Intriguingly, the funky, fiery title track, an homage to Bell's Aunt, a music hall star, is one of only two originals on this set. The second, the lavishly bluesy "If You Don't Know" was penned by band keyboardist Pete Wingfield, and boasts a guesting Jimmy Page on guitar. The storming "Coming on Strong" also has a Bell connection, being co-penned by ex-Crow Colin Allen and Zoot Money. The rest of the album comprises astutely chosen covers drawn from an eclectic selection of artists. One of the standouts is "It's Been So Long," a powerful gospel number written by the Pretty Things' Phil May, who not only rewrote some of the lyrics for Bell, but added his backing vocals to the song. Free's classic "Wishing Well" gets a sensational workout, while that band's offshoot Kossoff, Kirke, Tetsu & Rabbit's "Hold On" is taken to new emotive heights. From barrelling Beatles pop to the Sutherland Brothers poignant Gaelic ode, from ballads to hefty rock & roll, Bell struts across this set with style and such assurance, that even Aunt Sal must have been impressed. One of Britain's greatest soul singers, showcased at her best, this magnificent album also includes an excellent, expansive biography of this crucial artist.
By Jo-Ann Greene, AMG.
**
Maggie Bell- (Vocals)
Hugh Burns- (Guitar)
Brian Breeze- (Guitar, Vocals)
Paul Francis- (Drums)
Delisle Harper- (Bass)
Pete Wingfield- (Keyboards)
+
Roy Davies- (Keyboards)
Ray Glynn- (Guitar)
Jimmy Page- (GuitaR)
Cuddley Judd- (Bagpipes)
Mickey Keene- (Guitar)
Billy Lawrie- (Bass)
Mark London- (vocals)
Clark Terry- (Guitar)
**
A1. Wishing Well   3:35
A2. Suicide Sal   3:44
A3. I Was in Chains   3:01
A4. If You Don't Know   3:55
A5. What You Got   2:54
A6. In My Life   3:08
B1. Comin' on Strong   4:07
B2. Hold On   4:47
B3. I Saw Him Standing There   4:19
B4. It's Been So Long   4:29
**
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Oscar PETERSON And The Bassists - Montreux 1977

Oscar PETERSON And The Bassists - Montreux  1977
1989 Issue OJCCD-383-2
Jazz

This is an interesting album, one of many taken from the concerts sponsored by Pablo Records at the 1977 Montreux Jazz Festival. Pianist Oscar Peterson is teamed in an unusual trio with both Ray Brown and Niels Pedersen on basses. Sticking to standards and two blues on the boppish set, Peterson allows both of his sidemen plenty of solo space, permitting listeners to compare the large tone of Brown with the speedy fingers of Pedersen.
By Scott Yanow, All Music Guide.
**
Oscar Peterson is one of the few monster speed players who can stay musical. This CD is an absolute essential for bassists esspecially. Neils Henning Orsted-Pederson is one of the first real upright burners, his lines are so fast an clean. This juxaposed to the late great Ray Browns beautifull melodies and tasty chops is a course in Everything you need to know to play upright. Rays impecible time keeps this cd moving along, leaving no desire for a drummer.Although all of them overplay and show off past the point of musicality, with three of the most advanced and inovative musicians in thier fields, this cd is a must have.
By Adam Frederick.
**
Ray Brown- Bass
Eddie "Lockjaw" Davis- Sax (Tenor)
Bobby Durham- Drums
Dizzy Gillespie- Trumpet
Niels-Henning Ørsted Pedersen- Bass
Oscar Peterson- Piano
Clark Terry- Trumpet
and
Count Basie,Milt Jackson,Papblo All-Stars
**
01. There Is No Greater Love 5:50
02. You Look Good To Me 6:49
03. People 6:26
04. Reunion Blues 6:37
05. Teach Me Tonight 8:59
06. Sweet Georgia Brown 5:03
07. Soft Winds 6:19
**
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