Saturday, February 16, 2019

ERIC DOLPHY – The Great Concert Of Eric Dolphy, 1961 (P-34002 / 3LP-1974)




Label: Prestige ‎– P-34002
Format: 3 × Vinyl, LP, Compilation, Remastered
This Box Set includes an insert, triple gatefold / Country: US / Released: 1974
Style: Free Jazz, Modal, Free Improvisation
Recorded live at the Five Spot Cafe, New York City, 16 July 1961.
Art Direction, Photography By [Cover Photo] – Tony Lane
Engineer [Original Recording Engineer] – Rudy Van Gelder
Remastered At – Fantasy Studios / By – Brian Gardner
Liner Notes – Joe Goldberg, Ira Gitler, Robert Levin
Supervised By [Original Recording] – Esmond Edwards
Sides 1 / 2 originally released as "Live At the Five Spot Volume 1" (P/NJ-8260)
Sides 3 / 4 originally released as "Live At the Five Spot Volume 2" (P/NJ-8288)
Sides 5 / 6 originally released as "The Eric Dolphy Memorial Album" (P-7334)
Matrix / Runout (Label Side A): P-34002-A
Matrix / Runout (Label Side B): P-34002-B
Matrix / Runout (Label Side C): P-34002-C
Matrix / Runout (Label Side D): P-34002-D
Matrix / Runout (Label Side E): P-34002-E
Matrix / Runout  (Label Side F): P-34002-F
Disributed by Fantasy Records, Tenth and Parker, Berkeley, Ca. 94710

side 1:
    A1 - Fire Waltz  (M. Waldron) ............................................................................. 13:10
    A2 - Bee Vamp  (B. Little) ................................................................................... 12:11

side 2:
     B  -  The Prophet  (E. Dolphy ............................................................................ 21:06

side 3:
     C  -  Aggression  (B. Little) ................................................................................ 16:35

side 4:
     D  -  Like Someone In Love  (J. Van Heusen-J. Burke) .................................... 19:29

side 5:
     E  -  Number Eight / Lotsa Potsa  (E. Dolphy) ................................................... 15:25

side 6:
     F  -  Booker's Waltz  (E.Dolphy) ........................................................................ 14:30

Personnel:
Eric Dolphy – alto saxophone, flute, bass clarinet
Booker Little – trumpet
Mal Waldron – piano
Richard Davis – bass
Eddie Blackwell – drums, percussion

ERIC DOLPHY / The Great Concert Of Eric Dolphy (1974. US, 7-tracks, triple LP box set with insert, repackaging the albums 'Live At The Five Spot' & the 'Eric Dolphy Memorial Album', all recorded live on July 16th 1961 in New York, engineer – Rudy Van Gelder.
© 1974 Prestige Records / Printed in U.S.A.


After having left the ensemble of Charles Mingus and upon working with John Coltrane, Eric Dolphy formed a short-lived but potent quintet with trumpeter Booker Little, who would pass away three months after this recording. Despite all of the obstacles and subsequent tragedy, this quintet became legendary over the years -- justifiably so -- and developed into a role model for all progressive jazz combos to come. The combined power of Dolphy and Little -- exploring overt but in retrospect not excessive dissonance and atonality -- made them a target for critics but admired among the burgeoning progressive post-bop scene. With the always stunning shadings of pianist Mal Waldron, the classical-cum-daring bass playing of Richard Davis, and the colorful drumming of alchemistic Ed Blackwell, there was no stopping this group. Live at the legendary Five Spot Café in New York City, this band set the Apple, and the entire jazz world on their collective ears. "Fire Waltz" demonstrates perfectly how the bonfire burns from inside the soul of these five brilliant provocateurs, as Dolphy's sour alto and Little's dour trumpet signify their new thing. Dolphy's solo is positively furious, while Blackwell nimbly switches up sounds within the steady 3/4 beat. "Bee Vamp" does not buzz so much as it roars in hard bop trim. A heavy tandem line breaks and separates in the horn parts like booster rockets. Blackwell is even more amazing, and Dolphy's ribald bass clarinet set standards that still influences players of the instrument. Where "The Prophet" is a puckery blues, it is also open armed with minor phrasings and stretched harmonics. This is where Waldron and Davis shine in their terra cotta facades of roughly hewn accompaniments to Dolphy and Little's bold flavored statements.





A Group also shows a compositional thrust in very dissonant thematic material really stretching out during long versions of Little's "Aggression" and the standard "Like Someone in Love." Dolphy's playing -- whether on alto, bass clarinet, or flute -- always defied categorization, while Little was the first new voice on the trumpet to emerge after Clifford Brown's death in 1956.
The vast majority welcomes this incredible concert, as music that changed the jazz world as much as Ornette Coleman and John Coltrane's innovative excursions of the same era. All forward thinking and challenged listeners need to own these epic club dates.
(Review by Michael G. Nastos)




I love to pull this one out when I’ve got the house to myself and a few hours with nothing much to do, and that’s today. It was originally released as three separate albums (Live at the Five Spot Vol. 1 and 2, and Eric Dolphy Memorial Album), and then Prestige put out this version in the 70s. It unfortunately leaves out a wonderful version of “God Bless The Child” that was also played at this show, which is available elsewhere. Regardless, if you stumble across this 3LPs, it is well worth picking up – it’s a remarkable piece of jazz history and tremendously enjoyable. An excellent set that records what may have been Dolphy's finest group ever, as well as one of that era's best working bands.

E n j o y !!!



If you find it, buy this album!

Monday, February 4, 2019

JACKIE McLEAN – Jacknife (1965/66) Blue Note–BN-LA457-H2/UA – 2LP-1975




Label: Blue Note ‎– BN-LA457-H2
Series: The Blue Note Re-Issue Series –
Format: 2 × Vinyl, LP, Album / Country: US / Released: 1975
Style: Post Bop
A1 to B3 recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey in mid 1965.
C1 to D3 rec. at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 12, 1966.
Art Direction, Design – Bob Cato
Photography By – Raymond Ross
Liner Notes – Ira Gitler
Producer [Original Sessions Produced By] – Alfred Lion
Producer [Produced For Release By] – Michael Cuscuna
Matrix / Runout (Side 1 Runout etched): BN-LA 457-1- UA
Matrix / Runout (Side 4 Runout etched): BN-LA 457-4 UA
Matrix / Runout (Side 2 Runout etched): BN-LA 457-2 UA
Matrix / Runout (Side 3 Runout etched): BN-LA 457-3 UA

side 1
A1 - On The Nile ...................................................................................................... 12:30
A2 - Climax ................................................................................................................ 9:19

side 2
B1 - Soft Blue ........................................................................................................... 7:25
B2 - Jacknife ............................................................................................................. 6:15
B3 - Blue Fable ......................................................................................................... 6:00

Personnel:
Jackie McLean – alto saxophone
Charles Tolliver – trumpet (A1, B1, B3)
Lee Morgan – trumpet (A2, B1, B2)
Larry Willis – piano
Larry Ridley – bass
Jack DeJohnette – drums, percussion

side 3
C1 - High Frequency ............................................................................................... 11:25
C2 - Combined Effort ................................................................................................ 9:24

side 4
D1 - Moonscape ........................................................................................................ 6:47
D2 - Jossa Bossa ...................................................................................................... 7:00
D3 - The Bull Frog ..................................................................................................... 4:35

Personnel:
Jackie McLean – alto saxophone
Larry Willis – piano
Don Moore – bass
Jack DeJohnette – drums, percussion

All the material in this album is previously unreleased and issued here for the first time.
Jackie McLean's Jacknife sessions it actually comprises two volumes, one recorded in 1965 and the other in 1966. They were originally given the catalogue number of BLP 4223 and BLP 4236, but were shelved for ten years and issued together in 1975 as a double LP, with the number BN-LA457-H2. Whilst the 1965 tracks were released on a limited edition CD in 2002, those from 1966 have never been released singularly.


A heady combination of post-bop, avant-garde, and soul jazz, recorded on the cusp of the sale of Blue Note to Liberty.
The tapes languished in the Blue Note vaults for a decade until Michael Cuscuna discovered them and produced this double-helping for United Artists.
Razor-sharp Van Gelder recordings which United Artists engineers manage to capably reproduce. As Cuscuna said, the only thing you have to do to a Van Gelder recording is keep your hands behind your back and not mess it up.



...Starting with Let Freedom Ring, McLean embraced modality and wasn’t sheepish to use honks and squeaks in his solos. This 1965 session, showcases McLean’s exciting vision of jazz in all its glory.
With a rhythm section of Larry Willis, Larry Ridley and Jack DeJohnette, as well as two trumpeters, Charles Tolliver and Lee Morgan, McLean crafts an album full of urgency and intensity. McLean himself thrives on the modal structures of Tolliver’s “On The Nile” and DeJohnette’s “Climax,” producing fiery solos that illustrate his vivid imagination as a soloist. He also contributes the well-thought out original “Blue Fable” to the proceedings. Morgan makes his strongest impression on “Blue Fable” and also plays on “Climax” as well as his own tune, “Soft Blue,” which comes off as, maybe, a tad too conventional for this album. Tolliver trumps Morgan, though, with his writing as well as his unique improvisations, especially his dramatic thoughts on “On The Nile” and his ability to match McLean’s fury on the title track.
Willis’s solos are models of restraint and provide an excellent contrast to the three horn players. DeJohnette’s playing on his own composition particularly is an instructive example of a jazz drummer constantly building up and releasing tension, not unlike what Tony Williams did on McLean’s One Step Beyond.



During the heyday of Blue Note, many fine sessions such as Jacknife did not see the light of day until many years later. So, while it’s admittedly not surprising that jazz of this calibre was not immediately released, it’s still a tad confounding that producer Alfred Lion could let this fine music linger in the vault.          (Review by Robert Gilbert / AAJ)



If you find it, buy this album!

JACKIE McLEAN – Hipnosis (1962/67) Blue Note–BN-LA483-J2/UA – 2LP-1978




Label: Blue Note ‎– BN-LA483-J2
Series: Blue Note Jazz Classic Series –
Format: 2 × Vinyl, LP, Album / Country: US / Released: 1978
Style: Hard Bop, Post Bop
A1 to B3 rec. at Rudy Van Gelder's, Englewood Cliffs, New Jersey on June 14, 1962.
C1 to D3 rec. at Rudy Van Gelder's, Englewood Cliffs, New Jersey on February 3, 1967.
Design [Album] – Bob Cato
Photography By – H. Nolan
Compiled By – Michael Cuscuna
Liner Notes – Ben Sidran
Producer [Original Sessions Produced By], Producer – Alfred Lion
Supervised By [Project Director Blue Note Jazz Classic Series] – Charlie Lourie
Matrix / Runout (Side 1): BN-LA483-1 (SET 1) 2 ECK UA
Matrix / Runout (Side 2): BN-LA483-2 (SET 2) 1 ECK UA
Matrix / Runout (Side 3): BN-LA483-3 (SET 2) 1 ECK UA
Matrix / Runout (Side 4): BN-LA483-4 (SET 1) 2 ECK UA

side 1
A1 - The Three Minors ............................................................................................... 6:00
A2 - Blues In A Jiff ..................................................................................................... 7:00
A3 - Blues For Jackie ................................................................................................. 7:45

side 2
B1 - Marilyn's Dilemma ............................................................................................. 5:00
B2 - Iddy Bitty ........................................................................................................... 8:10
B3 - The Way I Feel .................................................................................................. 7:15

Personnel:
Jackie McLean – alto saxophone
Kenny Dorham – trumpet
Sonny Clark – piano
Butch Warren – bass
Billy Higgins – drums, percussion

side 3
C1 - Hipnosis .......................................................................................................... 11:15
C2 - Slow Poke ........................................................................................................ 7:40

side 4
D1 - The Breakout .................................................................................................... 6:17
D2 - Back Home ....................................................................................................... 6:05
D3 - The Reason Why .............................................................................................. 6:45

Personnel:
Jackie McLean – alto saxophone
Grachan Moncur III – trombone
LaMont Johnson – piano
Scott Holt – bass
Billy Higgins – drums, percussion


All selections are released here for the first time. All selections are in stereo.
Hipnosis is a studio album by saxophonist Jackie McLean, featuring selections recorded for Blue Note Records in the 1960s, but not released until 1978. The album was released in the US as a two-fer (BN-LA 483-H2), which included five tracks from a 1967 session, plus six tracks recorded in 1962.  In Japan, it was released the same year as a standard LP (ST-83022) with a different cover, featuring only the 1967 tracks.



The first session's from his wailing hard bop days, and features Kenny Dorham on trumpet, Sonny Clark on piano, and Billy Higgins on drums. Tracks from this one include "Blues For Jackie", "Blues In a Jiff", and "Iddy Bitty". The other set's from the tail end of his "new thing" days, and features Grachan Moncur on trombone and Lamont Johnson on piano. Tracks here include "The Breakout", "Hipnosis", "Slow Poke", and "The Reason Why".
It is interesting to compare Hipnosis with the other UA McLean two-fer offering, Jacknife. I find this Jazz Classics Series sonically better (probably just by chance)  and musically has the edge, if only for the presence of a bubbling Sonny Clark and a brooding Grachan Moncur III. McLean recorded numerous times with Moncur, something about how the malevolant lower register trombone and offsetting acid-sharp alto gel, sweet and sour, a challenging sort of brass unison.



Both vintage McLean twofers are in my view essential, inexpensive good-sounding double vinyl. I expect most jazz fans already have them, but perhaps like me you have been neglecting to play them, so its good to get them off the shelf and onto the turntable where they belong. The twofers are over thirty years old, nearing forty years, close to nearly a  decade short of originals. That is “vintage”, good enough for me.
Even if you have all the McLean and Moncur Blue Notes, which I do, the two McLean twofers (is that a fourfer?) generously complement your collection, without duplicating any tracks.

And in the end, quite what United Artists thought they were doing releasing two twofer series – The Blue Note Reissue Series and The Blue Note Jazz Classics series –  is a mystery to me. Why call something a re-issue which has never been issued before? They are all Jazz Classics, whatever the word Classics means.         (parts of londonjazzcollector review)




If you find it, buy this album!

Sunday, January 27, 2019

WES MONTGOMERY – Groove Brothers (Milestone Records – M-47051/2LP-1979)




Label: Milestone Records – M-47051
Format: 2 × Vinyl, LP, Compilation / Country: US / Released: 1979
Style: Hard Bop, Contemporary Jazz
Side 1 recorded Fall 1960 in San Francisco / Side 2 recorded Spring 1961 at The Cellar, Vancouver / Sides 3,4 recorded January 1961 in NYC.
Side 1 originally included on The Montgomery Brothers (Fantasy 8052)
Side 2 originally included on The Montgomery Brothers in Canada (Fantasy 8066)
Sides 3,4 originally issued as Groove Yard (Riverside 362)
Art Direction – Phill Carroll
Photo [Cover] – Charles Stewart
Remastered By – David Turner
© 1979, Milestone Records
Distributed by Fantasty Records.
Matrix / Runout (Runout A, etched): M-47051 1A (MILESTONE)
Matrix / Runout (Runout B, etched): M-47051 1B (MILESTONE)
Matrix / Runout (Runout C, etched): M-47051 2C (MILESTONE)
Matrix / Runout (Runout D, etched): M-47051 2D (MILESTONE)

side A
A1 - D-Natural Blues (Monterey Blues) .................................................................... 6:25
A2 - Lover Man ......................................................................................................... 8:56
A3 - June In January ................................................................................................ 6:41

side B
B1 - Jeannine ........................................................................................................... 4:08
B2 - Angel Eyes ....................................................................................................... 6:23
B3 - Beaux Arts ........................................................................................................ 4:40
B4 - Snowfall ............................................................................................................ 6;49

side C
C1 - Bock To Bock (Back To Back) .......................................................................... 6:44
C2 - Groove Yard ..................................................................................................... 3:01
C3 - If I Should Lose You ......................................................................................... 5:49
C4 - Delirium ............................................................................................................ 3:37

side D
D1 - Just For Now .................................................................................................... 4:55
D2 - Doujie ............................................................................................................... 4:35
D3 - Heart Strings .................................................................................................... 4:34
D4 - Remember ....................................................................................................... 5:36

Personnel:
Wes Montgomery – guitar
Buddy Montgomery – piano, vibraphone
Monk Montgomery – acoustic bass
Lawrence Marable – drums, percussion (side A)
Paul Humphrey – drums, percussion (side B)
Bobby Thomas – drums, percussion (sides C, D)



Although this is billed to Wes Montgomery, it is in fact a combination of two early-'60s LPs by the Montgomery Brothers -- "The Montgomery Brothers" and "The Montgomery Brothers in Canada" -- on to first LP and material from their Riverside LP "Groove Yard", on the second LP. (Also note that this album it's almost entirely different from the Montgomery Brothers' CD that also bears the name Groove Brothers.) With Wes on guitar, Monk on bass, and Buddy on piano (Larance Marable fills out the quartet on drums), The Montgomery Brothers (1960) is a boppish set of five lengthy tracks, divided between both originals (penned by either Wes or Buddy) and standards. "June in January" is a particularly good vehicle for Wes' fluid single-note runs, while "D-Natural Blues" is one of his more enduring and good-natured compositions from the period. Buddy Montgomery, who often played the piano with the Montgomery Brothers, sticks exclusively to vibes on The Montgomery Brothers in Canada, which in addition to Wes and Monk has Paul Humphrey on drums. There's only one original on here (by Buddy), but it's a beaut: the buoyant "Beaux Arts" has gorgeous alternations of single-note solos and chording by Wes. In a different vein, "Angel Eyes," which begins with a long drumless passage, shows Wes' skill with a delicate slow ballad.         (Review by Richie Unterberger)




Work on the album "Groove Yard" was reunited Wes Montgomery with his brothers Monk and Buddy on this 1961 Riverside session, which also features drummer Bobby Thomas. The guitarist and his brothers are in great form throughout the session, and the highlight of the evening in the studio is a foot-tapping version of Carl Perkins' "Groove Yard," followed closely by a wild ride through Harold Land's "Delirium." The leader contributed the soulful hard bop work "Doujie." The pianist wrote the driving "Just for Now" and the easygoing blues "Back to Back." Like most of Wes Montgomery's Riverside recordings, this release is an essential part of his discography and is highly recommended.          (Review by Ken Dryden)



If you find it, buy this album!

Monday, January 21, 2019

WES MONTGOMERY – The Alternative Wes Montgomery (M ‎– 68138 / 2LP-1982)




Label: Milestone Records ‎– 68138 M-47065
Format: 2 × Vinyl, LP, Album / Country: France / Released: 1982
Style: Hard Bop
14 Previously Unissued Takes
All songs recorded between 1960 and 1963.
Art Direction – Phil Carroll
Photography – Jim Marshall
Reprocessing and rerecording by Danny Kopelson
Mastering by George Hora, 1982 (Fantasy Studios, Berkeley)
Producer – Orrin Keepnews
Distributed By – Carrere – CA 271
Matrix / Runout (Runout A): M-47065 / 68138 MA 1
Matrix / Runout (Runout B): M-47065 / 68138 MB 1
Matrix / Runout (Runout C): M-47066 / 68138 MC 2
Matrix / Runout (Runout D): M-47066 / 68138 MD 2

Guitar – Wes Montgomery

A1 - Born To Be Blue .............................................................................................. 7:23
A2 - S.O.S. (Take 2) ................................................................................................ 4:45
A3 - Come Rain Or Come Shine (Take 1) .............................................................. 7:16
         Bass – Paul Chambers
            Drums – Jimmy Cobb
            Piano – Wynton Kelly
            Tenor Saxophone – Johnny Griffin
B1 - Fried Pies (Take 1) .......................................................................................... 6:34
B2 - Besame Mucho (Take 2) ................................................................................. 6:24
         Drums – Jimmy Cobb
            Organ – Mel Rhyne
B3 - The Way You Look Tonight (Take 2) ............................................................... 5:48
         Drums – George Brown
            Organ – Mel Rhyne
B4 - Stairway To The Stars (Take 2) ...................................................................... 3:43
C1 - Jingles (Take 8) .............................................................................................. 6:49
         Bass – Sam Jones
            Drums – Philly Joe Jones
            Piano – Wynton Kelly
            Vibraphone [Vibes] – Milt Jackson
C2 - Bock To Bock (Take 1) .................................................................................... 5:35
C3 - Doujie (Take 7) ............................................................................................... 4:24
         Bass – Monk Montgomery
            Drums – Bobby Thomas
            Piano – Buddy Montgomery
C4 - Movin’ Along (Take 1) ..................................................................................... 6:37
         Bass – Sam Jones
            Drums – Louis Hayes
            Flute – James Clay
            Piano – Victor Feldman
D1 - Body And Soul (Take 2) ................................................................................ 11:17
D2 - Tune Up (Take 9) ............................................................................................ 4:39
         Bass – Sam Jones
            Drums – Louis Hayes
            Flute – James Clay
            Piano – Victor Feldman
D3 - Tune Up (With Strings) (Take 2) ..................................................................... 5:06
         Arranged By [String Orchestra] – Jimmy Jones
            Bass – Milt Hinton
            Concertmaster – Gene Orloff
            Drums – Osie Johnson
            Harp – Margaret Rose
            Piano – Dick Hyman
            Rhythm Guitar – Kenny Burrell
            Woodwind [Woodwinds] – Phil Bodner

Thumbing through the New Arrivals section in a record store, one of the many pleasures of record collecting is the occasional unexpected surprise among the usual stack of common reissues and second division artists.
I recently stumbled on this intriguing ’80s issue of Wes Montgomery. The cover looked like those  “specially priced” Fantasy two-record compilations of previously issued material, which I have found generally disappointing. However, on closer inspection, I discovered it included one whole side of the classic Wes Montgomery Riverside recording Full House, Live at Tsubo’s, in which Wes meets the Miles Davis Rhythm Section, recorded live in Berkley. Not just one track, but a whole side, and a bonus, alternative takes from the original recording session.



Previously un-issued alternative takes from sessions for Riverside in the golden years 1959-63, before Wes’ migration to “instrumental pop”. Montgomery died in 1968, so there’s no more music where that came from, and vinyl more or less died in the mid ’80s, so… but wait!  French press? Carrere Distribution?  Read in, cheapskate, everything about this reissue says don’t, but the material looked compelling, two records, priced in single figures, what is there to lose?
Artists – “Full House” session:
Wes Montgomery (guitar) Johnny Griffin (tenor) Wynton Kelly (piano) Paul Chambers (bass) Jimmy Cobb (drums) June 25, 1962, recorded live at Tsubo, Berkeley, California, engineer Wally Heider, issued on Riverside 434, 1962, later reissued on a Fantasy two-fer as “Groove Brothers“.
Difficult to find an original Riverside in top condition, friends have resorted to Japan. However we now have another alternative.
Other Montgomery sessions – artists:
Kenny Burrell, James Clay, Victor Feldman, Johnny Griffin, Louis Hayes, Milt Jackson, Philly Joe Jones, Sam Jones, and Mel Rhyne.
Selections curated by Wes’s original producer, Orin Keepnews, from original Riverside session tapes, released on Fantasy Records “Milestone” label in 1982 (35 year old vinyl, from before the CD watershed!). This edition licensed for European distribution through Carrere, with just a hint of garlic.
Wes Montgomery is backed by the dream rhythm team of  Kelly, Chambers and Cobb. Johnny Griffin, fastest tenor in the west, is a welcome addition to the line up, which combined with Wynton Kelly’s rhythmic attack, lifts it from being just a guitar session to a quintet of greater depth and contrast.


Wes elevated the guitar from rhythm accompaniment to a front line instrument, and was one of the first jazz guitarist to fully incorporate the legato approach of the horn players, using the right-hand thumb instead of a plectrum. The fat, warm sound he was able to produce with the thumb created a very vocal, soulful ‘voice’. Guitarist Jim Mullen noted that Wes “had a double-jointed thumb, which meant he could play both up- and downstrokes like a pick player.
After a passage of fluid, bluesy, always relaxed single-string licks, Wes would move onto octaves for the next stage, and play them so effortlessly that you would hardly notice the transition. Yet, the line is now doubled and intensity is added to the solo. The last phase of the solo would see Wes move from octaves to full chords – known as ‘block’ chords – which would further increase the drama and excitement.
Few recordings capture a live set as well as the Full House session, perhaps Miles & Mobley at The Blackhawk, Bill Evans Village Vanguard sessions come to mind. The ambience is luscious, tactile, you have to dim the lights, join the audience, you are there. I guess stereo helps complete the sense of physical presence.



Though reissues can be a slippery slope in terms of audio fidelity, there seems to be a principle, that if the original recording is top quality, and the  re-issue is re-mastered  from a high quality copy tape, and someone  didn’t f*** it up, the quality of parentage can come shining through in the reissue. The apple doesn’t fall far from the tree, they say. That certainly seems to be the case here.

Carrere Records was formed in the ’70s by a french producer Claude Carrere, who created Disques Carrere, a label specialising in Euro rock and pop, but with a significant number of jazz reissues in its book. Carrere was a little like Interdisc in the previous decade, acting as a licensing operation that organised manufacture and distribution in Europe of overseas recordings, mainly from the US. Based on the small number I own, Carrere editions are usually sonically indifferent, possibly a reflection of the rock and pop engineers tasked with re-mastering in the 80’s, and the type of equipment in use . As always, there are exceptions, both good and bad, this was a good one.  Carrere Records was bought finally by the giant Warner Group in the ’90s.

The less said about the budget cover the better, plain fare, but the liner notes are a good use of gatefold space, reproduced here to be readable at full screen.

(Review by londonjazzcollector.)



If you find it, buy this album!

Thursday, January 10, 2019

GILLES PETERSON – Impressed With Gilles Peterson (– 064 749-1 / 2LP-2002)




Label: Universal – 064 749-1
Series: Impressed Re-pressed –
Format: 2 × Vinyl, LP, Compilation / Country: UK / Released: 2002
Style: Modern Jazz, Modal, Big Band, Free Improvisation
Compilation / rare, classic & unique modern jazz from Britain 1963-1974.
Compiled By – Gilles Peterson
Executive Producer – Tony Higgins
Mastered By – Peter Dennett
Sleeve Notes – Tony Higgins
Track C2 is a bonus track on this vinyl release.
Matrix / Runout (Runout (Etched) Side 1): 064 749-1 A1
Matrix / Runout (Runout (Etched) Side 2): 064 749-1 B
Matrix / Runout (Runout (Etched) Side 1): 064 750-1 C2
Matrix / Runout (Runout (Etched) Side 2): 064 750-1 D

A1 - Michael Garrick Trio – First Born ....................................................................... 4:12
          Bass – Dave Green
          Drums – Trevor Tomkins
          Piano – Michael Garrick

A2 - Joe Harriott & Amancio D'Silva Quartet – Jaipur ............................................... 8:07
          Bass – Dave Green
          Drums – Bryan Spring
          Guitar – Amancio D'Silva
          Tenor Saxophone – Joe Harriott
          Trumpet – Ian Carr
          Vocals – Norma Winstone

A3 - Ronnie Ross – Cleopatra's Needle ................................................................... 5:45
          Baritone Saxophone – Ronnie Ross
          Bass – Spike Heatly
          Drums – Ronnie Stephenson
          Piano – Bill Le Sage
          Tenor Saxophone – Art Elefson
          Trumpet – Les Condon

B1 - The Tubby Hayes Quintet – Down In The Village .......................................... 10:06
          Bass – Freddy Logan
          Drums – Allan Ganley
          Piano – Gordon Beck
          Tenor Saxophone, Soprano Saxophone – Tubby Hayes
          Trumpet – Jimmy Deuchar

B2 - Harry Beckett – Rolli's Tune .............................................................................. 6:19
          Bass – Chris Laurence
          Drums – John Webb
          Piano – John Taylor
          Soprano Saxophone – John Surman
          Tenor Saxophone – Alan Skidmore
          Trumpet – Harry Beckett
          Vibraphone – Frank Ricotti

C1 - The Don Rendell / Ian Carr Quintet – Black Marigolds ................................... 13:32
          Bass – Dave Green
          Drums – Trevor Tomkins
          Piano – Michael Garrick
          Tenor Saxophone, Soprano Saxophone,
          Flute – Don Rendell
          Trumpet, Flugelhorn – Ian Carr

C2 - The Mike Westbrook Concert Band – Original Peter ........................................ 8:00
           Alto Saxophone – Mike Osborne
           Bass – Harry Miller
           Drums – Alan Jackson
           Guitar – Chris Spedding
           Piano – Mike Westbrook
           Tenor Saxophone – George Khan
           Trumpet – Paul Rutherford
           Vocals – Norma Winstone

D1 - Graham Collier Sextet – Lullaby For A Lonely Child ....................................... 5:40
           Alto Saxophone – Stan Sulzamn
           Bass – Graham Collier
           Drums – John Marshall
           Piano, Oboe – Karl Jenkins
           Trombone – Nick Evans

D2 - The Don Rendell / Ian Carr Quintet – Dusk Fire ............................................. 12:22
          Bass – Dave Green
          Drums – Trevor Tomkins
          Piano – Michael Garrick
          Tenor Saxophone, Soprano Saxophone, Flute – Don Rendell
          Trumpet, Flugelhorn – Ian Carr

“Information” as to which tracks are on which of the four sides of vinyl is conspicuously absent. Apparently, information is old fashioned, nowadays you are lucky to know who’s album it is. You have to ask, then why tell us which record number and side number it is? There’s the tell. Information does matter, that white space is a modern conceit. Well, that’s how I read it.
Or can’t.



On first site, this is a strange album; the cover design has a large thumbprint on a white background, with a piece of brown tape stuck on it giving the title and the name Gilles Peterson. I have to confess it meant nothing to me and I wondered whether my editor had sent it to the wrong reviewer! What a pleasant surprise I had, the LP contains the music I grew up with. As an avid visitor to The Marquee, The Flamingo Club and Ronnie’s Old Place in London, what a delight to hear again the bands which were also presented in the Midlands, where I live, by the Late Harry Flick.
I find today’s jazz scene nothing like as stimulating as those times, there were weekly sessions in Coventry and most other cities, where the musicians and bands heard on this record performed to packed enthusiastic audiences.

On the LP we realise just what a golden era the sixties and early seventies was for jazz in the UK. The talents of the musicians on display are astonishing for that time, or should I say, someone who did not know of them, should prepare to be astonished. Michael Garrick has always had a good band and he is a very fine pianist, the likes of Joe Harriott would surely have been an international jazz figure if he had chosen the USA instead of the UK to move to from his native Jamaica.
Ronnie Ross must surely be the finest baritone player the UK has produced and Tubby Hayes, I am amazed at the number of local musicians who are digging around in record shops trying to find anything Tubby recorded. The example on this record, with the superb Jimmy Deuchar on trumpet is one of the best and is worth the price of the record on it’s own!
Don Rendell I count as a friend, even though I have not seen him for a while, his contribution to the UK jazz scene has been immense. He was a founder member of the Johnny Dankworth Seven and has worked tirelessly in the cause of British jazz. In more recent times, as well as performing up and down the country, he has also been teaching in a London University, helping along a new generation of jazz musicians. As Gilles Peterson says, Black marigold as another superb track featuring Don, with trumpet player Ian Carr.



If you are from the era, you will love this record, if you came in later, listen to it and be prepared to be surprised at what you hear, A volume two is mentioned, lets hope it comes out soon.

(Review by Don Mather)



If you find it, buy this album!