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!

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!