Earl "Fatha" Hines with Coleman Hawkins and Roy Eldridge 1965

Earl "Fatha" Hines, a contemporary of Louis Armstrong, had been making musical history for four decades previous to recording this 1965 date at the Village Vanguard. It is beyond me why Hines is often "second fiddle" to lesser musicians in many texts and critiques of this music called Jazz. After all, he was present at the birth of Jazz as a musical art form; maybe second only to Jelly Roll Morton. His influence on musicians that came afterward (such as Art Tatum, Errol Garner and Nat Cole) cannot be denied. Why does he seldom show up on the short list of musicians in the Jazz pantheon?

I paid a small fortune for these two hidden gems; more than any other in my collection. But, the purchase has paid off in spades. What a dynamite performance by not only Hines but also elders Roy Eldridge and Coleman Hawkins. The program of standards is exemplary, the collaborative execution is exciting and the sound is superb for this live date. Add to this the wonderful liner notes detailing this trio's not so positive experience with Charles Mingus during the week at the Vanguard and you have a GREAT listening experience as well as a palatable history lesson. TEN STARS! (obviously) happy amazon customer

..This is one of the great feel-good jazz recordings of his or anyone's career. Hines plays it every way but safe here, taking outrageous harmonic and metric chances....It's one of Hawk's last superior performances...
JazzTimes (05/01/1996)

Tracklisting
DISC 1:
1. Portraits of Fats Waller: Keepin' Out Of Mischief Now / Two Sleepy People / Ain't Misbehavin' / The Jitterbug Waltz / Squeeze Me / Honeysuckle Rose
2. C-Jam Blues
3. Sunday
4. Broadway Medley: Baubles, Bangles And Beads / Tea For Two
5. Sweet Georgia Brown

DISC 2:
1. The Grand Terrace Medley: Breezin' Along With The Breeze / A Cottage For Sale / Fine And Dandy
2. Man I Love, The
3. Rosetta
4. Undecided
5. Just One More Chance - (previously unreleased)
6. Take the "A" Train

Album notes
Earl Hines Trio: Earl Hines (piano); George Tucker (bass); Oliver Jackson, Jr. (drums), Coleman Hawkins (tenor saxophone); Roy Eldridge (trumpet, flugelhorn)

Recorded live at The Village Vanguard, New York on March 14, 1965. Originally released on Limelight (86020, 86028) as two separate LPs. Includes liner notes by Dan Morgenstern, Ira Gitler and Chris Albertson.

Digitally remastered by Suha Gur (Polygram Studios).

Steve Coleman & Five Elements - Curves Of Life

When will Five Elements do a 'Live' recording?" When indeed - how about now! The Tao of Mad Phat (one of the previous Steve Coleman recordings) was recorded 'live' in a recording studio in front of an audience. According to Steve, "that recording (The Tao of Mad Phat) has a small club atmosphere to it, so when I got the opportunity to actually record in a club, I liked the idea a lot." Public response to 'The Tao' prompted the members of the band more eager to record a truly 'live' album.

While doing a very important grass roots style tour thru the west coast of the United States in the fall of 1994, Steve met with Jean-Paul Artero, owner of the club Hot Brass club in Paris (Artero happened to be in California at the same time). Jean-Paul had heard about a gig done in New York City earlier that year which featured several of Steve's groups in a series on the music of Steve Coleman. He approached Steve about doing this kind of thing at the Hot Brass in Paris. Coleman liked the idea so much that he approached BMG/RCA about recording at least some of the music. After a consideration, BMG France, in collaboration with BMG New York, decided to record all of the music that would be played during the band's 5 nights of performances at Hot Brass. The idea was to release the music on three separate CDs, each one representing one of Coleman's groups, and also to make the recordings available as a box set.

For this gig Steve chose to work with three of his groups - Steve Coleman and Five Elements, Steve Coleman and Metrics and Steve Coleman and The Mystic Rhythm Society. This last group had never been heard in Europe before these recordings were made. The musicians who contributed to this recording particularly liked the atmosphere at the Hot Brass club. The owners and workers of the club did everything possible to ensure the comfort of the performers and provide a nice atmosphere.

This recording, Curves of Life features Steve Coleman and Five Elements. The group had made eight recordings previously, five of these with BMG, so their identity has been well documented on recordings. But all of these recordings have been studio recordings and this recording captures the spirit of the music in an actual performance before an audience. The title refers to the way the music unfolds organically representing the growth patterns of living organisms. Steve has been in the process of studying this approach of creating music spontaneously for many years and he plans on using it as a basis for the future development of his music.

The band played as they normally would and was not overly concerned about the recording process. Even to the point of letting musicians in the audience sit in and participate in impromptu jams (David Murray's appearance on this recording was not planned, he just happened to be in Paris playing another gig and dropped by to see Steve perform). When the band plays a gig, they usually play whatever they feel at any given moment. None of the music is planned out ahead of time; the musicians don't have any idea what they are going to play themselves and in many instances play music that they had never conceived of before the moment of performance.. This meant that the recording engineers had to be alert and prepared for any sound (vocal or instrumental) that might come from the musicians. This situation is not normal but the engineers who recorded these concerts did a great job.

This album is part of a trilogy.

Volume 1:
Steve Coleman and The Mystic Rhythm Society
Myths, Modes and Means BMG 74321316922

Volume 2:
Steve Coleman and Metrics
The Way of the Cipher BMG 74321316902

Volume 3:
Steve Coleman and Five Elements
Curves of Life BMG 74321316932

Also available as a box set:
Steve Coleman's Music
Live at the Hot Brass BMG 74321316912

tracklisting:

1. Multiplicity Of Approaches (The African Way of Knowing) 15:34
2. Country Bama 19:12
3. The Streets 09:01
4. Round Midnight 07:06
5. Drop Kick Live 09:40
6. The Gypsy 03:46
7. I'm Burnin Up (Fire Theme) 13:40

personnel:

Steve Coleman (alto saxophone), Andy Milne (piano/keyboards), Reggie Washington (bass), and Gene Lake (drums).

Special guest:
David Murray (tenor saxophone) on "Country Bama" and "I'm Burnin Up". Sitting in on "I'm Burnin Up" are lyricists Black Indian, Sub-Zero and Kokayi.

Wattstax (1973)

Wattstax is a 1973 documentary film by Mel Stuart that focused on the 1972 Wattstax music festival and the African American community of Watts in Los Angeles, California. The film was nominated for a Golden Globe award for Best Documentary Film in 1974. It was also screened at the 1973 Cannes Film Festival, but wasn't entered into the main competition. The concert was held at the Los Angeles Coliseum on August 20, 1972, and organized by Memphis's Stax Records to commemorate the seventh anniversary of the Watts riots. Wattstax was seen by some as "the Afro-American answer to Woodstock". To enable as many members of the black community in L.A. to attend as possible, tickets were sold for only $1.00 each. The Reverend Jesse Jackson gave the invocation, which included his "I Am - Somebody" poem, which was recited in a call and response with the assembled stadium crowd. In the film, interspersed between songs are interviews with Richard Pryor, Ted Lange and others who discuss the black experience in America.

Come Together - A Guitar Tribute to the Beatles (1993)

Legendary NY vibraphonist and producer Mike Mainieri gathered an amazing group of jazz guitarists to pay their respects to the masters of British pop. A real dream team in the likes of (in order of appearance) Mark Whitfield, Toninho Horta, Ralph Towner, Steve Khan, Zachary Breaux, Adrian Belew, John Abercrombie, Allan Holdsworth, Leni Stern, Larry Coryell and Toots Thielemans offer us their versions of Beatles standards in this very enjoyable (albeit romantic) set, enjoy.

Tracklisting

Come Together
She's Leaving Home
Here, There & Everywhere
Within You, Without You / Blue Jay Way
Eleanor Rigby
Blackbird
And I Love Her
Michelle
Norwegian Wood
Something
Yesterday

Nikos Skalkottas (1904-49) - Ballet Music for Piano

BIS' vividly titled The Land and the Sea of Greece takes its moniker from an inspired and lively ballet suite by that title dating from 1948; it, Island Images (1943), and The Maiden and Death (1938) constitutes all of the ballet music Greek composer Nikos Skalkottas produced for solo piano. It is played by a young Greek virtuoso, Lorenda Ramou, who also functions as one-half of Duo Palmós, which specializes in four-hand Greek piano music. This is the 16th disc in BIS' comprehensive series exposing the complete works of Skalkottas, the former Schoenberg student who was probably the greatest classical composer Greece produced in the twentieth century, little represented on recordings until BIS took up his cause in 1999.

The Maiden and Death is already recognized as a landmark work in Skalkottas' oeuvre, as it opens the door to what would prove the final chapter in Skalkottas' artistic development, a relaxation of his use of twelve-tone techniques in favor of more traditional, folk-derived motifs, nonetheless informed by his contact with serialism. The score for an orchestral version of The Maiden and Death, made by Skalkottas in the mid-'40s, has disappeared, so a reconstruction was made based on this piano version combined with old photographs taken of the missing orchestral score. The orchestral The Maiden and Death has already been recorded, but Ramou's performance here is the first of the piano original. Island Images was written for dancer Aleka Mazaraki-Katseli, then a student of Polyxeni Mathéy, whose work as a choreographer and ballet teacher proved the impetus that inspired much of the music here. There are some tiny photographs reproduced in the booklet of early performances of The Land and the Sea of Greece, one of which takes place on a barge mid-water off the Island of Aegina -- one wishes that these were easier to see.

Skalkottas' music is ruthlessly efficient, somewhat cold, and akin to Prokofiev's ballet music, although his musical style is unquestionably Greek and not Russian. It is also intense and brightly rhythmic; it is easy to see how well chiseled these creations were wrought for the dance. In these piano versions, however, it's rather hard for the sound of the music to avoid a certain "piano rehearsal" quality; that's pretty much what these scores were meant for. Nevertheless, Ramou projects the best aspects that the music has to offer, and it's a promising recording debut for her in addition to being a strong addition to Skalkottas' ever-expanding recorded catalog. ~ Uncle Dave Lewis, All Music Guide

Tracklisting
1-6 The Land and the Sea of Greece, ballet suite for piano 21:29
7-12 Island Images, ballet suite for piano 13:18
13-19 The Maiden and Death, ballet suite for piano 19:26
20 Procession to Acheron, ballet music for piano 4:23
21 Echo, ballet for Piano 4:11

Atlantic Jazz - Soul (1986)

An Atlantic Jazz slice of mostly '60s jazz-soul treats. Fittingly, the 11-track disc includes a side by one of the prime progenitors of soul, Ray Charles: He and MJQ vibraphonist, Milt Jackson, stretch out on the canonized "How Long Blues." Further expounding on the soul-jazz trajectory, the collection spotlights work by organist Shirley Scott (the Aretha Franklin hit "Think"), Les McCann and Eddie Harris (their classic Montreux Festival cut "Compared to What"), Yusef Lateef ("Russell and Elliot"), and Hank Crawford ("You're the One"). And there's even a bit of boogaloo-enhanced bossa, compliments of trumpeter Nat Adderley ("Jive Samba"). A nice introduction to the soul-jazz movement that superceded hard bop.



Track Listing

1. Think - Shirley Scott
2. Twist City - Matthew Gee, Johnny Griffin
3. How Long Blues - Ray Charles, Milt Jackson
4. Comin' Home Baby - Herbie Mann
5. Russell and Eliot - Yusef Lateef
6. Listen Here - Eddie Harris
7. With These Hands - Les McCann
8. Compared to What - Eddie Harris, Les McCann
9. You're the One - Hank Crawford
10. Jive Samba - Nat Adderley
11. Money in the Pocket - Joe Zawinul

Roy Ayers Live at Ronnie Scott's 1998

Captured back in 1988 within the intimate settings of London's legendary West End jazz haunt, Ronnie Scott's in Soho, Roy Ayers delivers big time his unique fusion of funk, jazz and soul -- topped by his trademark jazz vibe playing. The album includes infectious reworkings of such club classics as 'Running Away', 'Everybody Loves the Sunshine' and 'Cant You See Me'. (from the liner notes)

Indeed, this is a live set guaranteed to make everybody get up and start shakin' this booty as can be attested by embedded videos of this very set below. The participation of the late, great Zachary Breaux on guitar in this formidable band can only be regarded as a bonus and a fitting tribute.

Tracklisting:

1. The Spirit of Doo Do
2. I Wanna Touch You Baby
3. Everybody Loves the Sunshine
4. Fast Money
5. Battle of the Vibes
6. Can't You See Me
7. Running Away
8. Don't Stop the Feeling


Personnel:

Roy Ayers - vocals, vibraphone
Zachary Breaux - guitar
Errol Louis - Bass
Ben Peronsky - drums
Dwight Gassaway - percussion


Battle of the Vibes, where we get to meet Roy Ayers the stand-up comedian.


Running Away featuring a killer solo by Zachary Breaux, rip.

Roy Ayers Ubiquity - He's Coming (1972)

One of the rarest and greatest Roy Ayers albums of all time -- the sly, funky and spiritual masterpiece He's Coming from 1971 -- really the beginning of the funk years from Roy Ayers Ubiquity! This one's a totally solid mix of soulful jazz, jazzy soul and righteous funk -- and it's straight up wonderful all the way through -- with a groove that's hugely influential to say the least! Includes the amazing track "We Live In Brooklyn Baby", which has a slow sample bassline in the intro that's just incredible -- plus groovy cuts like the spiritual funk classic Jesus Christ Superstar "He's a Superstar", "He's Coming", and "Sweet Tears". The lineup includes Sonny Fortune on soprano sax and flute and Billy Cobham drums and percussion, and the record's co-arranged by Harry Whitaker, who's also on keys and vocals -- with other tracks include "He Ain't Heavy, He's My Brother", "Ain't Got Time", "I Don't Know How To Love Him", "Sweet Butterfly Of Love" and "Fire Weaver". Amazing stuff, really a beautiful encapsulation of Roy Ayers in peak form! ~Dusty Groove America

Tracklist
He's A Superstar
He Ain't Heavy He's My Brother
Ain't Got Time
I Don't Know How To Love Him
He's Coming
We Live In Brooklyn Baby
Sweet Butterfly Of Love
Sweet Tears
Fire Weaver

Credits
Electric Piano, Organ, Vocals - Harry Whitaker
Vibraphone, Organ, Vocals - Roy Ayers
Backing Vocals - Carol Smiley , Gloria Jones , Victoria Hospedale
Bass - John Williams, Ron Carter
Congas - Jumma Santos
Drums - David Lee, Jr.
Drums, Percussion - Billy Cobham
Guitar - Bob Fusco, Sam Brown
Soprano Sax, Flute - Sonny Fortune
Strings - Selwart Clarke
Engineer - Rudy Van Gelder

Polydor PD5022 1972

Roy Ayers - Ubiquity (1970)

One of the greatest Roy Ayers albums of all time. The record is right in the same vein as Roy's groundbreaking He's Coming LP -- a righteous mix of soul jazz, subtle funk, and some of the cosmic wisdom that Roy was spreading among the jazz funk underground -- all wrapped up beautifully, but never in a way that's like commercial soul of the time. There's a few instrumental tracks on the album, plus some vocal ones that show that off-beat male/female style that Roy would use more famously in later tracks like "Everybody Loves The Sunshine" or his work with Ramp. Players include Harry Whitaker on electric piano, Edwin Birdsong on organ, Alphonse Mouzon on drums, Jumma Santos on congas -- and titles include a version of Nat Adderley's "Hummin", done as "Hummin In The Sun", and very much in the Ramp vein. Also features instrumental cuts "The Fuzz", which has Roy's vibes toned way up, and the cool mellow "The Painted Desert", a really offbeat slow jazz number. The group also does a great job with Edwin Birdsong's "Pretty Brown Skin", picking up the song as a really anthemic groover that gives the record a nice kick. ~Dusty Groove America

Tracklisting

1. Pretty Brown Skin
2. Raindrops Keep Falling On My Head
3. I Can't Help Myself
4. Love
5. The Fuzz
6. Hummin'
7. Can You Dig It?
8. Painted Desert
9. He Gives Us All His Love


LP 58496 Polydor, 1971

Roy Ayers Ubiquity - Virgo Red (1973)

Despite contributions from an abundance of soul-jazz greats including Dee Dee Bridgewater, Jimmy Owens, and Garnett Brown, VIRGO RED is the most stripped-down and nuanced of Roy Ayers's Ubiquity LPs. Its sinuous funk grooves are first and foremost a showcase for the intuitive interplay of Ayers and electric keyboardist Harry Whitaker, whose Fender Rhodes fill-ins orbit Ayers's vibes solos like a planet circling the sun. The material is a crazy quilt of righteously soulful originals and deeply funky covers spanning Leroy Hutson's soul classic "Giving Love" to Stories' soft-pop smash "Brother Louie" to absolute treacle like THE POSEIDON ADVENTURE's "The Morning After"--by all rights it shouldn't work, but as the astrological overtones winding through VIRGO RED attest, sometimes the stars align.

1. Brother Louie
2. Virgo Red
3. I Am Your Mind
4. The Morning After
5. Love From The Sun
6. It's So Sweet
7. Giving Love
8. Des Nude Soul

Baritone Vocals - Argerie Ayers , Arthur Clark , Denise Bridgewater* , Leslie Carter (2) , Seldon Powell , Willie Michael
Bass - David Johnson (2) , Gordon Edwards
Congas, Bongos, Vocals - Chano O'Ferral
Drums, Percussion - Dennis Davis
Guitar - Dennis Heaven , Will Hawes
Percussion - Adrian Dey , Stephen Sadiz Shbazzberrios
Piano, Electric Piano, Organ - Harry Whitaker
Producer - Jerry Schoenbaum
Sitar [Electric Sitar] - Jerry Friedman
Trombone - Garnett Brown
Trumpet - Cecil Bridgewater , Jimmie Owens
Vibraphone, Organ, Vocals, Percussion - Roy Ayers
Vocals - Dee Dee Bridgewater

Recorded at Electric Lady Studios, New York, July 1973