Oscar Pettiford & Vinnie Burke • Bass by Pettiford-Burke

 

 

Oscar Pettiford & Vinnie Burke • Bass by Pettiford/Burke 

 

Review from JazzTimes: The Pettiford portion of the Bethlehem release Bass by Pettiford/Burke is even better, as Watkins is joined by Charlie Rouse on the front line and the rhythm team is rounded out by Duke Jordan and drummer Ron Jefferson. Jefferson would soon join Watkins and Rouse in their fascinating but still little-known group The Jazz Modes. The mid-'50s was an interesting period for Rouse. His tone seems slightly softer than it had been earlier or would be with Monk, and he has a few different tricks in his bag, not that he will get by anybody's blindfold test. The group spices the intricate arrangements with excellent blowing, and the tunes include some of Pettiford's best, like "Tricotism" and "Oscar Rides Again." The Vinnie Burke Quartet is a chamber-style group featuring clarinet, accordion and guitar. The highly polished ensembles are interesting for the unusual instrumentation, but the soloing is lackluster. https://jazztimes.com/archives/oscar-pettifordvinnie-burke-bass-by-pettifordburke/

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Reseña de JazzTimes: La parte de Pettiford del lanzamiento de Bethlehem Bass by Pettiford/Burke es aún mejor, ya que Watkins está acompañado por Charlie Rouse en la línea frontal y el equipo rítmico está completado por Duke Jordan y el baterista Ron Jefferson. Jefferson pronto se uniría a Watkins y Rouse en su fascinante pero aún poco conocido grupo The Jazz Modes. A mediados de los años 50 fue un período interesante para Rouse. Su tono parece ligeramente más suave de lo que había sido antes o sería con Monk, y tiene algunos trucos diferentes bajo la manga, aunque no pasará desapercibido en ninguna prueba de audición a ciegas. El grupo condimenta los intrincados arreglos con un excelente blowing, y los temas incluyen algunos de los mejores de Pettiford, como "Tricotism" y "Oscar Rides Again." El Cuarteto de Vinnie Burke es un grupo de cámara con clarinete, acordeón y guitarra. Los conjuntos muy pulidos son interesantes por la inusual instrumentación, pero los solos son mediocres. 

https://jazztimes.com/archives/oscar-pettifordvinnie-burke-bass-by-pettifordburke/ 

 

Johnny Hammond • The Prophet

 

Artist Biography by Steve Huey

Actually nicknamed after his instrument, Johnny "Hammond" Smith was perhaps one of the more underrated soul-jazz organists of the style's heyday. Born John Robert Smith in Louisville, KY, on December 16, 1933, Smith began learning piano as a child, idolizing Bud Powell and Art Tatum early on. After moving to Cleveland, Smith heard jazz organ pioneer Wild Bill Davis and decided to switch instruments; he made his professional debut on the organ in 1958, around the same time he was working as an accompanist for vocalist Nancy Wilson. In 1959, he began recording as a leader for Prestige, an association that would last through 1970 and produce highlights like That Good Feelin', Talk That Talk, Black Coffee, Open House, Ebb Tide, and Soul Talk, among others. As time passed, Smith's style got progressively funkier, and in 1971, he shortened his name to Johnny Hammond and moved to producer Creed Taylor's CTI label family. Hammond recorded five jazz-funk albums over the next three years, including Breakout, Wild Horses/Rock Steady, and the Mizell Brothers-helmed Gambler's Life. In 1975, Hammond moved to Milestone and recorded the culmination of his move into jazz-funk, Gears, another collaboration with the Mizell Brothers that was reviled by purists and canonized by acid jazz fans. After a few more sessions for Milestone, Smith largely retired from jazz, settling in Southern California and investing in real estate. He began recording sporadically again in the '90s, but was stricken with cancer and died on June 4, 1997.

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Biografía del artista por Steve Huey

Apodado en realidad por su instrumento, Johnny "Hammond" Smith fue quizás uno de los organistas de soul-jazz más subestimados del apogeo del estilo. Nacido como John Robert Smith en Louisville, KY, el 16 de diciembre de 1933, Smith comenzó a aprender a tocar el piano de niño, idolatrando a Bud Powell y Art Tatum desde el principio. Después de mudarse a Cleveland, Smith escuchó al pionero del órgano de jazz Wild Bill Davis y decidió cambiar de instrumento; Hizo su debut profesional en el órgano en 1958, casi al mismo tiempo que trabajaba como acompañante de la vocalista Nancy Wilson. En 1959, comenzó a grabar como líder de Prestige, una asociación que duraría hasta 1970 y producía destacados como That Good Feelin ', Talk That Talk, Black Coffee, Open House, Ebb Tide y Soul Talk, entre otros. A medida que pasaba el tiempo, el estilo de Smith se hizo cada vez más divertido y, en 1971, acortó su nombre a Johnny Hammond y se mudó a la familia del sello CTI del productor Creed Taylor. Hammond grabó cinco álbumes de jazz-funk en los próximos tres años, incluidos Breakout, Wild Horses / Rock Steady, y The Mamblell Brothers-Helmed Gambler's Life. En 1975, Hammond se mudó a Milestone y registró la culminación de su movimiento hacia el jazz-funk, Gears, otra colaboración con los hermanos Mizell que fue vilipendiada por los puristas y canonizada por los fanáticos del jazz ácido. Después de unas cuantas sesiones más para Milestone, Smith se retiró del jazz, se instaló en el sur de California e invirtió en bienes raíces. Comenzó a grabar esporádicamente de nuevo en los años 90, pero fue atacado por cáncer y murió el 4 de junio de 1997.

 

Idris Muhammad • Peace And Rhythm

 

Review
by Stewart Mason
Parts of the second solo album by Prestige Records' house drummer, Idris Muhammad, are an even poppier affair than Black Rhythm Revolution, with a mellow soul-jazz feel replacing the slight Latin tinge of the earlier album. Side one is downright crossover, with its two pieces of positive-thinking pop (the lyrics, by Muhammad, are sung by his wife, Sakinah Muhammad) separated by a loose but faithful take on Wilson Pickett's "Don't Knock My Love." That's just side one, though. Side two is something much weirder and far more interesting. "The Peace and Rhythm Suite" is a side-long suite consisting of two long, spacy compositions that predate the ambient house scene by nearly two decades yet sound entirely of a piece with that style. Long, droning, sustained chords on a variety of wind and reed instruments float above Muhammad's percussion, which ebbs and flows in a free, almost arrhythmic way through most of the piece. Fans of the Orb or Brian Eno will find it an old hat, but for early-'70s jazz, this was downright revolutionary.
https://www.allmusic.com/album/peace-rhythm-mw0000858031

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Reseña
por Stewart Mason
Algunas partes del segundo álbum en solitario del batería de la casa Prestige Records, Idris Muhammad, son un asunto aún más pop que Black Rhythm Revolution, con un suave aire de soul-jazz que sustituye al ligero tinte latino del álbum anterior. La primera cara es francamente crossover, con sus dos piezas de pop positivo (las letras, de Muhammad, las canta su mujer, Sakinah Muhammad) separadas por una versión suelta pero fiel de "Don't Knock My Love" de Wilson Pickett. Pero eso es sólo la primera cara. La segunda cara es algo mucho más extraño e interesante. "The Peace and Rhythm Suite" es una larga suite lateral formada por dos composiciones largas y espaciadas que preceden a la escena ambient house en casi dos décadas, pero que suenan totalmente a ese estilo. Largos y zumbantes acordes sostenidos en una variedad de instrumentos de viento y lengüeta flotan sobre la percusión de Muhammad, que fluye y refluye de forma libre, casi arrítmica, durante la mayor parte de la pieza. A los fans de The Orb o Brian Eno les parecerá algo anticuado, pero para el jazz de principios de los 70, esto era francamente revolucionario.
https://www.allmusic.com/album/peace-rhythm-mw0000858031

Tyrone Washington • Natural Essence

 

 

Review
by Ken Dryden  
This release is a bit of a mystery, because this sole date as a leader by Tyrone Washington seems to mark his final appearance on record (following two sessions as a sideman, including Stanley Cowell's Brillant Circles and Horace Silver's The Jody Grind); his name doesn't show up in jazz encyclopedias, so one wonders if he died prematurely or quit music for some other reason. Only 23 at the time of the recording, the tenor saxophonist composed six originals and is joined by other promising young lions who went onto great careers (pianist Kenny Barron and trumpeter Woody Shaw), along with alto saxophonist James Spaulding, bassist Reggie Workman, and drummer Joe Chambers. Washington shows the influence of John Coltrane during his rapid-fire runs, while his playing during his more straight-ahead works proves to be more memorable. The opener, "Natural Essence," is an interesting alchemy of blues, funk, and hard bop. "Yearning for Love" is an emotional piece with spirited interaction between the three horns in places. The remaining tracks don't make as strong an impression, so it is possible that the inclusion of some standards or pieces by either Shaw or Barron might have added to the appeal of the date. Long out of print since its appearance on LP, it has been reissued on CD by Toshiba-EMI of Japan; fans of hard bop who are willing to spend a little extra for this import reissue may want to investigate the only CD by this mysterious tenor saxophonist.
https://www.allmusic.com/album/natural-essence-mw0000368572


Biography
American jazz tenor saxophonist, born in 1944. Grew up in the same house as Woody Shaw, left Howard University School of Music and joined the Horace Silver bands during the early 1960s. Moved into New York City's State of New York Conservatory of Music Building on West Street. Sometime after the mid-1970s, drifted away from music to pursue his religion, completely abandoning music to preach the gospel. Changed his name to Bialar Mohammed and lived in Newark, New Jersey as of 2010.
https://www.discogs.com/artist/377410-Tyrone-Washington

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Reseña
por Ken Dryden  
Este lanzamiento es un poco misterioso, porque esta única fecha como líder de Tyrone Washington parece marcar su última aparición en disco (después de dos sesiones como sideman, incluyendo Brillant Circles de Stanley Cowell y The Jody Grind de Horace Silver); su nombre no aparece en las enciclopedias de jazz, así que uno se pregunta si murió prematuramente o dejó la música por alguna otra razón. Con sólo 23 años en el momento de la grabación, el saxofonista tenor compuso seis originales y está acompañado por otros jóvenes leones prometedores que llegaron a tener grandes carreras (el pianista Kenny Barron y el trompetista Woody Shaw), junto con el saxofonista alto James Spaulding, el bajista Reggie Workman y el batería Joe Chambers. Washington muestra la influencia de John Coltrane durante sus rápidas ejecuciones, mientras que su forma de tocar durante sus trabajos más directos resulta más memorable. El primer tema, "Natural Essence", es una interesante alquimia de blues, funk y hard bop. "Yearning for Love" es una pieza emotiva con una animada interacción entre las tres trompas. Las pistas restantes no causan una impresión tan fuerte, por lo que es posible que la inclusión de algunas normas o piezas de Shaw o Barron podría haber añadido al atractivo de la fecha. Descatalogado hace tiempo desde su aparición en LP, ha sido reeditado en CD por Toshiba-EMI de Japón; los aficionados al hard bop que estén dispuestos a gastar un poco más por esta reedición de importación tal vez quieran investigar el único CD de este misterioso saxofonista tenor.
https://www.allmusic.com/album/natural-essence-mw0000368572


Biografía
Saxofonista tenor de jazz estadounidense, nacido en 1944. Creció en la misma casa que Woody Shaw, dejó la Escuela de Música de la Universidad Howard y se unió a las bandas de Horace Silver a principios de los años sesenta. Se trasladó al edificio del Conservatorio de Música de Nueva York, en la calle West. A partir de mediados de la década de 1970, se alejó de la música para dedicarse a su religión, abandonando por completo la música para predicar el evangelio. Cambió su nombre por el de Bialar Mohammed y en 2010 vivía en Newark, Nueva Jersey.
https://www.discogs.com/artist/377410-Tyrone-Washington

Milt Jackson • Milt Jackson & The Thelonious Monk Quintet

 

Review by Lindsay Planer

This 10" disc consists of tracks recorded between 1948 and 1952. The co-headline billing is somewhat of a misnomer as Thelonious Monk (piano) only participates in two of the three sessions from which this title was culled. Chronologically, the pop ballads "All the Things You Are" and "I Should Care" are derived from July 1948 records that are perhaps as notable for the inclusion of Kenny "Pancho" Hagood's dreamy crooning as they are for contributions of Monk or Milt Jackson (vibes). However, both are front and center throughout with their highly stylized prominent instrumental punctuation. A prolific July 1951 date -- which yielded nine tracks altogether -- is the source for the two Monk originals, "Ask Me Now" and "Criss-Cross." Joining the two co-leaders are Sahib Shihab (alto sax), Al McKibbon (bass), and Art Blakey (drums). Each display the essence of both Monk's undisputed bop mastery as well as this particular combo's seemingly effortless unity and cohesive improvisational skills. Monk's off-kilter and rhythmically challenging leadership prevails throughout "Ask Me Now" -- which is also conspicuous for the audible absence of Jackson. An April 1952 session -- from what in essence includes the Modern Jazz Quartet: John Lewis (piano), Percy Heath (bass), and Kenny Clarke (drums) -- provide unparalleled support for Jackson. Along with Lou Donaldson (alto sax), they provide two sublime takes of Duke Ellington's "Don't Get Around Much Anymore" -- each a singularly emotive masterwork. Although the 1952 date is not included, Monk's Complete Blue Note Recordings feature the entire 1948 and 1951 collaborations as well as every other side the pianist cut during his half-decade tenure on Blue Note.
https://www.allmusic.com/album/milt-jackson-the-thelonious-monk-quintet-mw0000945318

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Review by Lindsay Planer

This 10" disc consists of tracks recorded between 1948 and 1952. The co-headline billing is somewhat of a misnomer as Thelonious Monk (piano) only participates in two of the three sessions from which this title was culled. Chronologically, the pop ballads "All the Things You Are" and "I Should Care" are derived from July 1948 records that are perhaps as notable for the inclusion of Kenny "Pancho" Hagood's dreamy crooning as they are for contributions of Monk or Milt Jackson (vibes). However, both are front and center throughout with their highly stylized prominent instrumental punctuation. A prolific July 1951 date -- which yielded nine tracks altogether -- is the source for the two Monk originals, "Ask Me Now" and "Criss-Cross." Joining the two co-leaders are Sahib Shihab (alto sax), Al McKibbon (bass), and Art Blakey (drums). Each display the essence of both Monk's undisputed bop mastery as well as this particular combo's seemingly effortless unity and cohesive improvisational skills. Monk's off-kilter and rhythmically challenging leadership prevails throughout "Ask Me Now" -- which is also conspicuous for the audible absence of Jackson. An April 1952 session -- from what in essence includes the Modern Jazz Quartet: John Lewis (piano), Percy Heath (bass), and Kenny Clarke (drums) -- provide unparalleled support for Jackson. Along with Lou Donaldson (alto sax), they provide two sublime takes of Duke Ellington's "Don't Get Around Much Anymore" -- each a singularly emotive masterwork. Although the 1952 date is not included, Monk's Complete Blue Note Recordings feature the entire 1948 and 1951 collaborations as well as every other side the pianist cut during his half-decade tenure on Blue Note.
https://www.allmusic.com/album/milt-jackson-the-thelonious-monk-quintet-mw0000945318