Flying Dutchman

Flying Dutchman was created 1969 by the renowned producer/arranger Bob Thiele. A fascinating mix of forward thinking music; the label combined the sounds of jazz, soul, experimentation, and black politics. Although the label put out some standard jazz albums, their most incredible records were those of unique musicians such as Leon Thomas, Lonnie Liston Smith, Gil Scott-Heron and Angela Davis.

And no I havn't the spare time to post all the pictures as others have done so well ... MPS, Mainstream & Strata East etc

Huge thanks to all friends and contributors , those thanks especially go to Arkadin who has contributed so many dl links INCREDIBLE !
Also special thanks to Simon from Never Enough Rhodes for the header design

Discography

Click yellow marked numbers to links to posted albums
Red marked = Still missing, any help would be very appreciated!


10101 Oliver Nelson & Steve Allen - Soulful Brass #2
10102 Spontaneous Combustion - Come and Stick Your Head In
Cheers Arkadin36
10103 Jon Appleton - Appleton Syntonic Menagerie
10104 Bob Thiele - Emergency - Head Start
10105 Stanley Crouch - Ain’t No Ambulances For No Nigguhs Tonight
From Arkadin36
10106 Tom Scott - Hair to Jazz NEW >>>> FINALLY !!
Say thanks to original poster
10107 Horace Tapscott - The Giant is Awakened
10108 John Carter & Bobby Bradford - Flight For Four
10109 Jimmy Gordon - Hog Fat NEW
10110 Ron Anthony - Oh! Calcutta!
10111 Robert Scheer - A Night At Santa Rita
10112 Duke Ellington - Duke Ellington's My People
10113 Esther Marrow - Newport News, Virginia
10114 Tom Scott - Paint Your Wagon
10115 Leon Thomas - Spirits Known and Unknown
Link thanks to gazzola within the comments
10116 Oliver Nelson - Black, Brown and Beautiful
10117 Gato Barbieri - The Third World
10118 Peter Hamill - Massacre at Mai Lai
10120 Johnny Hodges - Shades of Blue
10121 Jon Appleton & Don Cherry - Human Music
10122 George Russell - Othello Ballet Suite/Electronic Organ Sonata No. 1
10123 Ornette Coleman - Live at Prince Street: Friends and Neighbours
10124 George Russell - Electronic Sonata For Souls Loved By Nature (Rereleased as Strata-East SES 19761)
10125 Jan Garbarek - The Esoteric Circle NEW
New link fron Soul Man Red
10126 Gunther Hampel - The 8th July 1969
10127 Peter Hamill - Murder at Kent State University
10128 John Carter & Bobby Bradford - Self-Determination Music
10130 Oliver Nelson - The Mayor and The People
10131 Gil Scott-Heron - Small Talk at 125th & Lenox
10132 Leon Thomas - The Leon Thomas Album
10133 Steve Allen - Soulful Brass #3
10134 Oliver Nelson - Berlin Dialogue for Orchestra
10135 Chico Hamilton - El Exigente/The Demanding One
10136 Leon Thomas & H. Rap Brown - SNCC’s Rap
Huge thanks to Ish for this one
10137 Starring Spiro T Agnew - The Great Comedy Album
10138 Count Basie - Afrique
10139 Larry Coryell - Barefoot Boy
10140 Mike Lipskin - California Here I Come
10141 Angela Davis - Soul & Soledad
10142 Leon Thomas - In Berlin
10143 Gil Scott-Heron - Pieces of a Man (compilation)
10144 Gato Barbieri - Fenix
10145 Harold Alexander - Sunshine Man
10146 Coleman Hawkins/Lester Young - Classic Tenors (Contact CM 3)
10147 Earl Hines - The Mighty Fatha
Another from Arkadin36
10148 Harold Alexander - Are You Ready?
10149 Oliver Nelson & al - Swiss Suite
Thanks again to Arkadin36
10150 Shelly Manne - Signature (Contact CM 4)
10151 Gato Barbieri - El Pampero
10152 Bob Thiele - Those Were The Days
10153 Gil Scott-Heron - Free Will
10154 Bernard Purdie - Soul Is...
Thanks to Arkadin36 from within the comments
10155 Leon Thomas - Blues and the Soulful Truth
New link thanks to Soul Man Red
10156 Gato Barbieri - Under Fire
10157 Richard Davis - Song For Wounded Knee
Thanks to downlowsoul and Arkadin
10158 Gato Barbieri - Bolivia
10159 Bobby Hackett - What A Wonderful World
10161 Count Basie & Teresa Brewer - The Songs of Bessie Smith
10163 Lonnie Liston Smith - Astral Traveling
10164 Leon Thomas - Facets: An Anthology
Another fro Arkadin36
10165 Gato Barbieri - The Legend of Gato Barbieri
An Arkadin36 link
10166 Teresa Brewer - It Don’t Mean A Thing If It Ain’t
Arkadin36 rules again !
10167 Leon Thomas - Full Circle

0550 Gato Barbieri - Yesterdays
0591 Lonnie Liston Smith - Cosmic Funk
0592 Oliver Nelson - With Oily Rags
Thanks again to Arkadin36
0825 Oliver Nelson - Skull Session
0827 Richard Holmes - Onsaya Joy
0829 Bobby Hackett - Strike Up The Band NEW
0830 Cesar - Cesar 830
Who else .... bacoso
0833 Tom Scott - In L.A.
An Arkadin36 Link
0834 Lonnie Liston Smith - Expansions
0964 Bob Thiele - I Saw The Pinetop Spit Blood
1082 Elek Bacsik - Bird and Dizzy: A Musical Tribute
Link from "Isbum"
1120 Bucky Pizzarelli & Joe Venuti - Nightwings NEW
Thanks to The Jazzman!
1145 Shelly Manne - Hot Coles
Thanks again to Arkadin36
1146 Richard Holmes - Six Million Dollar Man
Thanks again to Arkadin36
1147 Gato Barbieri - El Gato
1196 Lonnie Liston Smith - Visions of a New World
1197 Sonny Stitt - Dumpy Mama
Many thanks to our new contributor Soul Man Red
1371 The World’s Greatest Jazz Band - In Concert At The Lawrenceville
Another Soul Man Red Contribution
1372 Mike Wofford - Scott Joplin Interpretations
Another contribution from the mighty Arkadin
1378 Pt 1 Pt 2 Pt 3 Bud Freeman & Bucky Pizzarelli - Bucky & Bud
Thanks to The Jazzman!
1449 Oliver Nelson - A Dream Deferred (Compilation)
1460 Lonnie Liston Smith - Reflections of a Golden Dream
1461 Steve Marcus - Sometime Other Than Now
1537 Richard Holmes - I’m In the Mood for Love
1538 Sonny Sitt - Stomp Off, Let’s Go
Many thanks to Sergio [scroll down in the comments via the link 1538]
2568 Steve Kuhn Trio - Three Waves


Extras

12009 Pt 1 Pt 2 Louis Armstrong - Louis Armstrong and His Friends
Flying Dutchman Amsterdam release includes unedited versions of The Creator has a Master Plan with Leon Thomas
Links - many thanks to Cuki

Oliver Nelson & Steve Allen - Soulful Brass #1 (Impulse)
Link via Pekis, thank you

Links

Please post all links to other blogs here and make sure to thank the original posters when you visit

Tom Scott ~ Hair to Jazz

PLEASE MAKE SURE TO THANK THE ORIGINAL POSTER

Link above

Bobby Hackett - Strike Up The Band

Hackett recorded many excellent performances throughout his life; this LP is one of the more rewarding of his later years. He is teamed successfully with tenor-saxophonist Zoot Sims and guitarist Bucky Pizzarelli in a frequently exciting sextet. Highpoints include the uptempo "Strike up the Band," a revisit to "Embraceable You" (Hackett had cut a famous solo on that standard 34 years earlier) and a variety of standards and basic originals. A consistently stimulating and enjoyable set, it is well-deserving of being reissued on CD (Scott Yanow/AMG)

Bobby Hackett - trumpet
Zoot Sims - tenor sax
Bucky Pizzarelli - guitar
Richard Davis - bass
Hank Jones - piano
Mel Lewis - drums

1975 (No exact recording date)

Vinyl rip, MP3 @320k

Bucky Pizzarelli - Nightwings

More contributions from The Jazzman

Please make sure to leave him thanks in the comments

Al "Jazzbeaux" Collins & Slim Gaillard

Another excellent contribution from The Jazzman , make sure to thank him in the comments

"If the number of radio disc jockeys who made a pioneering contribution to their art is tiny, then the number who also crossed over and made decent records must be reckoned vanishingly small. Kenny Everett may be the man who revolutionised British music radio, for instance, but confronted with a recording studio and a group of musicians to do his bidding, even he could only muster a humdrum take on a lesser Nilsson song before the money ran out. Al ‘Jazzbo’ Collins managed both. As a broadcaster in the Fifties he defined a whole new way of presenting a music show. His speciality was jazz, with an emphasis on music that was cool and sophisticated, and his presentational style evolved in a similar way. One of the very first DJs to adopt an intimate, conversational approach peppered with hipster slang, as his confidence and popularity grew he also began to introduce ever more verbal improvisation into his shows. Broadcasting from the announcer’s booth at the New York’s independent station WNEW in 1950 one night, he began riffing on the booth’s purple colour scheme and rechristened it the Purple Grotto. As the weeks progressed, his free-associating rap had filled the “glowing” landscape – three storeys beneath Manhattan – with vividly described stalactites, stalagmites and mushrooms, peopled by an equally elaborate cast of characters such as Harrison, a 176-year-old purple Tasmanian owl who “dug Paul Desmond and Brubeck”; Jukes, a female chameleon who preferred swing and lived in a Jukesbox designed by Caligari; Clyde, a crow who grooved to Dixieland; Scoffer, who lived in a bottomless pit on a diet of old 78s, and a flamingo named Leah, who, Jazzbo claimed, “liked music to fly by”. Often over a languid musical accompaniment, his imagination likewise took wing and he would talk about everything from cars and food to flying saucers - and it soon became clear that New York’s hipper listeners were eager to follow wherever Jazzbo’s imagination went. Many even began showing up at WNEW’s offices, demanding to be shown round the Purple Grotto and served a Purple Grotto-burger. Al Collins was more than just an ingenious novelty act, however: he was a passionate advocate of jazz who attracted many of the giants of the day to play live in the studio. The great pianist Art Tatum played on the show for six months straight; the Count Basie Band dropped by once and played an entire two-hour set uninterrupted by commercials – much to the station management’s displeasure. Knowing his love of fast cars, Miles Davis once called him up to ask if he’d like a ride in his new Ferrari. But for his ever-growing army of listeners he was a surefooted guide to the best new releases, even though his professional career had begun on a station in West Virginia playing bluegrass records. He’d got his earliest break at the University of Miami in 1941 while sitting in for a friend on the campus radio station and later said: “With the lights, the ‘On the air’ signals, the engineer, the mike, the drama of the thing hit me with a bursting brilliance. And I said to myself, ‘Hey. Whew! What a scene. I think I would like to do this’.”There followed stints with stations in Pittsburgh, Salt Lake City and Chicago, by which time he was presenting a jazz show and had adopted the name Jazzbo after the Jazzbeau necktie favoured by jazz fans. In 1949, ever the innovator, he invented the “man in the street” interview technique, whereby he would lie flat out on some street corner like a bum and stick a mike under the nose of the first person who came over to see what was up.He returned to his home town of New York in 1950 to join WNEW and gradually his show became the stuff of legend. Listeners would call in during the records and if Jazzbo liked them he would continue the conversation on-air. Those he got the biggest kick out of became regular contributors. When he wasn’t presenting his show, he was hanging out at jazz clubs or at the offices of Down Beat magazine, sifting through the latest releases.In 1953, TV comedian, musician and writer Steve Allen – soon to become one of America’s biggest and most influential stars as the first presenter of the ever popular Tonight Show – wrote a piece for Down Beat in which he retold the story of Red Riding Hood in the hip argot of jazz (where, as Time magazine gently explained to its readers, “‘cool’ means good, ‘crazy’ means wonderful and anything that is really tops is simply called ‘the most’”), just as Lord Buckley funked up Shakespeare and the Bible. It was intended mainly as a private joke for jazz fans, but when Uncle Jazzbo read it out over the air in his best hipsterish storytelling tones the response from listeners was such that Brunswick records saw the potential for a hit. Sure enough the record went on to sell some 750,000 copies, prompting Allen to make a record of his own with an equally hip reworking of Goldilocks and later to publish a collection called Bop Fables. In turn, Jazzbo recruited a new writer (Douglas Jones) and set about making another brace of Grimm Fairy Tales For Hipster Kids – Snow White and Jack and the Beanstalk (“Man, what crazy asparagus!”). Subsequent releases found Jazzbo further upping the surrealism quotient, tapping into the modern obsession with flying saucers and all things ‘far out’ with more jazz-inflected material like Max and Sam – about a man who imports jam from Mars – and Max’s Pawn Shop, which posits the idea of talking instruments. In 1955 Jazzbo also participated in a live recording called East Coast Jazz Scene, on which he interpolated comments between performances by a handpicked selection of some of New York’s finest, including the great tenor saxophonist Coleman Hawkins. Tickets for the gig were made available only to listeners of his radio show who wrote in: needless to say the place was packed.These records sold well not just with jazz fans but with the kind of audience who enjoyed Stan Freberg’s phenomenally successful comedy records, and by 1956 Jazzbo’s popularity was such that TV was making offers. After presenting a series about silent movies, his biggest break came when he was offered the job of presenting the Tonight Show – briefly renamed Tonight! America After Dark. Taking over from Steve Allen his stint lasted only 13 weeks, but by then Jazzbo had augmented his personal legend with an eye-catching wardrobe of jumpsuits, goatee and horn-rimmed spectacles.After moving to the west coast in the Sixties, Jazzbo went back to radio and presented shows for various Los Angeles stations. By 1967 a new generation was ready to discover his hip fairytales and Jazzbo obligingly returned to the studio to re-record them for an album called A Lovely Bunch of Al Jazzbo Collins. Credited to Jazzbo and the Bandidos (the name given to radio fans who wanted to join his band of ‘outlaws’), the record also included a Jazz Mass and a nod to modernity in the form of The Power of the Flower, with backing provided by such luminaries as Hal Blaine on drums, Terry Gibbs on vibes and Jazzbo’s old pal Steve Allen on piano.Al changed his name to Jazzbeaux in 1969 and during a spell on a Pittsburgh TV station in the early Seventies hosted a freewheeling late night show called Jazzbeauxz, which he introduced from a barber’s chair and which embraced pretty much anything that took his fancy. In 1983 he was again reunited with Steve Allen – by now a national institution credited with inspiring the whole David Letterman style of comedy chat show – for one last reworking of their earliest recordings on the album Steve Allen’s Hip Fables, also featuring spoof translations into fake Spanish by Slim Gaillard. But by the time of his death in 1997, Jazzbo had long since returned to his first loves – radio and jazz. Ten days before he died he was still broadcasting from the Purple Grotto, now relocated to a station in San Mateo. His was a style that flourished in a medium where, in the hands of a master, words and music could combine to paint magical pictures in the listener’s mind, untrammelled by considerations of budget or physics. More than anything else, though, he wanted that listener to get in the groove and have fun. As he told his old friend Bill Amatneek towards the end of his life: “The more laughs I can get and the less serious I can get, the more I like it. I don’t believe in settling the great questions. A lot of people want to know why we’re here; I’m just satisfied in knowing that we are.”