Flying Dutchman Records

Complete!

2010-04-25T11:53:00.001+02:00

The Flying Dutchman label blog is complete which means that every out-of-print album is available for download now. Makes me feel almost sentimental since this blog gave birth to the blogger Arkadin back in the days...

Therefore my first thanks goes to Reza who launched this blog, made me co-admin and later passed the torch completely to me. Thanks also to Simon for the great header and to everyone for contributing rips or links and leaving comments. Special thanks to Robert who contributed the last six albums!

Enjoy the music!

FLYING DUTCHMAN RECORDS

2010-04-17T19:19:00.001+02:00

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. (Wikipedia)

DISCOGRAPHY

2010-04-16T19:07:00.008+02:00

Click on the numbers to get to the respective albums. Orange marked albums are commercially available, therefore no DL-links on this blog - hope you understand. (Some older links had been deleted due to copyright infringements anyway.)

10101 Steve Allen & Oliver Nelson - Soulful Brass #2
10102 Spontaneous Combustion - Come And Stick Your Head In
10103 Jon Appleton - Appleton Syntonic Menagerie
10104 Bob Thiele Emergency - Head Start
10105 Stanley Crouch - Ain’t No Ambulances For No Nigguhs Tonight
10106 Tom Scott - Hair To Jazz
10107 Horace Tapscott - The Giant Is Awakened
10108 John Carter & Bobby Bradford - Flight For Four
10109 Jimmy Gordon & His Jazznpops Band - Hog Fat
10110 Ron Anthony - Oh! Calcutta!
10111 Robert Scheer's 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
10116 Oliver Nelson - Black, Brown And Beautiful
10117 Gato Barbieri - The Third World
10118 Pete Hamill's Massacre At My Lai
10120 Johnny Hodges - Three Shades Of Blue
10121 Jon Appleton & Don Cherry - Human Music
10122 George Russell - Othello Ballet Suite/Electronic Organ Sonata No. 1
10123 Ornette Coleman - Friends And Neighbours: Ornette Live At Prince Street
10124 George Russell - Electronic Sonata For Souls Loved By Nature (1968)
10125 Jan Garbarek - George Russell Presents The Esoteric Circle
10126 Gunter Hampel - The 8th Of July 1969
10127 Pete Hamill's Murder At Kent State University
10128 John Carter & Bobby Bradford - Self Determination Music
10130 Oliver Nelson & Carl B. Strokes - The Mayor And The People
10131 Gil Scott-Heron - Small Talk At 125th And Lenox
10132 Leon Thomas - The Leon Thomas Album
10133 Steve Allen - Soulful Brass #3
10134 Oliver Nelson And The "Berlin Dreamband" - Berlin Dialogue For Orchestra
10135 Chico Hamilton - El Exigente/The Demanding One
10136 Leon Thomas & H. Rap Brown - SNCC’s Rap
10137 Will Jordan - The Great Comedy Album Starring Spiro T. Agnew
10138 Count Basie & His Orchestra - Afrique
10139 Larry Coryell - Barefoot Boy
10140 Mike Lipskin With Willie "The Lion" Smith - California Here I Come
10141 Angela Davis - Soul And Soledad
10142 Leon Thomas - In Berlin
10143 Gil Scott-Heron - Pieces Of A Man
10144 Gato Barbieri - Fenix
10145 Harold Alexander - Sunshine Man
10146 Lester Young & Coleman Hawkins- Classic Tenors
10147 Earl Hines - The Mighty Fatha
10148 Harold Alexander - Are You Ready?
10149 Oliver Nelson - Swiss Suite
10150 Shelly Manne & Co. - Signature
10151 Gato Barbieri - El Pampero
10152 Bob Thiele & His New Happy Times Orchestra - Those Were The Days
10153 Gil Scott-Heron - Free Will
10154 Bernard "Pretty" Purdie - Soul Is... Pretty Purdie
10155 Leon Thomas - Blues And The Soulful Truth
10156 Gato Barbieri - Under Fire
10157 The Richard Davis Trio - Song For Wounded Knee
10158 Gato Barbieri - Bolivia
10159 Bobby Hackett - What A Wonderful World
10161 Teresa Brewer & Count Basie - The Songs Of Bessie Smith
10163 Lonnie Liston Smith - Astral Traveling
10164 Leon Thomas - Facets: The Legend Of Leon Thomas
10165 Gato Barbieri - The Legend Of Gato Barbieri
10166 Duke Ellington & Teresa Brewer - It Don’t Mean A Thing If It Ain't Got That Swing
10167 Leon Thomas - Full Circle
1-0550 Gato Barbieri - Yesterdays
1-0591 Lonnie Liston Smith & The Cosmic Echoes - Cosmic Funk
1-0592 Oliver Nelson - In London With Oily Rags
1-0825 Oliver Nelson - Skull Session
1-0827 Richard "Groove" Holmes - Onsaya Joy
1-0829 Bobby Hackett - Strike Up The Band
1-0830 Cesar Ascarrunz - Cesar 830
1-0833 Tom Scott - In L.A.
1-0834 Lonnie Liston Smith & The Cosmic Echoes - Expansions
1-0964 Bob Thiele & His Orchestra - I Saw Pinetop Spit Blood
1-1082 Elek Bacsik - Bird And Dizzy: A Musical Tribute
1-1120 Bucky Pizzarelli With Joe Venuti - Nightwings
1-1145 Shelly Manne - Hot Coles
1-1146 Richard "Groove" Holmes - Six Million Dollar Man
1-1147 Gato Barbieri - El Gato
1-1196 Lonnie Liston Smith & The Cosmic Echoes - Visions Of A New World
1-1197 Sonny Stitt - Dumpy Mama
1-1371 The World’s Greatest Jazz Band Of Yank Lawson & Bob Haggart - Recorded Live At The Lawrenceville School
1-1372 Mike Wofford - Scott Joplin Interpretations
1-1378 Bucky Pizzarelli With Bud Freeman - Bucky & Bud
2-1449 Oliver Nelson - A Dream Deferred
1-1460 Lonnie Liston Smith & The Cosmic Echoes - Reflections Of A Golden Dream
1-1461 Steve Marcus - Sometime Other Than Now
1-1537 Richard "Groove" Holmes - I’m In The Mood for Love
1-1538 Sonny Stitt - Stomp Off Let’s Go
3063 Steve Kuhn Trio - Three Waves

EXTRAS

Louis Armstrong - Louis Armstrong And His Friends (Flying Dutchman Amsterdam)
Al Jazzbeaux Collins & Slim Gaillard - Steve Allen's Hip Fables (Doctor Jazz)
The Bob Thiele Collective - Louis Satchmo (Red Baron)
Oliver Nelson & Steve Allen - Soulful Brass (Impulse)

Pete Hamill's Murder At Kent State University

2010-04-15T13:12:00.000+02:00

More about Rosko in a New York Times obituary

Rosko - narrator
James Spaulding - flute
Ron Carter - bass

Flying Dutchman Records FDS-127
1970

LINK (Many thanks to Robert Elms!)

Tom Scott - Paint Your Wagon

2010-04-15T13:11:00.001+02:00

Tom Scott - soprano & tenor sax, flute
Roger Kellaway - piano, harpsichord, clavinet
Chuck Domanico - bass
John Guerin - drums

Flying Dutchman Records FDS-114
1970

LINK (Many thanks to Robert Elms!)

Ron Anthony - Oh! Calcutta!

2010-04-15T13:10:00.002+02:00

Ron Anthony - guitar
Max Bennett - bass
Dennis Budimir - guitar
Paulinho Da Costa - percussion
Chuck Domanico - bass
Jim Gordon - drums
Plas Johnson - flute, tenor sax
Lincoln Mayorga - piano
Gene Pello - drums
Emil Richards - percussion
Tom Scott - flute

Ron Anthony - Flying Dutchman (excerpt):

Flying Dutchman Records FDS-110
1969

LINK (Many thanks to Robert Elms!)

Oliver Nelson - Black, Brown And Beautiful

2010-02-26T17:50:00.003+01:00

One of Oliver Nelson's hippest albums! The record is sort of an Ellington suite of tracks for the post-60s years -- complete with some sound effects of rioting and urban strife at the beginning, and a mix of modern, modal, and compositional styles. Soloists include John Klemmer, Frank Strozier, and Nelson -- and the overall tone of the album is pride in the face of struggle, with some killer compositions by Nelson that really rank with his best work ever. Titles include "Self Help Is Needed", "I Hope In Time A Change Will Come", "Requiem, Afterthoughts", "Lamb Of God", and "Martin Was A Man, A Real Man". (Dustygroove)

Oliver Nelson (arr) with orchestra including brass and strings featuring amongst others:

John Gross (ts), John Klemmer (ts), Frank Strozier (as), Bobby Bryant (tp), Pearl Kaufman (p), Roger Kellaway (p), Chuck Domanico (b), John Guerin (d), Roy Haynes (d), Stanley Wilson (cond)

Recorded October 1969, Los Angeles
Flying Dutchman FDS-116

Scroll down to the 9th comment for new links (Many thanks to Anonymousremains!)

Pete Hamill's Massacre At My Lai

2010-02-14T22:04:00.000+01:00

Rosko - narrator
James Spaulding - flute
Ron Carter - bass

Flying Dutchman Records FDS-118
1969

LINK (many thanks to Reza!)

Shelly Manne & Co. - Signature

2010-01-02T16:21:00.001+01:00

Although this LP has drummer Shelly Manne as the leader, in reality the 23-year old was just a sideman on these three four-song sessions; one of the main connecting threads. Manne is heard with clarinetist Barney Bigard and pianist Eddie Heywood in a trio (including fine versions of "Tea for Two," and Bigard's originals "Step Steps Up" and "Step Steps Down"), in another trio with the great altoist Johnny Hodges and Heywood (including a memorable version of "On the Sunny Side of the Street") and on four rare titles with an Eddie Heywood group that includes Ray Nance on trumpet and violin, clarinetist Aaron Sachs, Don Byas on tenor and bassist John Simmons. These small-group swing performances are quite enjoyable but unfortunately out-of-print. (Scott Yanow/AMG)

The Barney Bigard Trio (Moonglow; Tea For Two; Step Steps Up; Step Steps Down)*:

Barney Bigard - clarinet
Eddie Heywood - piano
Shelly Manne - drums

Eddie Heywood & His Orchestra (How High The Moon; Penthouse Serenade; Them There Eyes; Sarcastic Lady)**:

Ray Nance - trumpet & violin
Aaron Sachs - clarinet
Don Byas - tenor sax
Eddie Heywood - piano
John Simmons - bass
Shelly Manne - drums

The Eddie Heywood Trio (On The Sunny Side Of The Street; Time On My Hands; Night And Day; Flamingo)***:

Johnny Hodges - alto sax
Eddie Heywood - piano
Shelly Manne - drums

*Recorded January 22, 1944 in New York City
**Recorded May 2, 1944 in New York City
***Recorded May 26, 1944 in New York City

Flying Dutchman Records FD-10150

Historic recordings, appropriate sound quality - MP3 or FLAC

Oliver Nelson & Steve Allen - Soulful Brass (Impulse)

2009-04-18T21:43:00.025+02:00

Bobby Bryant - trumpet
Tom Scott - tenor sax
Steve Allen - electric harpsichord, piano
Roger Kellaway - piano
Barney Kessel - guitar
Jimmy Gordon, Larry Bunker - drums
Oliver Nelson - arranger
plus others unknown

Produced by Bob Thiele
Recorded March 15, 1968 in Los Angeles, California
Impulse AS 9168

Buy CD

Al "Jazzbeaux" Collins & Slim Gaillard - Steve Allen's Hip Fables

2009-04-17T11:55:00.005+02:00

"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.”

Steve Allen - piano
Al "Jazzbeaux" Collins - vocals
Slim Gaillard - vocals
Ray Mantilla - percussion

Doctor Jazz FW38729
1983

LINK (MP @320k, found on Soulseek)

The Bob Thiele Collective - Louis Satchmo

2009-02-04T12:00:00.005+01:00

Joshua Redman - tenor sax
Red Rodney - flugelhorn
Kenny Barron - piano
Santi Debriano - bass
Grady Tate - drums, vocals

Produced by Bob Thiele

Red Baron
1991

The Jazzman has very kindly contributed another album from the founder of Flying Dutchman Records, Bob Thiele - links can be found in the comments and please make sure to thank him.

Louis Armstrong - Louis Armstrong And His Friends

2008-04-01T10:55:00.003+02:00

Arranged and conducted by Oliver Nelson

PERSONNEL

Recorded Tuesday May 26, 1970
MOOD INDIGO
WHAT A WONDERFUL WORLD
MY ONE AND ONLY LOVE

Violins - Arnold Black, Selwart Richard Clarke, Winston Collymore, Paul Gershman, Manny Green, Harry Lookofsky, Gene Orloff Joe Malin, Max Pollikoff
Violas - Julien Barber, Alfred Brown, David Schwartz, Emanuel Vardi
Cellos - Charles McCracken, Kermit Moore, George Ricci, Allan Schulman
Bass - Richard Davis, George Duvivier
Electric bass - John Williams. Jr.
Guitars - Sam Brown, Kenny Burrell
Flute - James Spaulding
Piano - Frank Owens
Drums - Pretty Purdie

Recorded Wednesday May 27,1970
HIS FATHER WORE LONG HAIR
EVERYBODY'S TALKIN (Echoes)
THE CREATOR HAS A MASTER PLAN (Peace)*

*Special guest vocalist: Leon Thomas; otherwise the same except Matthew Raimondi replaces Gene Orloff on violin; Conga: Gene Golden

Recorded Friday May 29, 1970
GIVE PEACE A CHANCE
WE SHALL OVERCOME
BOY FROM NEW ORLEANS
THIS BLACK CAT HAS 9 LIVES

Saxophones - Robert Ashton, Ray Beckenstein, Daniel Bank, Jerry Dodgion, Billy Harper
Trombones - Garnett Brown, Bill Campbell, AI Grey, Quentin Jackson
Trumpets & Fluegelhorns - Thad Jones, Jimmy Owens, Ernie Royal, Marvin Stamm Electric bass - Chuck Rainey
Guitars - Sam Brown, Kenny Burrell
Piano - Frank Owens
Congas - Gene Golden
Drums - Pretty Purdie
Chorus - Carl Hall, Janice Bell, Iia Govan, Matthew Ledbetter, Tasha Thomas

Listen to The Creator Has A Master Plan here (Destination Out)

Flying Dutchman Amsterdam AMS 12009
1970

Still available, buy at your local record store or here (Many thanks to Cuki for pointing to this album!)

Steve Kuhn Trio - Three Waves

2008-03-31T13:56:00.019+02:00

Predictable is not an adjective associated with the recordings of pianist Steve Kuhn. He is joined by bassist Steve Swallow and drummer Pete La Roca for this exciting studio session from the mid-1960s, both of whom he had worked with under Art Farmer, as well as on La Roca's smashing debut as a leader, Basra. With the exception of "Ida Lupino" and "Never Let Me Go," the music will likely be unfamiliar to most jazz fans, but adventurous souls are in for a treat. Kuhn's originals include the furious modal work "Bits and Pieces," which sounds as if it represents the center of a storm, as well as "Today I Am a Man," which suggests a well-known composition from the heyday of the bop era. "Why Did I Choose You" is played with a soft bossa nova accent, while Sergio Mihanovich's "Three Waves" is intense, with overlapping changes of rhythm. "Never Let Me Go," a favorite of singers, is understated and subtle, only hinting briefly at the melody. Originally issued on LP by the long-defunct Contact label, and briefly available as a Flying Dutchman reissue, BMG in Japan has since released a CD version. (Ken Dryden/AMG)

Steve Kuhn - piano
Steve Swallow - bass
Pete La Roca - drums

Recorded 1966
Flying Dutchman Records LAX-3063
1975

Still available, buy at your local record store or here or here

Sonny Stitt - Stomp Off Let's Go

2008-03-30T12:22:00.018+02:00

It would have been intriguing to hear bop altoist and tenor-saxophonist Sonny Stitt play the title cut (an obscurity from the 1920s whose use as the album's name is actually irrelevant) but instead he performs the "Theme from Black Orpheus," "Duke's Place," "Perdido" and "Little Suede Shoes." Actually the most interesting aspect to this date (which also utilizes Frank Owens on keyboards, guitarist Bucky Pizzarelli, Richard Davis on electric bass, drummer Louie Bellson and percussionist Leopoldo Fleming) is that the two high-note trumpeters Jon Faddis and Lew Soloff are also in the frontline and have a fair amount of solo space. Otherwise this is an average although enjoyable Sonny Stitt bop date. (Scott Yanow/AMG)

Sonny Stitt - alto & tenor sax

Jon Faddis , Lew Soloff - trumpet
Bucky Pizzarelli - electric guitar
Frank Owens - electric piano
Richard Davis - electric bass
Louis Bellson - drums
Leopoldo Fleming - percussion

Flying Dutchman Records BDL1-1538
1976

LINK (found on Soulseek)

Richard "Groove" Holmes - I’m In The Mood for Love

2008-03-29T11:35:00.045+01:00

Despite the title of this one -- which makes the record sound like a mellow sleepy effort -- the style of the record is in that faster disco jazz mode that Groove was using towards the end of his years at Flying Dutchman. The record's got some expansive arrangements that include keyboards next to Grooves's organ -- mostly handled by Horace Ott -- and although the sound isn't pure Groove, it's not bad in a pop jazz funk way. The record does have one straighter number -- the slick mellow "Non Kulu Leku", which has a very mellow CTI/Kudu feel. Other tracks include "Morning Children", "I'm In The Mood For Love", "I've Got A Love For You", and "This Is The Me Me". Most cuts have vocals by Breathless. (Dustygroove)

Richard "Groove" Holmes - organ, synthesizer
Jon Faddis, Lew Soloff - trumpet
George Opalisky, Buddy Terry - tenor sax
Babe Clarke - baritone sax
Eric Gale, Cornell Dupree - electric guitar
Kenneth Moss - electric piano
Gordon Edwards - electric bass
Charles Collins, Melvin Roach - drums
Leopoldo Fleming, Guilherme Franco - percussion
Peter Dimitriades, Gayle Dixon, Noel DaCosta, David Nadien, Gene Orloff - violins
Alfred Brown, Selwart Clarke - violas
Kermit Moore - cello
Horace Ott - arranger, conductor
Brenda Jones & Breathless - vocals

Flying Dutchman Records BDL1-1537
1976

LINK (thanks to My Jazz World!)

Steve Marcus - Sometime Other Than Now

2008-03-28T11:19:00.026+01:00

On January 21st-22nd, 1976, after a couple of years of strange club gigs here and there, and, with varied personnel. Steve Marcus' Count's Rock Band entered Mediasound Studios to record an LP to be made up of six compositions by Steve Khan. The rest of the band for the recording included Don Grolnick(Keyboards); Will Lee(Elec. Bass); and Steve Gadd(Drums). The recorded was produced by the legendary Bob Thiele, who, of course, produced some of the greatest Jazz recordings in the history of the music. You only have to look as far as the John Coltrane ¡Impulse! recorded catalog to realize what Bob had contributed to our music. Steve Khan & Steve MarcusThe tragedy of this particular recording is that, somewhere between the mixes and the mastering, someone on the technical end forgot to engage the Dolby noise reduction system, and the sound of the LP became something absolutely horrible. Subsequently, no one paid much attention to this recording. Since its initial release, it has never been re-issued in the CD format. Sadly, it would need to be, at the very least, re-mixed and re-mastered. As I write this, I seriously doubt that this will ever happen.

Prior to the actual recording, some really great musicians, great people passed through the band including keyboard players such as: Ted Saunders, and Steve Robbins; bassists: Mervin Bronson, and Rick Laird; and drummers: Harry Wilkinson and Bob Jospé. We played a lot of dates in the New York/New Jersey/Pennsylvania area which included places like: Max's Kansas City; Richard's Lounge; and My Father's Place. Just about one year prior to the recording, we made the last personnel changes, and the group that was to record did a series of dates at My Father's Place on Long Island. When Steve Gadd launched his new, official website, I created a special page for him, which featured a super-rare board-tape soundclip of an incredible Steve Gadd "moment" while playing behind Don Grolnick's Fender Rhodes solo on the tune "Sometime Other Than Now." Now you can enjoy that page, the lead sheet, and the soundclip. It shows two very special musicians hard at work. Often times, recording is like trying to catch "lightening in a bottle." Sometimes you get it, other times you don't. For one reason or another, I don't believe that the our recording captured what we were capable of creating 'live.' Sometimes that becomes the case. It is also interesting to note that, before Bob Thiele decided to record us, we recorded a 'demo' for Teo Macero up at Columbia's 52nd St. Studios. We recorded the title track, and "The Rites of Darkness." The sound of that demo is considerably better than the actual recording.

There are times when I wish that the whole Fusion Era had never happened because what passed for a "composition" then was often woefully short of a fully-realized piece of music. I don't feel that much of this music holds up too well today. I also think that the rather juvenile and silly song titles are revealing too. Steve MarcusWhen titles get that ridiculous it shows that the writer is not truly ready to take himself seriously enough. It is almost a sign that one is not quite ready to proudly proclaim: "This is who I am, and this is what I do!" I am not saying that one can't have a sense of humor about life and music, and that song titles can't be humorous. They can be humorous! But, to be overly silly is not right. At least that is what I've come to believe as the years have come and gone.

For what it is worth, the tune, "The Rites of Darkness" was recorded just one year later during the "MONTREUX SUMMIT"[Volume 2] live recordings of July '77 with: George Duke on Fender Rhodes; Bob James: Oberheim Polyphonic Synth; Alphonso Johnson: Elec. Bass; and Billy Cobham: Drums. Considering the minimal rehearsal time we were all afforded, everyone did a really spectacular job on the tune.

Last year, 2005, Steve Marcus passed away and you can read my tribute to him at the newly established TRIBUTES page. He was a wonderful person, a great player, and was certainly in the forefront of the Jazz-Rock Fusion movement, right alongside Larry Coryell. I really love this rather dark photo portrait that the brilliant Chuck Stewart took of "The Count" at our recording sessions. At present, here in 2006, it is a bit hard to know just what Columbia/Sony will decide to do with this Flying Dutchman release. I have been in touch with the 'right' people there, and should they decide to investigate a CD release, I think that I will be afforded the opportunity to re-mix it and present the music in the best possible light. Steve Marcus certainly deserves that. (stevekahn.com)

Steve Marcus - sax
Steve Khan - guitar
Don Grolnick - synthesizer, electric piano, clavinet
Will Lee - electric bass
Steve Gadd - drums

Flying Dutchman Records BDL1-1461
1976

LINK (Originally posted on Taringa!)

Lonnie Liston Smith & The Cosmic Echoes - Reflections Of A Golden Dream

2008-03-27T11:06:00.036+01:00

Lonnie Liston Smith grooves it hard here with his Cosmic Echoes group -- mixing in a stronger dose of soul than ever before, yet still giving tracks a righteous feel overall! The approach here is a bit like that of Roy Ayers work from the 70s -- still jazzy at its core and conception, but often featuring vocals to deliver a wider message for the tunes -- plus some nicely snapping rhythms that are enough to get a fe cuts good play on the dancefloor! The record's still got plenty of great mellow tracks too, though -- the kind of floating spacey numbers that Smith virtually invented during the 70s, and which stand here as a more strongly jazz-voiced contrast to some of the soul tunes in the set. Donald Smith and Dave Hubbard are still working here with Lonnie to give the work a really solid sound, and tracks include groovers like "Get Down Everybody", "Peace & Love", and "Beautiful Woman" -- mixed with spacier fusion numbers like "Quiet Dawn", "Golden Dreams", and "Goddess Of Love". (Dustygroove)

Lonnie Liston Smith - guitar, piano, electric piano, vocals, producer
Dave Hubbard - flute, soprano sax
Arthur Kaplan - baritone sax
George Opalisky - tenor sax
Jon Faddis, Joseph J. Shepley - trumpet, flugelhorn
Al Anderson - bass
Wilby Fletcher - drums
Leopoldo Fleming - percussion, conga
Guilherme Franco - percussion
Patti Austin, Vivian Cherry - vocals, choir
Horace Ott - arranger

Flying Dutchman Records BDL 1-1460
1976

Still available, buy at your local record store or here

Oliver Nelson - A Dream Deferred

2008-03-26T17:56:00.002+01:00

Double-album compilation mixing okay material from Nelson’s Flying Dutchman records with his arrangements made for Count Basie, Johnny Hodges and Louis Armstrong. Several previously unreleased and rather unremarkable tracks recorded by Nelson in 1975 appear here, making this something of a collectable. But those who own Black Brown And Beautiful, Afrique or 3 Shades Of Blue probably won't bother. For completists only. (Doug Payne)

For more informations on lineup check Doug Payne's site:

Recorded 1969-1975
Flying Dutchman Records CYL2-1449
1976

LINK (thanks to My Jazz World!)

Bucky Pizzarelli With Bud Freeman - Buck & Bud

2008-03-25T16:02:00.005+01:00

Guitarist Bucky Pizzarelli and tenor saxophonist Bud Freeman teamed up for this delightful set of swing standards, also including one basic original ("Blues for Tenor"). In addition to four quintet numbers with pianist Hank Jones, bassist Bob Haggart and drummer Ronnie Traxler, there are six duets between the co-leaders that are consistently memorable. Highlights of the date include "Tea for Two," "At Sundown," "You Took Advantage of Me" and "Dinah." Despite the 20-year difference in their ages (Bud was 69 while Bucky was 49), the two masterful musicians had no difficulty communicating throughout the classic LP, one of the finest put out by Bob Thiele's Flying Dutchman label and long overdue to be reissued on CD.. (Scott Yanow/AMG)

Bucky Pizzarelli - guitar

Bud Freeman - tenor sax

Hank Jones - piano

Bob Haggart - bass

Ronnie Traxler - drums

Flying Dutchman Records BDL1-1378
1976

Links in comments - many thanks to The Jazzman!
More images here

Alternative version courtesy of Gonzo (lower bitrate yet no artefacts)

Mike Wofford - Scott Joplin Interpretations

2008-03-24T17:01:00.011+01:00

With ragtime revivals taking place from time to time, producing the inevitable output of tributes to Scott Joplin, this LP by pianist Mike Wofford is a breath of fresh air. Instead of concentrating on Joplin's best-known rags, he chose to arrange eight selections from Joplin's beloved folk opera "Treemonisha," which unfortunately was a commercial bust for the composer. The music on this album is not ragtime, but a loving, modern interpretation of Joplin's pieces that retain the original melodies, though reharmonization and changes in rhythm are incorporated into Wofford's arrangements. Four of the tracks are piano solos, while bassist Chuck Domanico and drummer Shelly Manne are added on the remaining selections. It's a shame that this Flying Dutchman LP was overlooked by critics and jazz radio, as there is a lot of memorable music within it. While Joplin would likely have preferred that everything be played as it was written, as was the case with his rags, he would likely have approved of Wofford's taking the time and effort to explore this rarely heard music, even if it was in more of a bop setting. The hilarious cover art is an added bonus to this long out of print record. (Ken Dryden/AMG)

Mike Wofford - piano
Chuck Domanico - bass
Shelly Manne - drums

Flying Dutchman Records BDL1-1372
1976

LINK

The World’s Greatest Jazz Band Of Yank Lawson & Bob Haggart - Recorded Live At The Lawrenceville School

2008-03-23T16:24:00.034+01:00

Although the World's Greatest Jazz Band was starting to decline and undergo a lot of turnover by the mid-'70s, this is a generally strong effort. With trumpeter Yank Lawson, trombonist Urbie Green, Bob Wilber on soprano, clarinetist Johnny Mince, pianist Hank Jones, guitarist Bucky Pizzarelli, bassist Bob Haggart, and drummer Ronnie Traxler forming the lineup for this concert, the music is typically Dixieland-oriented. The hottest performances are "Indiana," "South Rampart Street Parade," and surprisingly "Birth of the Blues." There are also individual features for Mince ("The Man I Love"), Wilber ("Indian Summer"), Green ("Old Folks") and Haggart ("Big Noise from Winnetka"). A fine effort by a classic group during its later period. (Scott Yanow/AMG)

Yank Lawson - trumpet
Urbie Green - trombone
Bob Wilber - soprano sax
Johnny Mince - clarinet
Hank Jones - piano
Bucky Pizzarelli - guitar
Bob Haggart - bass
Ronnie Traxler - drums

Flying Dutchman Records BDL1-1371
1976

LINK (thanks to Soul Man Red!) ALT. LINK (MediaFire)

Sonny Stitt - Dumpy Mama

2008-03-22T15:27:00.022+01:00

Although Sonny Stitt (sticking to tenor except on "It Might as Well Be Spring" where he plays alto) teams up with a variety of musicians on this LP who he had rarely played with previously (including tenor-saxophonist Pee Wee Ellis, altoist Frank Strozier, pianist Mike Wofford, bassist Brian Torff and drummer Shelly Manne), he plays in his usual bebop style. In addition to his alto feature there is a duet with Wofford on a sensitive "Danny Boy for Ben," the funky title cut (penned by Oliver Nelson) and boppish renditions of "Just Friends" and Stitt's original, "Jason." The playing is up to par if not overly memorable; this LP's music has yet to be reissued on CD. (Scott Yanow/AMG)

Sonny Stitt - alto & tenor sax
Pee Wee Ellis - tenor sax
Frank Strozier - alto sax
Mike Wofford - piano
Brian Torff - bass
Shelly Manne - drums
Ray Armando - percussion

Flying Dutchman Records BDL1-1197
1975

LINK (thanks to Soul Man Red!) ALT. LINK (MediaFire)

Lonnie Liston Smith & The Cosmic Echoes - Visions Of A New World

2008-03-21T15:09:00.011+01:00

Lonnie Liston Smith is really tightening up his groove on this one -- bringing a bit more funk into the mix, and creating that amazingly sweet glide in his keyboard sound! The record's still steeped in the righteous influences of years past, but it brings the message out to a bigger audience -- letting soul flow into the jazz-based tunes in the same way that Norman Connors was doing at the time -- and creating the same sort of warm glow through a mix of earthy percussion and electric keys. Vocals on most numbers are by Donald Smith, who has a great approach that has the depth of Leon Thomas but the warm focus of Michael Henderson -- and he's a perfect fit for Lonnie's well-crafted tunes on the set! Titles include the nicely breaking "Devika", plus "A Chance For Peace", "Colors of The Rainbow", "Visions Of A New World", and the killer mellow track "Summer Nights", a very warm electric piano cut, with a nice sort of "Summer Madness" feel! (Dustygroove)

Lonnie Liston Smith - guitar, keyboards, vocals, producer, mixing
Dave Hubbard - soprano sax, horns
Donald Smith - flute, vocals
Cecil Bridgewater - trumpet
Clifford Adams - trombone
Reggie Lucas - guitar
Greg Maker - electric bass
Wilby Fletcher, Art Gore - drums
Angel Allende, Michael Carvin - percussion, bongos
Ray Armando - percussion
Lawrence Killian - percussion, conga

Flying Dutchman Records BDL1-1196
1975

Still available, buy at your local record store or here or here

Gato Barbieri - El Gato

2008-03-20T13:57:00.074+01:00

In the early '70s, Gato Barbieri was in transition. The Argentinean saxophonist had become more melodic and accessible. He wasn't as avant-garde as he had been in the late '60s, although he had yet to start playing the type of commercial pop-jazz/NAC music he would become known for in the late '70s. The Barbieri of the early '70s was a modal post-bopper along the lines of Pharoah Sanders and the pre-1965 John Coltrane, but with a strong Latin flavor. Released in 1975, this vinyl LP paints an impressive picture of work that Barbieri had done four years earlier. The only previously unreleased selection is the title song, which was written by arranger/saxman Oliver Nelson and employs a two-saxophone front line with Barbieri on tenor and Nelson on alto. The four other songs ("El Parana," "Vidala Triste," "Niños," and "Merceditas") are Barbieri originals that had been previously released. All of the material is superb, and Barbieri's playing is quite passionate. Even though the Barbieri of 1971 wasn't as outside as the Barbieri of 1967, he was still a very forceful and explosive soloist. The saxman's sidemen on these Bob Thiele-produced recordings include, among others, Lonnie Liston Smith on acoustic piano, Stanley Clarke on upright bass, John Abercrombie on electric guitar, Airto Moreira on drums, and James Mtume (who had yet to become a famous R&B producer/songwriter) on percussion. El Gato has no problem illustrating the excellence of Barbieri's modal period. (Alex Henderson/AMG)

Gato Barbieri - tenor sax
Oliver Nelson - alto sax Phil Bodner - alto flute, flute
Romeo Penque - flute
Danny Bank - bass clarinet
John Abercrombie - electric guitar
David Spinozza, Hank Jones, Lonnie Liston Smith - piano
Ron Carter, Stanley Clarke - bass
Roy Haynes, Bernard "Pretty" Purdie - drums
Moulay Ali Hafid - dumbek
Airto Moreira - percussion
Mtume - conga

Recorded 1971-1973
Flying Dutchman Records BDL1-1147
1975

As mentioned in the review above this album is a compilation of previously issued material. All tracks are still available through these reissues: Link 1 ("El Gato") + Link 2 ("El Parana," "Vidala Triste," "Niños," "Merceditas")

Richard "Groove" Holmes - Six Million Dollar Man

2008-03-19T13:40:00.044+01:00

One of Groove Holmes' best albums of the 70s -- thanks to some electric blacksploitation arrangements from the great Oliver Nelson! The format's a bit tighter here than on some of Holmes' Groove Merchant albums from the earlier part of the decade -- an approach that's almost like soundtrack scoring at times, but which allows Groove to stretch out a bit more on the solos, and take things way past the already-funky head arrangements penned by Nelson. Mike Wofford's also on the record, throwing in some great electric piano and Arp in underneath Holmes' own funky Hammond -- and other players include Tom Scott, David T Walker, and Oscar Brashear -- who all contribute nicely to the record. Titles include "Disc-o-Mite", "Salsa de Alma", "Dumpy Mama", "Mama's Groove", "125th & 7th Ave", and "Six Million Dollar Man", the theme from the TV show! (Dustygroove)

Oscar Brashear, Bobby Bryant, Chuck Findley - trumpet
Garnett Brown, Maurice Spears, Lloyd Ulyate - trombone
Tom Scott - tenor sax, woodwind
Jerome Richardson, Bud Shank, Gene Cipriano, Jack Nimitz - woodwind
David T. Walker - electric guitar
Richard "Groove" Holmes - organ
Mike Wofford - piano, electric piano
Larry Bunker, Mailto Correa - percussion
Jimmy Gordon, Shelly Manne - drums
Chuck Domanico, Chuck Rainey - electric bass
Oliver Nelson - arranger, conductor

Flying Dutchman Records BDL 1-1146
1975

LINK (found on Soulseek)

Shelly Manne - Hot Coles

2008-03-18T13:26:00.019+01:00

This is an interesting, if often-eccentric LP. Drummer Shelly Manne and a variety of L.A.-based musicians of the mid-'70s (including pianist Mike Wofford, bassist Chuck Domanico, Tom Scott on flute and soprano, guitarist Tommy Tedesco, trumpeter Oscar Brashear and Victor Feldman on vibes and piano) perform unusual versions of eight veteran Cole Porter standards. The somewhat spontaneous arrangements are full of unpredictable moments and, even if everything does not work, the surprising nature of the performances holds one's interest throughout. (Scott Yanow/AMG)

Shelly Manne - drums, percussion
Tom Scott - flute, soprano sax
Oscar Brashear - trumpet
Tommy Tedesco - guitar
Victor Feldman - piano
Mike Wofford - electric piano
Chuck Domanico - electric bass
Mailto Correa, Moacir Santos - percussion

Flying Dutchman Records BDL1-1145
1975

LINK (found on Soulseek)

Bucky Pizzarelli With Joe Venuti - Nightwings

2008-03-17T13:33:00.001+01:00

Although from a later generation, Bucky Pizzarelli by the 1970s was the guitarist of choice for a variety of swing and pre-swing veterans. For this lesser-known but rewarding LP, Pizzarelli performs six unaccompanied solos and welcomes the great violinist Joe Venuti to the remaining six songs. Of the guitar solos, the highlights include "I'm Coming Virginia," "Nuages" and "Spiegle Blues" (the latter finds Pizzarelli overdubbing a second guitar). The duets include highly enjoyable versions of "Pennies From Heaven," "Joepizz" and an original called "The Real Godfather Blues." Fun, swinging music. (Scott Yanow/AMG)

Bucky Pizzarelli - guitar
Joe Venuti - violin

Flying Dutchman Records BDL1-1120
1975

LINK (Many thanks to The Jazzman!)

Elek Bacsik - Bird And Dizzy: A Musical Tribute

2008-03-16T23:53:00.001+01:00

Bacsik was born in Budapest, the son of Arpad Bacsik and Erzsebet Pocsi. He was of Romani ethnicity and studied violin at the Budapest Conservatory, but found his primary musical inspiration in bebop pioneers Dizzy Gillespie and Charlie Parker. He was also the cousin of Django Reinhardt. In his early years he travelled as a musician to Lebanon, Spain, Portugal and Italy. He worked in Paris in the early 1960s and recorded with some well known French musicians such as Jeanne Moreau, Serge Gainsbourg and Claude Nougaro as well as making solo albums. In 1966, he went to work and live in the United States and played at Las Vegas. Bacsik recorded on guitar on Gillespie's Dizzy on the French Riviera (1962) and later appeared on violin with Gillespie at the Newport Jazz Festival in 1974. His bebop violin playing is featured on his two albums as a leader, I Love You (1974) and Bird and Dizzy: A Musical Tribute (1975). (Wikipedia)

Oscar Brashear - trumpet
Warne Marsh - tenor sax
Med Flory - alto sax
Mike Wofford - piano
Chuck Domanico, Buddy Clark - bass
Shelly Manne - drums
Elek Bacsik - electric violin
Oliver Nelson - arranger, conductor*

*While Oliver Nelson is listed as arranger and conductor here, it is more likely that he served only in the "advisory capacity" indicated in Leonard Feather's notes. (Doug Payne)

Recorded September 4, 1975. Los Angeles
Flying Dutchman Records BDL1-1082
1975

LINK (thanks to Isbum!)

Bob Thiele & His Orchestra - I Saw Pinetop Spit Blood

2008-03-15T23:02:00.088+01:00

The album title's historical background:

Clarence Smith, better known as Pinetop Smith or Pine Top Smith (11 June 1904 - 15 March 1929) was an influential American boogie-woogie style blues pianist. He is a 1991 inductee of the Alabama Jazz Hall of Fame.

Smith was born in Troy, Alabama and raised in Birmingham, Alabama. He received his nickname as a child from his liking for climbing trees. In 1920 he moved to Pittsburgh, Pennsylvania, where he worked as an entertainer before touring on the T. O. B. A. vaudeville circuit, performing as a singer and comedian as well as a pianist. For a time he worked as accompanist for blues singer Ma Rainey and Butterbeans and Susie.

In the mid 1920s he was recommended by Cow Cow Davenport to J. Mayo Williams at Vocalion Records, and in 1928 he moved, with his wife and young son, to Chicago to record. For a time he, Albert Ammons, and Meade Lux Lewis lived in the same rooming house.

On 29 December 1928 he recorded his influential "Pine Top's Boogie Woogie," one of the first "boogie woogie" style recordings to make a hit, and which cemented the name for the style. Pine Top talks over the recording, telling how to dance to the number. He said he originated the number at a house-rent party in St. Louis, Missouri. Pinetop was the first ever to direct "the girl with the red dress on" to "not move a peg" until told to "shake that thing" and "mess around".

Pinetop Smith was scheduled to make another recording session for Vocalion in 1929, but died from a gunshot wound in a dance-hall fight in Chicago the day before the session. Sources differ as to whether he was the intended recipient of the bullet. "I saw Pinetop spit blood" was the famous headline in Down Beat magazin. (Wikipedia)

Bobby Bryant, Oscar Brashear, Buddy Childers, Paul Hubinon, Oliver Mitchell - trumpets
Brooks Tillotson - French horn
Bob Brookmeyer, Lloyd Ulyate, Chauncey Welsch - trombones
Maurice Spears - bass trombone
Tom Scott - tenor & alto & soprano ax, flute, arranger
Buddy Collette - tenor sax, flute
Ronald Langinger, Bud Shank - alto sax, flute
Jack Nimitz - baritone sax
Mike Wofford - piano, organ, synthesizer
Mike Lang - piano, organ
Dennis Budimir, Lee Ritenour, Joe Jammer, Mike Anthony - guitars, electric guitars
Chuck Domanico, Charles Berghofer - bass
Jimmy Gordon, Hal Blaine - drums
Willie Bobo - percussion
Oliver Nelson, Glenn Osser, Horace Ott - arranger
Gene Orloff, Joe Malin, Max Cahn, Leo Kahn, David Nadien - violins
Al Brown, Calmen Fleisig, George Ricci - cello
Bunny Briggs, Tasha Thomas, Carl Hall, Bob Thiele, Jr., Teresa Brewer, Megan Monahan - vocals

Recorded January & February, 1975. Los Angeles
Flying Dutchman Records BDL1-0964
1975

LINK (Originally posted by The Monk)

Lonnie Liston Smith & The Cosmic Echoes - Expansions

2008-03-14T22:47:00.004+01:00

Quite possibly the most celebrated album ever from keyboardist Lonnie Liston Smith -- a groove-heavy classic that's burned up many a dancefloor in its day, yet also a record that features some great mellow moments as well! The title track "Expansions" is virtually a blueprint for the migration of the cosmic jazz sound onto the dancefloor -- a tune that's as funky as it is righteous -- but other cuts on the album slow down the pace a bit too, and show off the mellower, more introspectively spiritual side that's always made Lonnie way more than just a funky jazz artist. Easily the best place to start in the all-great Lonnie Liston Smith catalog -- and featuring tracks that include "Expansions", "Summer Days", "Desert Nights", "Shadows", "My Love", "Peace", and "Voodoo Woman". (Dustygroove)

Lonnie Liston Smith - guitar, keyboards, electric piano, vocals, producer

Donald Smith - flute, vocals
Dave Hubbard - soprano sax
Michael Carvin - percussion, clavinet
Cecil McBee - bass
Art Gore - drums
Lawrence Killian - percussion, conga
Leopoldo Fleming - percussion

Recorded Nov 25 & 26, 1974
Flying Dutchman Records BDL1-0934
1975

Still available, buy at your local record store or here or here

Tom Scott - In L.A.

2008-03-13T15:10:00.028+01:00

01 - Head Start (Tom Scott)
02 - The Gospel Of No Name City (A. J. Lerner, A. Previn)
03 - Beatle Ballads (a. Blackbird b. Julia c. I Will) (John Lennon, Paul McCartney)
04 - Aquarius (J. Rado, G. Ragni, G. MacDermot)
05 - I Talk To The Trees (F. Loewe, A. J. Lerner)
06 - Freaky Zeke (Tom Scott)
07 - I Still See Elisa (A. J. Lerner, F, Loewe)
08 - Hand Me Down That Can O' Beans (F. Loewe, A. J. Lerner)

Musicians on #01,02,06:

Tom Scott - clarinet, alto sax
Roger Kellaway - piano, organ, harpsichord, celeste
Chuck Domanico - electric & acoustic bass, Indian ecktara
Howard Roberts - electric & acoustic guitar
Gary Coleman - vibes, electronic vibes, xylophone, conga drums, bongos, bells, tympani, flexitons, nipple gongs, bongoboard, temple blocks
Jimmy Gordon - drums, timbales
Buddy Childers, Paul Hubinon, Gary Barone - trumpets, flugelhorns
Bob Brookmeyer - valve trombone
Mike Barone, George Bohanon - trombones
Ernie Tack - bass trombone
Bob Henderson - french horn, tuben horn, descant horn
Bill Perkins - alto sax, flute, alto flute
Pete Christleib - tenor sax, flute, alto flute
Jim Horn - baritone sax, oboe, flute, alto flute
John Guerin - drums, timbales

Musicians on #03,04,05,07,08:

Tom Scott - tenor sax
Roger Kellaway - piano
Chuck Domanico - electric bass
John Guerin - drums

Flying Dutchman Records BXL1-0833
1975

LINK (found on Soulseek)

Cesar Ascarrunz - Cesar 830

2008-03-12T14:27:00.012+01:00

An excellent lost Latin Funk album from the early 70s west coast scene -- featuring a group led by Latin pianist and promoter Cesar Ascarrunz -- and including some of the greatest Latin and jazz players from the San Francisco scene at the time! Big names on the session include Francisco Aquabella, Benny Velarde, Steve Marcus, Hadley Caliman, and even Merl Saunders -- all coming together in a really hard-hitting Latin funk jam session that never lets up for a minute! The music is a mix of instrumental and vocal tracks -- grooving with a sound that's very much in the mode of the bigger early 70s Latin groups from LA and SF -- but with a freer-thinking sound, and a much more jazz-funk approach. Titles include "Azucar", "Descarga", "The Devil & Montezuma", "Gotta Get Away", and "Bridges". (Dustygroove)

Cesar Ascarrunz, Mark Levine, Merl Saunders - piano
Hadley Caliman - flute & tenor sax
Martin Fierro - alto & tenor sax
Steve Marcus - soprano sax
Jules Rowell - trombone
Joseph Ellis, Jr. - trumpet
Jim Vincent, Joe Jammer, Stephen Busfield - guitar
Harold Martin, Thomas Rutley - bass
Tony Smith - drums & vocals
Willis Colon - bongos, bells
Francisco Aquabella - congas & vocals
Benny Velarde - timbales & vocals
Linda Tillery - vocals

Flying Dutchman Records BDL 1-0830
1975

LINK (Thanks to Orgy In Rhythm)

Bobby Hackett - Strike Up The Band

2008-03-11T10:37:00.000+01:00

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

Flying Dutchman Records BDL1 0829
1975 (No exact recording date)

Vinyl rip, MP3 @320k

Richard "Groove" Holmes - Onsaya Joy

2008-03-10T13:35:00.000+01:00

One of Holmes' all time massive recordings, featuring the great groovy title track -- "Onsaya Joy" -- a monster jam that goes on for fifteen minutes, and doesn't stop grooving at all! Very tough to find these days, but totally worth the price. A solid jammer, and better than most other funky jazz recordings from this period. Groove never lets up, and the album's an essential addition to any funky jazz collection! (Dustygroove)

For a mid-1970s release when many Jazz players were playing Fusion, Onsaya Joy is surprisingly good. The album was recorded with a simple trio keeping things to the basics, which was good. The album is split between organ Jazz numbers like the fast paced Sweet Georgia Brown, Song For My Father featuring the guitar work of Orville Saunders, and Misty. Then there are the sprawling Soul-Jazz pieces Onsaya Joy that goes on for over fifteen minutes, but never fails to keep your attention, and a cover of Song For My Father with its grooving rhythm. (Soul Strut)

Richard "Groove" Holmes - organ
Orville Saunders - guitar
Thomas Washington, jr. - drums

Recorded August 1975 live at The Halfnote, New York City
Flying Dutchman Records BDL 1-0827
1975

LINK (My Jazz World - blog seems to be offline at the moment, but RS-link still works)

Oliver Nelson - Skull Session

2008-03-09T11:20:00.071+01:00

Hardly up to snuff for the talented and overworked Nelson, who was busy scoring TV shows at the time. "Skull Session" is a fun little dabble in electronic funk. But the rest seems beneath Nelson's abilities, as it takes his signature sounds, adds disco, dumbs down the themes and finishes it off with pedestrian solos from L.A. studio musicians. (Doug Payne/AMG)

Oliver Nelson - arranger, conductor, alto sax
Billy Green - tenor sax
Buddy Collette - clarinet, alto & tenor flute, tenor sax
Bill Perkins - bass clarinet, baritone & tenor sax
Jerome Richardson - clarinet, flute, alto & soprano sax
John Kelson, Jr. - bass clarinet, baritone sax
Bud Shank - clarinet, alto flute, alto & tenor sax
Oscar Brashear, Bobby Bryant - trumpet, flugelhorn
Buddy Childers, Paul Hubinon - trumpet
Vincent DeRosa - French horn
Grover Mitchell, Richard Nash, Chauncey Welsch - trombone
Maurice Spears - bass trombone
Donald Waldrop - tuba
Laurindo Almeida - guitar
Dennis Budimir, Lee Ritenour - acoustic & electric guitar
Lonnie Liston Smith - piano, electric piano
Mike Wofford - synthesizer, piano, harpsichord, electric piano, arp
Chuck Domanico - bass
Jimmy Gordon - drums
Willie Bobo - percussion
Shelly Manne - percussion, drums

Recorded January 1975. Los Angeles
Flying Dutchman Records BDL 1-0825
1975

LINK (thanks to Ile Oxumare)

Oliver Nelson - In London With Oily Rags

2008-03-08T10:53:00.034+01:00

This out-of-print LP is one of the lesser Oliver Nelson albums. Mostly playing alto (with one number on soprano), Nelson fronts an English group whose roots are in rock. Nelson plays well and there are some good moments (particularly on Jobim's "Meditation") but most of the backup musicians sound quite anonymous and little of significant occurs. (Scott Yanow/AMG)

Oliver Nelson - alto sax
Ernie Royal, Jimmy Owens, Jimmy Maxwell - trumpet
Mike Moran - piano
Joe Jammer, Hugh Burns - electric guitar
Chas Hodges - guitar, vocals
Dave Peacock - guitar
Pat Donaldson - electric bass
Pete Gavin - drums
Chris Karan, Frank Ricotti - percussion

Recorded April 1974 in London
Flying Dutchman BDL1-0592
1974

LINK (found on Soulseek)

Lonnie Liston Smith & The Cosmic Echoes - Cosmic Funk

2008-03-07T10:36:00.036+01:00

A real gem from Lonnie Liston Smith's early years in the studio -- and a record that's perhaps a bit more "cosmic" than it is "funk" -- but that's why we like it so much! The session has Lonnie stretching out a bit more than usual -- borrowing some of the righteousness from his years with Pharoah Sanders, and tripping out on tracks that revel in their own spacey brilliance. Lonnie plays both acoustic and electric piano on the record -- stretching out on some Impulse-influenced grooves that feature some great soprano sax and flute from the lesser-known George Barron. Titles include the soulful "Beautiful Woman", the ethereal "Sais", and the heavier groover "Cosmic Funk" -- plus great versions of Wayne Shorter's "Footprints" and John Coltrane's "Naima". (Dustygroove)

Lonnie Liston Smith - guitar, percussion, piano, electric piano, vocals
Donald Smith - flute, piano, vocals
George Barron - flute, percussion, soprano sax
Al Anderson - bass, electric bass
Art Gore - drums
Ron Bridgewater - percussion
Andrew Cyrille - percussion
Doug Hammond - percussion

Recorded April 1974
Flying Dutchman Records BDL1-0591
1974

Still available, buy at your local record store or here or here

Gato Barbieri - Yesterdays

2008-03-06T10:21:00.003+01:00

Tenor-saxophonist Gato Barbieri is in particularly fine form on this release, stretching out on four selections which include "Yesterdays," "Carinoso" and a song simply titled "A John Coltrane Blues." Backed by a six-piece rhythm section that includes Jorge Dalto's keybaords and guitarist Paul Metzke, Barbieri is often exuberant on this spirited and emotional set. (Scott Yanow/AMG)

Gato Barbieri - tenor sax
George Dalto - electric piano
Paul Metzke - guitar
Ron Carter - bass
Bernard "Pretty" Purdie - drums
Babafemi - congas
Ray Mantilla - timbales

Flying Dutchman Records BXL1-0550
1974

LINK (BeeQ)

LINK (MP3 @320k - many thanks to Ish!)

Leon Thomas - Full Circle

2008-03-05T00:05:00.054+01:00

Another offering from the man who yodeled his way into listeners' hearts on Pharoah Sanders' "The Creator Has a Master Plan," this is sure to please fans in search of more. Let the pimped-out picture on the front cover serve as a warning, though. There are not a lot of jazz fireworks here. This is not a record where Thomas' unusual style is matched by equally creative musicians who push and prod him to ecstatic heights; rather, this is a fairly straight-ahead pop and soul offering. The best moments on the record are those that stick to that groove, like the cover of "You Are the Sunshine of My Life," a simple song whose frame allows Thomas to kick free of this earth and roar into the stratosphere. On other, more technically demanding tunes, Thomas sounds a little bored, and dare it be said, average. (Rob Ferrier/AMG)

Leon Thomas - marimba, vocals
Tasha Thomas - vocals
Carl Hall - vocals
Pee Wee Ellis - tenor & soprano sax
Joe Farrell - tenor sax
Jimmy Owens - trumpet
Neal Creque - piano, electric piano
Joe Beck - guitar
Lloyd Davis - guitar
Richard Davis - bass, electric bass
Bernard "Pretty" Purdie - drums
Herb Lovelle - drums
Richard Landrum - percussion
Sonny Morgan - percussion

Guildhall String Ensemble:

Alan Shulman, Anthony Sophos - cello
Richard Dickler, Cal Fleisig - viola
Emanuel Green, Leo Kahn, Joseph Malignaggi, David Nadien, Gene Orloff, Raoul Poliakin - violin

Flying Dutchman Records FD 10167
1973

LINK (Las Cintas Recuperadas)
FLAC (Thanks to Flabbergast)

Duke Ellington & Teresa Brewer - It Don’t Mean A Thing If It Ain't Got That Swing

2008-03-04T23:30:00.049+01:00

Duke Ellington - piano
Teresa Brewer - vocals
Ray Nance - cornet
Johnny Coles, Barrie Lee Hall, Money Johnson, Mercer Ellington, Joe Newman, Jimmy Nottingham, Jimmy Owens, Ernie Royal - trumpets
Art Baron, Vince Prudente - trombones
Chuck Connors - bass trombone
Harold Minerve - alto sax, flute
Russell Procope - alto sax
Harold Ashby - tenor sax, clarinet
Norris Turney - tenor sax
Harry Carney - baritone sax, clarinet, bass clarinet
Joe Beck - guitar
Joe Benjamin - bass
Herb Bushler - electric bass
Quentin White - drums
Bernard "Pretty" Purdie - drums
James Mtume - conga

Recorded September 4-6, 1973. New York
Flying Dutchman Records FD-10166
1973

LINK (thanks to Kelly's Lounge Soundz, where you can also read a review)

Gato Barbieri - The Legend Of Gato Barbieri

2008-03-03T23:12:00.034+01:00

A collection of cuts from The Third World, Fenix and El Pampero.

Gato Barbieri - tenor sax
Roswell Rudd - trombone
Lonnie Liston Smith - piano
Joe Beck - electric guitar
Charlie Haden, Chuck Rainey, Ron Carter - bass, electric bass
Beaver Harris, Bernard "Pretty" Purdie - drums
Richard Landrum - percussion
Gene Golden, Sonny Morgan - conga

Flying Dutchman Records FD-10165
1973

LINK

Leon Thomas - Facets: The Legend Of Leon Thomas

2008-03-02T22:50:00.067+01:00

This fine 1973 sampler LP features performances by singer Leon Thomas originally on three previous sets. Three numbers (including "Song for My Father" and a short remake of "The Creator Has a Master Plan") are taken from a 1969 album with the mysterious "Little Rock" (a psuedonym for Pharoah Sanders) on tenor. A trio of numbers feature Thomas with an R&Bish band arranged by Pee Wee Ellis (originally issued as part of Blues and the Soulful Truth) and the remaining selections ("Disillusion Blues," the downbeat "Welcome to New York" and "Duke's Place") are from the vocalist's memorable meeting with altoist Johnny Hodges and Oliver Nelson's Orchestra. Throughout, Leon Thomas (a somewhat unique singer whose career has been rather aimless since this period) is heard in prime form. (Scott Yanow/AMG)

Leon Thomas - vocals, percussion
James Spaulding (A1,B4), Johnny Hodges (A2,A4,B1) - alto sax
Pee Wee Ellis (A3,A5,B3) - baritone sax, organ, marimba
Ernie Royal (A2,A4,B1), Snooky Young (A2,A4,B1), Marvin Stamm (A2,A4,B1), Randy Brecker (A2,A4,B1) - trumpet
Al Grey (A2,A4,B1) - flugelhorn, trumpet
Earl Hines (A2,A4,B1), Lonnie Liston Smith (A1,B4), Neal Creque (A3,A5,) - piano
David Spinozza (A2,B1), Larry Coryell (B3) - guitar
Cecil McBee (A1,B2,B4), Richard Davis (A2,B2,B4), Ron Carter (A2,A4,B1) - bass
Bernard "Pretty Purdie, Grady Tate (A2,A4,B1), Roy Haynes (A1, B2, B4) - drums
Richard Landrum (A1, B2, B4) - percussion

Recorded 1969-1973
Flying Dutchman Records FD-10164
1973

LINK

Lonnie Liston Smith - Astral Traveling

2008-03-01T22:38:00.030+01:00

One of Lonnie Liston Smith's most spiritual sessions, and a record that most clearly shows his roots with Pharoah Sanders! The vibe here is much more jazz based than on some of Lonnie's other records for Flying Dutchman -- with Smith playing as much acoustic piano as he does electric, using the former in long-spiralling lines that have a beautifully meditative quality, and which give the album a real Strata East-like sound. Mtume and Sonny Morgan play percussion, Cecil McBee plays bass, and the real star of the album may well be George Barron -- who turns in some beautiful Sonny Fortune-like work on tenor and soprano sax! Titles include "Let Us Go Into The House Of The Lord", "Rejuvenation", "Astral Traveling", "I Mani", "Aspirations", and "In Search Of Truth". (Dustygroove)

Lonnie Liston Smith - piano, electric piano
George Barron - soprano & tenor sax
Joe Beck - guitar
Cecil McBee - bass
David Lee, Jr. - drums
James Mtume , Sonny Morgan - congas, percussion
Badal Roy - tabla
Geeta Vashi - tambura

Flying Dutchman Records FD-10163
1973

Still available, buy at your local record store or here or here

Teresa Brewer & Count Basie - The Songs Of Bessie Smith

2008-02-28T22:10:00.059+01:00

With her campy charm and her somewhat nasal delivery, Teresa Brewer merged the world of swinging big band divas and '50s pop. The outcome wasn't always high art, and with the re-release of The Songs of Bessie Smith and The Cotton Connection, Brewer does little to distinguish herself from the ocean of big band-oriented pop that was prevalent during her time. Hanging a fresh approach to standards and light pop songs over the course of a career that produced more than 40 records was difficult, and there are many moments when the music is more than campy kitsch. Even given the enlistment of Count Basie and band, Brewer's square renditions of songs like "Gimme a Hogfoot (And a Bottle of Beer)" are simply laughable. (Nate Cavalieri/AMG)

Teresa Brewer - vocals
Count Basie - piano
Bobby Plater, Johnny Board, Eric Dixon, Curtis Peagler - saxophones
Frank Hooks, Henry Coker, William Hughes, Mel Wanzo - trombones
Paul Cohen, Steve Furtado, Georg Ninger, Waymon Reed, Sonny Cohn - trumpets
Freddie Green - guitar
Norman Keenan - bass
Sonny Payne - drums

Recorded February - April 1973
Flying Dutchman Records FD-10161
1973

Still available, buy at your local record store or here

Bobby Hackett - What A Wonderful World

2008-02-27T21:39:00.046+01:00

One of Hackett's last studio albums, the cornetist is heard in fine form with three different units ranging from seven to 15 pieces. Teresa Brewer's three vocals are typically unfortunate but Hackett, trombonist Vic Dickenson and clarinetist Johnny Mince keep the music (dominated by Dixieland standards) swinging. (Scott (Yanow, AMG)

Bobby Hackett - trumpet
Teresa Brewer - vocals
Johnny Mince, Hank Freeman, George Berg, Toots Mondello - saxophones
James Maxwell, Max Kaminsky, Mel Davis - trumpets
Warren Covington, Vic Dickenson, Urbie Green - trombones
Clarence Hutchenrider - clarinet
Hank Jones - piano
Art Ryerson - banjo, guitar
Richard Davis - bass
Ted Sommer - drums

Flying Dutchman Records FD-10159
1973

LINK (Can't find who contributed this one, so thanks to the unknown donator!)

Gato Barbieri - Bolivia

2008-02-26T23:11:00.000+01:00

In 1973, Argentinean saxophonist Gato Barbieri contemplated a move to a more commercially viable, accessible sound, one that appealed to both North and South American audiences. He moved from the jazz vanguard toward it's exotic center (and finally into the commercial world altogether) with a number of records, including this one, which explored the various rhythms, melodies, and textures of Afro-Cuban and Latin American sounds. Bolivia features Barbieri immediately prior to his Impulse recordings that resulted in the celebrated four-chapter Latin America series. Utilizing the talents of musicians as diverse as guitarist John Abercrombie, pianist Lonnie Liston Smith, drummer and percussionists Airto Moreira, M'tume, Bernard "Pretty" Purdie, Gene Golden, and Moulay Ali Hafid, as well as bassists Stanley and J.F. Jenny Clark. Barbieri's musical reach is everywhere here. There's the bolero-like romp of "Merceditas," where his normally raw-toned, feeling-centered playing is kicked up a couple notches into a frenetic, emotional tidal wave, and the haunting "Bolivia," full of shimmering percussion and pianistic glissandi courtesy of Smith. Barbieri's loping, spare playing is reminiscent of Coltrane stating of the melodic frames in "India." There is also the melody of the traditional "Eclypse" wedded to a gorgeous, sensual Cuban son-like melody "Michellina" (for Barbieri's Italian born wife). The final two of the album's five tracks are based in Argentinean folk forms associated with the tango, but are less formal, more open, and modally charged. Setting both "Ninos" and "Vidala Triste" in minor keys with open modal themes, improvisation happens -- á la Ornette Coleman -- in the heart of the melody, despite the intricate nature and complex time and key changes inherent in both tunes. Ultimately, Bolivia is a sensual, musically adept, and groundbreaking recording, which offered Barbieri a chance to come in from the avant-garde before heading back to the fringes with the Latin America series. A fine effort that is finally getting the notoriety it deserves. (Thom Jurek/AMG)

John Abercrombie - acoustic & electric guitar
Gato Barbieri - flute, tenor sax, vocals, hands
Stanley Clarke - bassGene Golden - conga
Moulay Ali Hafid - dumbek
Jean-François Jenny-Clark - bass
Airto Moreira - percussion - drums
James Mtume - conga
Lonnie Liston Smith - piano

Recorded in 1973
Flying Dutchman Records FD-10158
1973

Still available as MP3-download (combined with "Bolivia") on Amazon or iTunes

The Richard Davis Trio - Song For Wounded Knee

2008-02-25T22:52:00.017+01:00

Richard Davis - bass
Joe Beck - guitar
Jack DeJohnette - drums

Flying Dutchman Records FD-10157
1973

LINK (many thanks to Downlowsoul!)

Gato Barbieri - Under Fire

2008-02-24T22:32:00.035+01:00

Under Fire is Gato Barbieri in his early-'70s prime, when the Argentinean tenorman's transition from the avant-garde to exploring his South American continental routes still hadn't passed beyond the pale into flaccid fusion. He's joined by a pretty stellar band: his regular pianist Lonnie Liston Smith (before he fuzaked out), Airto Moreira and James Mtume on drums and percussion, the veteran Roy Haynes guesting on "El Parana," a young John Abercrombie on guitar and Stanley Clarke in his young lion-of-acoustic-bass phase.

Barbieri floats in the background of "El Parana" before kicking into the song proper at an accelerated tempo. More than improvising per se, his trademark was the emotionally charged sonic stamp he put on the melody (check the intro to the ballad "Yo Le Canto a la Luna," where Barbieri sounds like he's aiming to blow down walls) that made clichés like "Latin passion and fire" sound like, well, the real deal. It also provides a good counterpoint to the exuberant playing of the group -- Smith's solo shows the impact of his years with Pharoah Sanders, but it's Clarke and the rhythm section that really drive the piece while Abercrombie tosses in fills here and there.

"Antonico" features double-tracked Barbieri and the strongest improvisation (so far) at the end, while Brazilian songwriter Jorge Ben's "Maria Domingas" fades in with a full head of steam thanks to Abercrombie and Clarke dueling over Moreira and Mtume. Barbieri's echoed yelps give way to a deeply lyrical sax melody -- he does a lot of similar dynamic shifts here -- before Abercrombie's guitar comps re-start the up-tempo with Clarke effortlessly loping on as the octave-leaping anchor for Barbieri's searing statement of the theme. "El Sertao" opens with Barbieri squeaks over Smith's echoed Fender Rhodes trills, a Clarke foundation riff, and Abercrombie's comps before Barbieri enters full-force. The music stays light and buoyant before another downtempo shift builds to a climatic coda with Clarke shining.

Even the longer pieces are over before you know it so, although Under Fire doesn't quite match the charged intensity of Fenix or El Pampero, it leaves you wishing for two things. First, that there were outtakes to include here because you never come close to getting tired of the music -- double the music would mean double the fun. And what a shame that Carlos Santana, who was just entering his Devadip phase, never recorded with Barbieri at this point in their careers because that combination had the potential to create some pretty incredible music. (Don Snowden/AMG)

John Abercrombie - acoustic & electric guitar
Gato Barbieri - tenor sax
Stanley Clarke - bass
Moulay Ali Hafid - dumbek
Roy Haynes - drums
Airto Moreira - percussion, drums
James Mtume - conga
Lonnie Liston Smith - piano, electric piano

Recorded in New York City in 1971
Flying Dutchman Records FD-10156
1973

Still available as MP3-download (combined with "Bolivia") on Amazon or iTunes

Leon Thomas - Blues And The Soulful Truth

2008-02-23T22:13:00.032+01:00

The late Leon Thomas was a vocalist who has proven to be influential among jazz and blues saxophonists, guitarists, and pianists, who've admitted their debt to his innovation. However, though there are many jazz and blues vocalists who have benefited from his style as well, he is seldom acknowledged for his highly original -- and idiosyncratic -- contribution to them. One can only speculate as to why, though Thomas' full-throated style which employed everything from yodels and Joe Turner-ish growls and shouts may have been too wide for anyone to grasp in its entirety without overtly sounding as if they were aping him. At the time of this reissue (2001), the only other Leon Thomas titles available under his own leadership were a European best-of collection and the inferior live album (badly edited), Sunrise on Gold Mountain. Blues and the Soulful Truth is among the artist's most enduring performances, either as a leader or sideman. There is his trademark, otherworldly modal improvisation on Gabor Szabo's exotica classic "Gypsy Queen," the deep, greasy gutbucket, funky blues of "Let's Go Down to Lucy" and "L-O-V-E," and the traditional tune "C.C. Rider" -- though Thomas' arrangement is anything but -- among a lengthy, eight-song set. Perhaps the most revealing examples of his singularity is his ability to interpret a song like John Lee Hooker's "Boom, Boom" as funky, jazzed-out, angular R&B -- enabled mightily by the saxophone stylings of Pee Wee Ellis and the criminally under-appreciated pianism of Neal Creque and the wild violin of John Blair -- after coming out of a pop-oriented soul tune such as "Love Each Other," written with a groove prevalent among commercial jazz and R&B recordings of the time, both sounding sincere, authentic, and completely full of the singer's presence. Indeed, on the aforementioned "Gypsy Queen" or his own "Shape Your Mind to Die," Thomas inhabits his material fully, as if nobody ever had ever sung or heard these songs and would ever sing them again. Also, the production innovation and percussive touches many of these tunes have yet to be repeated (Pharoah Sanders, Thomas' previous employer who introduced the singer to the world, adopted some of the artist's percussive techniques permanently), like the firecrackers raining against Airto Moreira's drums and Larry Coryell's ethereal guitar riffs, or the use of a "prepared" vibraphone and coat hangers in "China Doll," as they slip against the singer's wail and moan, and the elegant stick and brushwork of Bernard "Pretty" Purdie. In sum, Blues and the Soulful Truth (Which does echo Oliver Nelson's Blues and the Abstract Truth in vision as well as title), is a tour through the depth and dimension of Thomas' mind-blowing abilities as a singer in a wide range of African American musical traditions, proving at the time, and now again, that he was far more than a free jazz singer. Indeed, the artist not only was a stylist of originality, but a composer, arranger, ethnomusicologist, and a singer of startling beauty and power -- no matter the song. This album is a singular achievement, even among the fine recordings in Thomas' own catalogue, and should be considered first by those curious enough to look into his work -- you won't be disappointed no matter what you find, but this one will take you places you never anticipated going. (Thom Jurek/AMG)

John Blair - violin
Stanley Clarke - bass
Larry Coryell - electric guitar
Neal Creque - organ, piano, electric piano
Cornell Dupree - electric guitar
John Eckert - trombone
Gordon Edwards - electric bass
Pee Wee Ellis - organ, piano, arranger, conductor, marimba, baritone sax, soprano sax, tenor sax
Baba Feme - percussion, conga
Gene Golden - conga
Dick Griffin - trumpet
Lani Groves - vocals
Carl Hall - vocals
Hilda Harris - vocals
Jesse Kilpatrick - drums
Airto Moreira - drums
Don Pate - bass, electric bass
Cecil Payne - baritone sax
Bernard "Pretty" Purdie - drums
Albertine Robinson - bass, vocals
Leon Thomas - percussion, arranger, vocals, bottle, noise
Tasha Thomas vocals

Recorded November 13, 1972

Flying Dutchman FD-10155
1972

Still available, buy at your local record store or here or here

Bernard "Pretty" Purdie - Soul Is... Pretty Purdie

2008-02-22T21:43:00.052+01:00

A wild one! After the straight hard funk of some of his earlier recordings as a leader, Bernard "Pretty" Purdie breaks out here in a compelling album of soul jazz tracks done in a number of styles. The approach is sort of big studio funk -- with some cuts that have a harder sound, and others that open up in a groove that's gotten a lot more complicated than the early days. Horace Ott arranges, conducts, and plays electric piano, and Richard Tee plays organ on a number of cuts -- but the real charmer is Purdie, whose work on drums is always great! Funky tracks include "Heavy Soul Slinger", a medley of "What's Goin On" and Ain't No Sunshine", and "Good Livin". Also features a cover of Aretha Franklin's "Day Dreamin", plus the extended "Song For Aretha", which is Purdie's extended tribute to Aretha (with whom he'd recorded), and one that features a very strange monologue! (Dustygroove)

Sanford Allen - violin
Julien Barber - violin
Jay Berliner - guitar
Alfred Brown - viola
Charlie Brown - tenor sax
Garnett Brown - trombone
Arthur Clarke - baritone sax
Selwart Clarke - alto clarinet
Noel DaCosta - violin
Lloyd Davis - guitar
Gayle Dixon - violin
Cornell Dupree - guitar
Eileen Gilbert - vocals
Paul Griffin - organ, keyboards
Carl Hall - vocals
Hilda Harris - vocals
Gerald Jemmott - bass
Ronald Lipscomb - cello
Ralph MacDonald - conductor, conga
Paul Martinez - bass, electric bass
Barbara Massey - vocals
Danny Moore - trumpet
Kermit Moore - cello
Billy Nichols - guitar
Horace Ott - keyboards, electric piano
George Powell - percussion
Gordon "Specs" Powell - percussion
Jimmy Powell - alto sax
Seldon Powell - alto sax
Norman Pride - percussion, bongos, conga
Bernard "Pretty" Purdie - drums, vocals, producer
Ernie Royal - trumpet
Maretha Stewart - vocals
Richard Tee - organ, keyboards
Harold Vick - tenor sax

Flying Dutchman Records FD-10154
1972

LINK (Milk Crate Brakes)

Gil Scott-Heron - Free Will

2008-02-21T12:22:00.000+01:00

One of the rarest Gil Scott-Heron albums! The record is a wonderful example of Gil's work in two different styles -- sweet mellow jazzy soul, and harder heavier protest poetry. Side one features classic jazzy tracks recorded with Brian Jackson -- like "Free Will", "The Middle Of Your Days", "Speed Kills", and "Did You Hear What They Said?". Side two moves over to a much sparer sound -- and has Gil reciting some of his poetry with very heavy percussion, and a very righteous approach. The wisdom and knowledge of those pieces is a perfect example of the kinds of issues that were haunting black America in the early 70s -- especially on the tracks "No Knock", "The King Alfred Plan", and "Sex Education: Ghetto Style". (Dustygroove)

Gil Scott-Heron - guitar, piano, vocals
Brian Jackson - piano, elecric piano, vocals
Hubert Laws - flute, piccolo
David Spinozza - guitar
Gerald Jemmott - bass
Bernard "Pretty" Purdie - drums
Eddie Knowles - percussion
Charlie Saunders - percussion
Horace Ott - arranger, conductor

Recorded on March 2 and 3, 1972 at RCA Studios in New York City
Flying Dutchman Records FD-10153
1972

Still available, but at your local record store or here or here

Bob Thiele And His New Happy Times Orchestra - Those Were The Days

2008-02-20T11:44:00.001+01:00

Arranged And Conducted by Glenn Osser
Vocals by Teresa Brewer and The Rhythm Girls

Flying Dutchman Records FD-10152
1972

LINK (Many thanks to Robert!)

Gato Barbieri - El Pampero

2008-02-19T11:25:00.013+01:00

This record chronicles a flavorful and unforgettable night during a live show recorded in Montreux, Switzerland. Gato Barbieri leads his fantastic group of musical friends with hurricane-like flair on his tenor sax. At times surreal and mind-boggling, Barbieri shows just how far one can let the music go to break the borders of jazz, sending his music into fresh and uncharted territory. Barbieri's chops and melodic sweeps are daring and bold, while the back crew brings vitality and utter life to the music, from the record's beginning to its very end. Within the first tune, "El Pampero," Barbieri plays a home tone riff over and over, changing only the keys of the song, with improvisation in between that gets the audience into dancing. Lonnie Liston Smith plays with great sweeping ease on the piano, while percussionists Pretty Purdie, Na-Na, and Sonny Morgan send their rhythms into soaring heights. A wondrous sense of dynamics is displayed here and throughout the record. The call and response between Na-Na and Morgan is a featured key ingredient, keeping the mood of the percussion section fluid and tight. Yes, the listeners were mesmerized, and one can feel lifted in spirit again with each playing of this recording. Perhaps the focus and direction of the music, which latched on greatly to the home key and initial melody, gives the music a more solid foundation. This was certainly a special night in Switzerland, in which Barbieri proudly shared his music, credited in a natural more than economic fashion, breathing spirit into the audience rather than taking money. For this performance was priceless, a can't-miss that left audience members bedazzled, talking among themselves years later, saying, "Do you remember when?...I was there!" With passion and faith in music, this group of musicians thrived here in this recorded moment, to demonstrate art, haunting art, vivid imagination, and victory in art. (Shawn M. Haney/AMG)

Gato Barbieri - arranger, tenor sax

Lonnie Liston Smith - piano
Chuck Rainey - bass, electric bass
Bernard "Pretty" Purdie - drums
Sonny Morgan - conga
Naná Vasconcelos - percussion, berimbau

Recorded live in Montreux Jun 18, 1971
Flying Dutchman Records FD 10151
1972

Still available, buy at your local record store or here or here

Oliver Nelson - Swiss Suite

2008-02-18T16:38:00.062+01:00

A killer set of searing soulful spiritual material from Oliver Nelson -- and one of his best albums of the 70s! Forget the stupid "Swiss" in the title, which might make you think that this is some snoozy Euro session -- because the record's filled with great work by players like Pretty Purdie, Stanley Cowell, Harry Beckett, Sonny Morgan, and Charles Tolliver. Gato Barbieri and Eddie Cleanhead Vinson also join Nelson on the extended title track, which runs for 27 minutes, and Vinson is especially great, and in a very searing solo mood on alto sax. (We always love his playing like this, and wonder why he never made more albums in this mode.) Side two features 3 classic Nelson compositions -- "Stolen Moments", "Black, Brown, & Beautiful", and "Blues & The Abstract Truth" -- all done in very nice versions. (Dustygroove)

Oliver Nelson - alto sax, arranger, conductor
Charles Tolliver - trumpet, flugelhorn
Danny Moore, Richie Cole, Bernt Stean, Harry Beckett - trumpet
Buddy Baker, Bertil Strandberg, Donald Beightol, C.J. Shilby, Monte Holz, John Thomas - trombone
Jim Nissen - bass trombone
Eddie "Cleanhead" Vinson, Jesper Thilo, Ozren Depolo - alto sax
Gato Barbieri, Michael Urbaniak, Bob Sydor - tenor sax
Steve Stevenson - baritone sax
Stanley Cowell - piano
Victor Gaskin, Hugo Rasmussen - bass
Bernard "Pretty" Purdie - drums
Bosko Petrovic - drums, vibraphone, tarabooka,
Nana Vasconcelos - berimbau
Sonny Morgan - congas

Recorded June 18, 1971 at Montreux Jazz Festival
Flying Dutchman FD-10149
1971

Still available, buy at your local record store or here or here

Harold Alexander - Are You Ready?

2008-02-17T19:23:00.002+01:00

Recorded live at the Montreux Jazz Festival with a stellar backing band including bassist Richard Davis, keyboardist Neal Creque, and drummer Bernard "Pretty" Purdie, Are You Ready? further expands the cosmic jazz-funk horizons established by Harold Alexander's seminal Sunshine Man. Comprising three epic performances, including a lively rendition of the stalwart "Watermelon Man" and the side-long funk jam "Quick City Revisited," the album burns like a slow fuse-- Alexander doesn't create grooves so much as he inhabits them, exploring their nooks and crannies to embrace the full scope of their inherent possibilities. (Jason Ankeny/AMG)

Harold Alexander - flute, soprano sax
Cornell Dupree - electric guitar
Neal Creque - keyboards
Victor Gaskin - bass
David Lee, jr. - drums

#1 & 2 recorded live at the Montreux Jazz Festival 1971
Flying Dutchman Records FD-10148
1972

LINK (thanks to My Jazz World)

Earl Hines - The Mighty Fatha

2008-02-16T17:46:00.000+01:00

This two-CD set [Spontaneous Explorations on Red Baron, 1994] contains a pair of very exciting sessions by the great pianist Earl Hines. The earlier set, recorded the same day as his historic "comeback" concert at the Little Theater, was Hines's first solo session since 1956 and is full of stunning performances. The later session finds Hines, a veteran of the 1920s, sounding quite comfortable in a trio with two young modernists: bassist Richard Davis and drummer Elvin Jones. The pianist, in fact, sounds quite youthful throughout these classic recordings, taking wild chances and constantly pushing himself. (Scott Yanow/AMG)

This double-LP contains two albums previously issued on Thiele's short-lived label Contact: "Spontaneous Explorations" (1964)* and "Here Comes Earl 'Fatha' Hines" (1966)

Earl Hines - piano
Richard Davis - bass
Elvin Jones - drums

Recorded March 7, 1964* & January 17, 1966
*Earl Hines solo session
Flying Dutchman Records FD-10147
1973

The material was later reissued on CD as "Spontaneous Explorations" on Red Baron (1993) and "The Indispensable Earl Hines, Vol. 5-6: The Bob Thiele Sessions" on RCA (1995), out of print as well.

LINK (found on Soulseek)
ALT. LINK (MediaFire)

Lester Young & Coleman Hawkins - Classic Tenors

2008-02-15T17:14:00.000+01:00

Al Casey - guitar
Bill Coleman - trumpet
Andy Fitzgerald - clarinet
Freddie Green - guitar
Al Hall - bass
Coleman Hawkins - tenor sax
Eddie Heywood - piano
Jo Jones - drums
Ellis Larkins - piano
Shelly Manne - drums
Oscar Pettiford bass
Dicky Wells - trombone
Lester Young - tenor sax

A1 - A4 Recorded Dec.23 1943
A5, A6, B5, B6 Recorded Dec.8 1943
B1 - B4 Recorded Dec.21 1943

Flying Dutchman Records FD-10146
1971

LINK (found on Soulseek)

Harold Alexander - Sunshine Man

2008-02-14T16:54:00.000+01:00

Harold Alexander's Sunshine Man exists somewhere in the space between jazz-funk and free improvisation. Produced by Bob Thiele, the record combines Alexander's intricate, abstract melodies with the wickedly tight drumming of the great Bernard "Pretty" Purdie to create music with both profoundly spiritual and resolutely physical dimensions. Each of the record's six long songs shun direct paths from points A to B, instead coveting the eccentric twists and hairpin turns of roads less traveled, but the cosmic reach of Alexander's flute and soprano saxophone never dwarfs the rock-solid support of Purdie and keyboardist Neal Creque. Sunshine Man is the rare record that's both far-out and funky. (Jason Ankeny/AMG)

Harold Alexander - flute, soprano sax
Neal Creque - keyboards
Richard Davis - bass
Bernard "Pretty" Purdie - drums
Richard Landrum - percussion

Recorded May 27-28, 1971
Flying Dutchman FD-10145
1971

LINK (thanks to OufAr KhAn)

Gato Barbieri - Fenix

2008-02-13T13:39:00.000+01:00

One of Gato's best! The record's neither too out, nor too poppy -- and it has Gato playing with that incredible raspy tone of his, working over modal grooves laid down by a hip group that includes Lonnie Liston Smith on acoustic and electric pianos, Ron Carter on bass, Lennie White on drums, and additional percussion on most tracks. The tracks have a Latin finish to them, but they've also got a strongly pronounced soul jazz vibe -- something that's missing from lots of Gato's other work, and which feels a lot here like some of Pharoah Sander's best work for Impulse. Titles include "Tupac Amaru", "Bahia", "Falsa Bahiana", and "Carnavalito". (Dustygroove)

Gato Barbieri - tenor sax
Lonnie Liston Smith - piano, electric piano
Joe Beck - guitar, electric, guitar
Ron Carter - bass, electric bass
Lenny White - drums
Naná Vasconcelos - conga, berimbau
Gene Golden - bongos, conga

Apr 27, 1971-Apr 28, 1971
Flying Dutchman FD-10144
1971

Still available, buy at your local record store or here or here

Gil Scott-Heron - Pieces Of A Man

2008-02-12T13:06:00.000+01:00

After decades of influencing everyone from jazz musicians to hip-hop stars, Pieces of a Man set a standard for vocal artistry and political awareness that few musicians will ever match. Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists, and nowhere is his style more powerful than on the classic "The Revolution Will Not Be Televised." Even though the media -- the very entity attacked in this song -- has used, reused, and recontextualized the song and its title so many times, its message is so strong that it has become almost impossible to co-opt. Musically, the track created a formula that modern hip-hop would follow for years to come: bare-bones arrangements featuring pounding basslines and stripped-down drumbeats. Although the song features plenty of outdated references to everything from Spiro Agnew and Jim Webb to The Beverly Hillbillies, the force of Scott-Heron's well-directed anger makes the song timeless. More than just a spoken word poet, Scott-Heron was also a uniquely gifted vocalist. On tracks like the reflective "I Think I'll Call It Morning" and the title track, Scott-Heron's voice is complemented perfectly by the soulful keyboards of Brian Jackson. On "Lady Day and John Coltrane," he not only celebrates jazz legends of the past in his words but in his vocal performance, one that is filled with enough soul and innovation to make Coltrane and Billie Holiday nod their heads in approval. More than three decades after its release, Pieces of a Man is just as -- if not more -- powerful and influential today as it was the day it was released. (Jon Azpiri/AMG)

Gil Scott-Heron - vocals, guitar, piano
Brian Jackson - piano, electric piano
Hubert Laws - flute, sax
Burt Jones - guitar, electric guitar
Ron Carter - bass, electric bas
Bernard "Pretty" Purdie - drums
Johnny Pate - conductor

Recorded April 19 & 20, 1971
Flying Dutchman Records FD-10143
1971

Still available, buy at your local record store or here or here

Leon Thomas - In Berlin

2008-02-11T12:47:00.000+01:00

Great stuff from Leon Thomas' classic period -- and a 1970 recording of a concert in Germany that features work by Oliver Nelson on alto sax. The rest of the group's a quintet, with piano, bass, conga, and drums -- but the real star of the set is Leon Thomas, who again displays amazing vocal techniques that are at once soulful and spiritual! Tracks include "The Creator Has A Master Plan" and "Pharaoh's Tune (The Journey)", but he also goes a bit more out on the track "Umbo Weti", and sings more straight bebop on "Straight No Chaser". (Dustygroove)

Leon Thomas - vocal & percussion
Oliver Nelson - alto sax
Arthur Sterling - piano
Günter Lenz - bass
Lex Humphries - drums
Sonny Morgan - congas

Flying Dutchman Records FD-10142
1971

LINK (Blog-O-Blog)

Angela Davis - Soul And Soledad

2008-02-10T11:25:00.000+01:00

In the fall of 1970 Angela Davis was placed on the FBI's Ten Most Wanted List when she was charged with being an accessory in the attempted escape of prisoners from the Marin County (California) Courthouse. In that escape attempt, a white judge and four blacks were killed, among them, Jonathan Jackson, a close friend of Angela Davis. She was accused of supplying him with some of the weapons used in the shoot-out.

Prior to that Miss Davis had become a cause celebre when the State of California attempted to stop her from teaching a philosophy course at the University of California in Los Angeles because of her membership in the Communist Party.

Today her determined, strong face wreathed by a high, soft Afro is familiar to practically every American. The major news media has expended many words on Miss Davis, recounting her academic career as a student of philosophy and of the noted philosopher, Herbert Marcuse, and as a student in Germany. The news media has been perplexed by Angela Davis, wondering why such a brilliant and well - educated woman would become a revolutionary. And, the news media could never answer its question because it never really talked with Miss Davis herself. Because it didn't, the public was deprived of the opportunity to know for itself what Angela Davis thinks and believes.

This recording fills a glaring deficiency in the case of Angela Davis. Interviewed here by Art Seigner, a San Francisco radio commentator, Miss Davis responds with a concise summary of her political views. And, the recording is of particular interest, recorder as it was in June of 1970, a mere two months before the Marin County episode. In the interview, she almost anticipates what was to happen to her... (Julis Lester/Ncat.edu)

Continue reading here, where you can also stream the whole album (RealPlayer required)

Angela Davis interviewed by San Francisco radio cmmentator Art Seigner

Both sides recorded in June 1970
Flying Dutchman Records FD-10141
1971

ALT. LINK (MP3, found on Soulseek)

Mike Lipskin With Willie "The Lion" Smith - California Here I Come

2008-02-09T11:03:00.002+01:00

Willie "The Lion" Smith was a legend among the Harlem stride pianists, on this long unavailable LP he shares a few pointers with protégé Mike Lipskin. The title track is at first dominated by their conversation over the music, but their romping duo rendition simulates what an old-fashioned cutting contest might have sounded like. Their duets of "Carolina Shout" and "The Sheik of Araby" are equally enjoyable. Both pianists are represented on solo tracks and Lipskin fronts a quartet with underrated clarinetist Stan Monteiro, the odd choice of electric bassist Chuck Rainey, and the surprising inclusion of drummer Elvin Jones, who plays a duo on brushes with Lipskin on "Snowy Mornin' Blues." Overdue for appearance on CD, but unlikely with the death of producer Bob Thiele in 1995. (Ken Dryden, AMG)

Mike Lipskin - piano, vocals
Willie "The Lion" Smith - piano
Stan Monteiro - clarinet
Chuck Rainey - bass
Elvin Jones - drums

Flying Dutchman Records FD-10140
1971

LINK (Much respect to Robert!)

Larry Coryell - Barefoot Boy

2008-02-08T17:22:00.002+01:00

Produced by Bob Thiele and recorded at Electric Lady studios with engineer Eddie Kramer, Barefoot Boy is one of Larry Coryell's finest recordings as a leader. "Gypsy Queen" was recorded prior to bassist Mervin Bronson's arrival at the studio, and features the percussion section locking into a groove over which Coryell lays down a riff and Steve Marcus cuts loose with a fiery soprano sax solo. When it's his turn to solo on this opening number, Coryell turns up the heat, sounding like a cross between Jimi Hendrix and Sonny Sharrock. (Coryell played with Sharrock on Herbie Mann's Memphis Underground.) "The Great Escape" finds Coryell cooking over a bass and percussion groove, with Marcus on tenor sax. "Call to the Higher Consciousness" is a side-long 20-minute jam in which all the players take a ride, with Marcus once again cooking on the soprano sax. Roy Haynes is superb throughout, working in tandem with the percussionists to keep the music moving. This recording is a noteworthy example of the possibilities inherent in the early days of fusion, blending the electrifying energy of rock with the improvisational excitement of jazz. (Jim Newsom/AMG)

Larry Coryell - guitar
Steve Marcus - soprano saxophone, tenor saxophone
Lawrence Killian - conga
Roy Haynes - drums
Harry Wilkinson - percussion
Mervin Bronson - bass
Michael Mandel - piano

Flying Dutchman Records FD-10139
1971

LINK1 LINK 2 (OGG, originally posted on jazz-rock-fusion.blogspot)

Alt. Link (MP3, found on Soulseek)

Count Basie - Afrique

2008-02-07T16:46:00.000+01:00

One of the hippest records that Basie ever cut -- thanks to some great arrangements and backings by Oliver Nelson! Nelson's working in the same groovy mode he used with Jimmy Smith's excellent Verve sessions -- and although the record lacks the strong lead soloist that made the Smith sessions so special, the players do a great job of trading off solos over the enigmatic backings crafted by Nelson. A number of the tracks have a Latin flair to them -- and work on electric bass grooves the set farther than the usual Basie one. In fact, the whole album's really a lot more like an Oliver Nelson album from the time than a Basie set, which is ok by us! Includes versions of Albert Ayler's "Love Flower" and Pharoah Sanders' "Japan", plus originals by Nelson like "Afrique", "Kilimanjaro", and "African Sunrise". (Dustygroove)

Bill Adkins - alto sax
Bob Ashton - alto, baritone & tenor sax, flute
Count Basie - organ, piano
Paul Cohen - trumpet, flugelhorn
George Cohn - trumpet, flugelhorn
Eddie "Lockjaw" Davis - tenor sax
Eric Dixon - flute, tenor sax
Steven Galloway - trombone
Freddie Green - guitar
Bill Hughes - trombone
Harold Jones - drums
Norman Keenan - bass
Richard Landrum - percussion
Hubert Laws - flute
Buddy Lucas - harmonica
Pete Minger - trumpet, flugelhorn
Sonny Morgan - bongos
Oliver Nelson - arranger, conductor, tenor sax
Bobby Plater - alto sax, fluteCecil Payne - baritone sax, flute
Waymon Reed - trumpet, flugelhorn
Warren Smith, Jr. - drums, percussion, vibes
Mel Wanzo - trombone
John Watson - trombone
John Williams - bass

Recorded on December 22 & 23, 1970
Flying Dutchman Records FD-10138
1971

LINK (thanks to Ile Oxumare)

Will Jordan - The Great Comedy Album Starring Spiro T. Agnew

2008-02-06T16:26:00.001+01:00

Okay, so I know I should keep my political opinions out of a comedy page, and I do support freedom of expression, but this record really makes Will Jordan come off like an idiot. It's a collection of speeches by Agnew with a laugh track (an annoying one which repeats every third laugh or so) indiscriminately filling every pause. Sure, you get some yucks, but you also have guffaws greeting such lines as, "More of our young people are alienated than ever before. More are lonely. More are inclined to drop out of society [titters]. More are inclined toward violence. This is not only my assessment, it's the assessment of our young people as well [howls of derisive laughter]." If that's funny, I don't get it. At least Jordan could have maybe done some creative editing or a mock interview record to create humor, but as it stands, this record is really a waste for anyone who doesn't have a lingering and visceral dislike of Agnew. I guess at the time it was really pushing the limits of establishment bashing, but like most political humor, it's ho-hum today. (The Idiot's Culture)

Flying Dutchman FD-10137
1971

LINK (Cheers Robert!)

Leon Thomas & H. Rap Brown - SNCC’s Rap

2008-02-05T16:10:00.000+01:00

H. Rap Brown - voice

Leon Thomas tracks feature:

Leon Thomas, vocal
Harold "Jazzbo" Alexander - flute, soprano sax
Lonnie Liston Smith - piano
Jimmy Phillips - baritone sax
Alvin Queen - drums
Richard Pablo Landrum, conga
Sonny Morgan - bongos

H. Rap Brown recorded live at Long Island University, 22 October 1969
Leon Thomas recorded live at Fillmore East, 15 March 1970, NYC

Flying Dutchman Records FD-10136
1970

LINK (many thanks to Ile Oxumare)

Chico Hamilton - El Exigente/The Demanding One

2008-02-04T15:58:00.000+01:00

Chico Hamilton - Drums
Arnie Lawrence - Sax (Alto)
Bob Mann - Guitar
Steve Swallow - Bass

Flying Dutchman FD-10135
1970

LINK (thanks to Soundologial Investimigations)

Oliver Nelson And The "Berlin Dreamband" - Berlin Dialogue For Orchestra

2008-02-03T21:30:00.000+01:00

Oliver Nelson wrote two four-part suites specifically to be played by the Berlin Dream Band in 1970: "Berlin Dialogue for Orchestra" and "Impressions of Berlin." The only "names" among the personnel are trumpeter Carmell Jones, trombonist Slide Hampton and Ake Persson and altoist Leo Wright; Nelson is also featured a bit on alto. None of the individual pieces caught on but taken as a whole, this out-of-print LP should please big-band collectors and serves as a good example of Oliver Nelson's writing style. (Scott Yanow/AMG)

Oliver Nelson - arranger, conductor, alto sax
Milo Pavlovic, Ronny Simmonds, Carmell Jones, Harry Stamp, Manfred Stoppachier - trumpets
Slide Hampton, Barry Ross, Ake Persson, Charles Orieux, Kurt Masnick - trombones
Leo Wright, Klaus Marmulla - alto sax
Adi Feuerstien, Rolf Romer - tenor sax
Jan Konopasek - baritone sax
Freddy L'Host - clarinet
Kai Rautenberg - piano
Hajo Lange - bass
Dai Bowen, Heinz Niemeyer - percussion

Recorded at Berliner Jazztage, Berlin, November 5, 1970
Flying Dutchman Records FD-10134
1971

MP3 @320k or FLAC (originally posted on Call It Anything)

Steve Allen - Soulful Brass #3

2008-02-02T21:07:00.003+01:00

Steve Allen's first two volumes in his Soulful Brass series of LPs were collaborations with noted arranger Oliver Nelson, but they were handicapped by his insistence on performing on inferior electric keyboards on most of the tracks. Nelson was replaced by Tom Scott for this third volume, with the results taking on a more rockish sound. Unfortunately, Allen is still playing the same wimpy keyboards, even though they do fit in better with Scott's charts than Nelson's. But none of the performances of big band favorites like "Take the 'A' Train," "Cherokee," "Begin the Beguine," or "Flying Home" is in the least bit memorable. Neither are either of Allen's two originals. So Nat Hentoff's laudatory liner notes need to be taken with a proverbial grain of salt, as this badly dated music can be easily bypassed by the most devoted fans of Steve Allen. (Ken Dryden/AMG)

Steve Allen - keyboards
Tom Scott - arranger
no other musicians credited

Flying Dutchman Records FD-10133
1971

LINK (Arkadin's Ark)

Leon Thomas - The Leon Thomas Album

2008-02-01T20:46:00.000+01:00

On the follow-up to the mind-blowing Spirits Known and Unknown, singer, multi-instrumentalist, arranger, and composer Leon Thomas decided to take a different track. Far from the sparely orchestrated ensembles of the previous works, Thomas loaded this set with jazz luminaries such as Roy Haynes and Billy Cobham, Billy Harper, Donald Smith, James Spaulding, Sonny Morgan, Ernie Royal, and many others as well as a backing chorus of female voices. Side one is the up-tempo jazz ride, as Thomas and company rip through a host of his own tunes, such as the scatted post-bop of "I Am" and the nearly bar-walking blues of "Come Along." But the side is graced by an absolutely stunning read of Milt Jackson's "Bag's Groove," with Harper leading a five-horn section. The real gem on the album is "Pharaoh's Tune (The Journey)," which comprises all of side two. After setting up a live audience with a narrative laced with sound effects from the vanguard jazzers, the tune develops its groove about four minutes in and the bells and yodel come out, and from here it's Thomas at his improvisational best as both a singer and a bandleader. Everybody here is inspired, especially the two drummers. Harper, Spaulding, and Smith weave snake-charming lines around one another, and the entire thing just lifts off and never returns. It's a breathtaking ride made all the more so by the long, jazzed-out setup of side one. Why this guy wasn't huge is a mystery. (Thom Jurek/AMG)

Leon Thomas - flute, percussion, vocals
Billy Harper - tenor sax
Howard Johnson - baritone sax
Jerome Richardson - alto sax
James Spaulding - flute
Donald Smith - flute
Ernie Royal - trumpet
Arthur Sterling - piano
Bob Cunningham - bass
John Williams - bass
Billy Cobham - drums
Roy Haynes - drums
Richard Landrum - percussion
Gene Golden - percussion
Sonny Morgan - percussion
Oliver Nelson - arranger, conductor

Flying Dutchman Records FDS-132
1970

LINK (Orgy In Rhythm)

Gil Scott-Heron - Small Talk At 125th And Lenox

2008-01-31T20:29:00.000+01:00

Gil Scott-Heron's first album -- and his angriest! Unlike some of Gil's other albums -- which have a sweet jazzy vibe and a mix of mellow soul styles -- this one's a lot rawer, and features Gil rapping loud over very heavy percussion backing. All the work is his own, and the album's a showcase for his brilliant protest poetry -- the most famous example of which is included in "The Revolution Will Not Be Televised", which leads off the album with an especially righteous groove! The set's a key link in the African American musical tradition of the 20th century -- and proof that the underground, while not always afforded a good place in the broadcast markets of the US, could always burst forth in the "narrowcast" medium of recorded music. A landmark album -- one we like even better than the early work by the Last Poets -- and great all the way through! Tracks include "Whitey On The Moon", "Who'll Pay Reparations On My Soul?", "The Subject Was Faggots", and "Brother". (Dustygroove)

Gil Scott-Heron - guitar, piano vocals
David Barnes - percussion, vocals (#7)
Charlie Saunders, Eddie Knowles - congas

Recorded in 1970, New York City
Flying Dutchman Records FDS-131
1970

Still available, buy at your local record store or here or here

Oliver Nelson & Carl B. Strokes - The Mayor And The People

2008-01-30T16:18:00.000+01:00

In 1967 Carl B. Stokes was the first elected black mayor of an American city, Cleveland, Ohio. The first side of this album features a highly political press conference that touches on issues of the time, The Black Panthers, genocide and racism. On the second side is a beautiful seven-movement suite of poetry and spirituals featuring narration again from Carl B. Stoke. (El Reza)

Carl B. Stokes - recitation
Oliver Nelson - arranger, conductor with unknown orchestra probably including Hubert Laws on flute.

Flying Dutchman Records FDS-130
1970

LINK (Reza)

John Carter & Bobby Bradford - Self Determination Music

2008-01-28T15:16:00.000+01:00

A landmark recording, one of a handful of early documents of the avant garde LA scene, featuring a nimble quartet headed up by the inventive frontline of John Carter on reeds and Bobby Bradford on trumpet, over the fluid rhythm team of Tom Williamson on bass and Chicago expatriate Bruz Freeman on drums. Carter and Bradford's energetic approach followed its own line of development, much in the way that other small cells of improvisors were developing their own take on the "new thing" in the post-Trane/Coleman environment of the early 70s throughout the country. The compositions unfold in a way that implies both multilinear improvisation and composed events, but blurs the line between the two, all the while played with a great deal of fire and few of the intellectual abstractions of other free players. 4 pieces: "The Sunday Afternoon Jazz Blues Society", "The Eye Of The Storm", "Loneliness" and "Encounter". (Dustygroove)

John Carter - reeds
Bobby Bradford - trumpet
Tom Williamson - bass
Bruz Freeman - drums

Flying Dutchman Records FDS-128
1970

LINK (Inconstant Sol)

Gunter Hampel - The 8th Of July 1969

2008-01-26T13:33:00.000+01:00

Something of a landmark in late-'60s free jazz and an early collaboration between American members of the AACM (as represented by Braxton and McCall) and the European jazz avant-garde, the album issued under Gunter Hampel's name holds up quite well in retrospect. Despite his nominal affiliation with free jazz, Hampel never abandoned melody, and the opening track, "We Move," is a rollicking affair that features -- as does much of the record -- the superbly evocative vocals of the late Jeanne Lee. "Morning Song" develops into a more ferocious piece, with Braxton tearing things up in overdrive mode, propelled by the incendiary rhythm team of McCall and Gorter. The long "Crepuscule," in contrast, is quietly brooding, opening with a subdued, grumbling bass clarinet trio and generally staying within sonic areas involving soft breaths, sighs, and moans. Though it works up a strong head of steam in its latter third, this stirring performance points out the fallacy of free jazzers doing nothing but screaming and hollering, and nods in the direction of "quiet improv" experiments of 20 to 30 years hence. A fascinating and important historical document and a fine listen in its own right, The 8th of July 1969 is a date to remember. (Brian Olewnick/AMG)

Gunter Hampel - piano, bass clarinet, vibraphone
Anthony Braxton - alto & soprano sax, bass & contrabass clarinet
Willem Breuker - alto sax, bass clarinet
Arjen Gorter - bass, double bass
Steve McCall - drums
Jeanne Lee - vocals

Recorded on July 8, 1969, Studio Andre Van De Water, Nederhorst, Holland
Flying Dutchman Records FDS-126

Still available (with bonus tracks) on Hampel's label Birth, click here

Jan Garbarek - George Russell Presents The Esoteric Circle

2008-01-25T13:06:00.000+01:00

While George Russell's name appears at the top of the cover, this isn't a recording by him or of his compositions, but rather produced by him. The group is of the then young Norwegian ensemble the Esoteric Circle, with members who'd all go on to later success with the ECM label, though their playing here is considerably more strident than anything they'd cut for Mannfred Eicher. We've always associated Terje Rypdal and Jan Garbarek with softer tones and a sound that bridges a more spiritual approach with the sometimes colder ECM sound, but here their playing is considerably more extroverted, with a fairly energetic out approach that takes off from modal playing and launches into an all out free fest. Arild Andersen and Jon Christensen provide a fluid base for their explorations on 9 numbers, including "Traneflight", "Esoteric Circle", "SAS 644", "Karin's Mode" and "Breeze Ending". (Dustygroove)

Jan Garbarek - tenor sax
Terje Rypdal - guitar
Arild Anderson - bass
Jon Christensen - drums

Produced by George Russell
Recorded in Oslo, Norway in 1969

Flying Dutchman Records FD-10125
1971

Still available, buy at your local record store or here (Amazon MP3-Download)

George Russell - Electronic Sonata For Souls Loved By Nature (1968)

2008-01-24T12:35:00.001+01:00

Composer, theorist, arranger, and pianist George Russell debuted his 14-part master composition "Electronic Sonata for Souls Loved By Nature" on April 28, 1969, at a concert in Norway. The ambitious, elaborate work blended bebop, free, Asian, and blues elements, as well as electronic effects, and mixed live performance with tape and vocal segments. It was a testimony to the prowess of trumpeter Manfred Schoof, tenor saxophonist Jan Garbarek, guitarist Terje Rypdal, bassist Red Mitchell, and drummer John Christensen that they weren't overwhelmed by the sheer weight of the experience. The digital mastering enables listeners to fully hear the disparate styles converging, and understand just how advanced Russell's concepts were, particularly for the time. While not everything worked, the composition ranks alongside Ornette Coleman's "Free Jazz" as one of jazz's finest, most adventurous pieces. (Ron Wynn, AMG)

George Russell - piano
Jan Garbarek - tenor sax
Manfred Schoof - trumpet
Terje Rypdal - electric guitar
Jon Christensen - drums
Red Mitchell - bass

Originally written in 1968 and first recorded at the Sonja Henie/Neils Onstad Center Oslo April 1969, subsequently rereleased on Strata-East Records on LP in 1974 (SES-19761). Russell revisited the piece in 1980 with Jean-François Jenny-Clark, Victor Comer, Keith Copeland, Robert Moore and Lew Soloff. It was released on the Italian Soul Note label as an LP in 1980 and CD in 1985. (Wikipedia)

Flying Dutchman Records FDS-10124
1969

Reissued on CD or available on iTunes

Ornette Coleman - Friends And Neighbours: Ornette Live At Prince Street

2008-01-23T12:19:00.000+01:00

Ornette's masterpiece for Flying Dutchman -- and a great set that features Charlie Haden, Dewey Redman, Ed Blackwell, and assorted unnamed "Friends & Neighbors". The majority of the tracks on the LP -- "Let's Play", "Long Time No See", "Forgotten Songs", and "Tomorrow" -- feature prime playing in the Ornette late 60s/early 70s mode, with a slight bit of a spiritual bent that marks the material from the rest of his work. The group is incredibly tight, and Blackwell and Haden have never sounded better. The title cut, though, is the real mind-blower. It's in 2 parts, with vocal accompaniment by the unnamed mass of "extras", and a tight pulsing groove, with what sounds like an electric bass, and Ornette wailing away on violin. Great stuff, and a record that we hardly ever see in the original! (Dustygroove)

Ornette Coleman - alto sax, trumpet, violin

Dewey Redman - tenor sax
Charlie Haden - bass
Ed Blackwell - drums

Recorded live on Prince Street, New York City, 1970
Flying Dutchman Records FDS-123

Still available, buy at your local record store or here or here

George Russell - Othello Ballet Suite/Electronic Organ Sonata No. 1

2008-01-23T00:35:00.000+01:00

George Russell's stepping quite far out from his earlier work here -- recording in Scandinavia in the late 60s, with some very trippy effects! The album is dominated by the two-part "Othello Ballet Suite" -- recorded in Stockholm in 1967 with a group that includes Rolf Ericksson on trumpet, Bernt Rosengren on tenor, and Arne Domnerus on alto -- and the sound is a mixture of relatively free and out playing, with a few passages that snap into more of a swinging approach. The "Electronic Organ Sonata No 2" was recorded in Oslo in 1968, and features Russell improvising on the organ of a church. It's a very strange number -- but one with a wonderful otherworldly feel! (Dustygroove)

On "Othello Ballet Suite (Part I & II)":

Bernt Rosengren, Jan Garbarek - tenor sax
Rolf Eriksson - trumpet
Arne Domnerus - alto sax
Jon Christensen - drums
The Swedish Radio Symphony Orchestra

On "Electronic Organ Sonata No. 1":

George Russell - church organ

Othello was recorded November 3/4, 1967 at the studios of Radio Sweden in Stockholm. The basic material for Electronic Organ Sonata was recorded October 1, 1968 on the grand church organ of Grorud Church, Oslo. Technical work and final assemblage was performed in the electronic music studios of Radio Sweden.

Flying Dutchman Records FDS-122
1970

Still available, buy at your local record store or here

Jon Appleton & Don Cherry - Human Music

2008-01-22T00:04:00.000+01:00

A fantastic record, and one of the rarest ever on Flying Dutchman! The set is an amazing collaboration between trumpeter Don Cherry and pioneering electronic musician Jon Appleton -- one of those rare meetings of the minds that goes far deeper than you'd expect! On the set, Cherry's trumpet, flute, and percussion is heavily processed by Appleton -- often in ways that are organic enough to keep with Cherry's other experiments of the time, and with the "Human Music" title of the set -- but sometimes with the more playful feel of Appleton's other music from the time. The mix of electronics and improvisation is amazing -- years ahead of its time, and with a haunting sound that works perfectly against Cherry's style of restrained spiritualism. The LP's got 4 long tracks -- "Boa", "Oba", "Abo", and "Bao" -- all recorded live in the studio! (Dustygroove)

Don Cherry - flutes, kalimbas, drums [Earthquake], cornet
Jon Appleton - synthesizer, electronics

Realized at the Bregman Electronic Music Studio, Dartmouth College, Hanover (New Hampshire, USA)

Flying Dutchman Records FDS-121
1970

Still available, buy at your local record store or here

Johnny Hodges - Three Shades Of Blue

2008-01-20T23:23:00.002+01:00

An excellent late Johnny Hodges album that mixes his supreme talents with two of the other big stars of the Flying Dutchman label -- Oliver Nelson and Leon Thomas -- both of whom contribute wonderfully to the set! Nelson arranged the whole album, and gives it the groovy feel of some of his best orchestrations from the late 60s -- nicely swinging throughout, but also awash in sophisticated colors and tones at the bottom! Leon Thomas sings vocals on a few cuts, and although he's a little straighter than on his own recordings, or the records he did with Pharoah Sanders, he still gives the set a hip sound that's a great change from the usual Johnny Hodges record -- especially some of his 60s sessions with Wild Bill Davis. Hodges is great throughout, and the best tracks include "Yearning", "Welcome To New York", "Disillusion Blues", and Nelson's great "Black, Brown, & Beige" -- plus a hip vocal take on "Dukes Place". (Dustygroove)

Johnny Hodges - alto sax
Leon Thomas - vocals
Oliver Nelson - arranger

Orchestra:

Ernie Royal, Snooky Young, Marvin Stamm, Randy Brecker - trumpets
Al Grey, Quentin Jackson, Garnett Brown, Thomas Mitchell - trombones
Bob Ashton, Jerome Richardson, Frank Wess, Danny Bank, Jerry Dodgion, Joe Farrell - reeds
Earl Hines, Hank Jones - piano
Ron Carter - bass
David Spinozza - guitar
Grady Tate - drums

March (16 or) 17 & 19, 1970, New York City
Flying Dutchman Records FDS-120

LINK (found on Soulseek)

Gato Barbieri - The Third World

2008-01-17T21:34:00.000+01:00

The Third World is the initial session that mixed Gato Barbieri's free jazz tenor playing with Latin and Brazilian influences. It's also the album that brought Barbieri positive attention from the college crowds of the late '60s. He would expand on this musical combination with his next few Flying Dutchman releases as well as his first recordings for the Impulse! label. The records made between 1969 through 1974 find Barbieri creating a danceable yet fiery combination of South American rhythms and free jazz forcefulness. Strangely, once Barbieri signed with A&M, he began making commercial records geared to fans of Herb Alpert, sounding nothing like his earlier albums. (Al Campbell/AMG)

Gato Barbieri - tenor sax, flute & vocal
Charlie Haden - bass
Beaver Harris - drums
Richard Landrum - percussion
Roswell Rudd - trombone
Lonnie Liston Smith, Jr. - piano

Recorded in New York City, November 24 & 25, 1969
Flying Dutchman Records FDS-117

Still available, buy at your local record store or here

Leon Thomas - Spirits Known And Unknown

2008-01-15T14:33:00.000+01:00

Wonderful work from Leon Thomas -- easily one of his greatest albums! The record was recorded in 1969, right at the time Leon was working with Pharoah Sanders -- and his days with the spiritual jazz giant shine through brightly on the session. The players include James Spaulding, Lonnie Liston Smith, Cecil McBee, and the enigmatic "Little Rock" (aka Pharoah Sanders!) on tenor. Includes a shorter version of "The Creator Has a Master Plan", than the one that was on Sanders' Karma album; an excellent vocal version of Horace Silver's classic "Song for My Father", with lyrics that we totally love; plus the frenetic dirge "Malcolm's Gone". Other tracks include "Damn Nam" and "Echoes". (Dustygroove)

Leon Thomas - vocals
Lonnie Liston Smith - piano
James Spaulding - alto sax
Little Rock (Pharoah Sanders) - tenor sax
Cecil McBee - bass
Richard Davis - bass (on
Roy Haynes - drums
Richard Landrum - bongos

Recorded October 21 & 22, 1969
Flying Dutchman Records FDS-115

Still available, buy here or here

Esther Marrow - Newport News, Virginia

2008-01-13T14:10:00.001+01:00

A real landmark of bad-walking soul -- one of 2 rare albums cut by vocalist Esther Marrow, easily one of the hardest singing sisters of her generation! Esther's got roots in gospel, but she's singing here in a righteous mode that features plenty of funky undercurrents in the backings -- a style that hits harder than work by Aretha Franklin or any of the better-known female singers of the time -- and which holds up beautifully over the years! Many tracks here are obscure ones, arranged tightly by Artie Butler and Gene Page, both of whom do a great job of blending fuller orchestrations with tighter drums on the bottom -- giving the record a good kick on most tracks, but still shading in the tunes with enough sophistication to match Esther's interpretation of the work. As hard-hitting as Marlena Shaw during her best years at Cadet -- with titles that include "No Answer Came", "Money Honey", "Walk Tall", "Peaceful Man", "Hello Brother", "Chains Of Love", "It's A Long Night", and "He Don't Appreciate It". (Dustygroove)

Esther Marrow - vocals
Artie Butler & Gene Page - arrangements
no other musicians credited

Flying Dutchman Records FDS-113
1971

LINK (Originally from My Favorite Sound)

Duke Ellington - Duke Ellington's My People

2008-01-12T22:48:00.000+01:00

A great high concept composition from Duke Ellington -- one that rivals the earlier brilliance of his Liberian Suite! Like that one, vocals are a key part of this long-form work -- a special performance done for the Century Of Negro Progress Exposition in Chicago in 1963 -- with an all-star cast that includes Jimmy Jones both at the piano and conductor's stand; Joya Sherrill on vocals with the Irving Bunton Singers, Jimmy Grissom, Jimmy McPhail, and Lil Greenwood; Billy Strayhorn on celeste, Juan Amalbert on conga, and other familiar Ellingtonians in the larger group! The tunes have a mix of gospel and folk roots, turned towards more modern Ellington compositional modes -- and almost all numbers feature vocals, including one with narration by Ellington himself. Titles include "Will You Be There", "Come Sunday", "David Danced", "Montage", "My Mother My Father", "My People", "The Blues Ain't", and "What Color Is Virtue". (Dustygroove)

Irving Bunton Singers, Jimmy McPhail, Bunny Briggs, Joya Sherrill, Jimmy Grisson, Lil Greenwood - vocals
Jimmy Jones - conductor & piano
Bill Berry, Ray Nance, Ziggy Harrell, Nat Woodward - trumpets
Britt Woodman, John Sanders, Booty Wood - trombones
Russell Procope, Rudy Powell, Bob Freedman, Harold Ashby, Pete Clarke - reeds
Billy Strayhorn - celeste
Joe Benjamin - bass
Louis Bellson - drums
Juan Amalbert - conga

August 20-28, 1963
Flying Dutchman Records FDS-112

LINK

Robert Scheer's A Night At Santa Rita

2008-01-11T22:33:00.000+01:00

Rosko - Narrator
James Spaulding - flute
Ron Carter - bass

Flying Dutchman Records FDS-111
1969

LINK (El Goog Ja)

Jimmy Gordon & His Jazznpops Band

2008-01-09T21:48:00.000+01:00

Jimmy Gordon - drums
Gary Coleman, Victor Feldman - percussion
Buddy Childers - trumpet
George Bohanon - trombone
Tom Scott, Jim Horn - saxes
Mike Melvoin, Don Randi - pianos
Jerry Scheff - bass
Don Peake, Louis Shelton, Dennis Budimir - guitars

Recorded April 9 & 10, 1969
Flying Dutchman FDS-109

LINK (Arkadin's Ark)

John Carter & Bobby Bradford - Flight For Four

2008-01-08T21:27:00.000+01:00

John Carter - alto & tenor sax, clarinet
Bobby Bradford - trumpet
Tom Williamson - bass
Buzz Freeman - drums

Flying Dutchman Records FDS-108
1969

LINK (found on Soulseek)

Horace Tapscott - The Giant Is Awakened

2008-01-07T21:07:00.000+01:00

Horace Tapscott - piano
Arthur Blythe - alto Saxophone
David Bryant - bass (on #4)
Walter Savage Jr - bass
Everett Brown Jr - drums

Recorded April 1, 1969
Flying Dutchman Records FDS-107

LINK (Inconstant Sol)

Tom Scott - Hair To Jazz

2008-01-06T23:29:00.001+01:00

Tom Scott - tenor sax, flute
Roger Kellaway piano, harpsichord, electric piano
Chuck Domanico - electric bass
John Guerin - drums

Flying Dutchman Records FDS-106
1969

LINK (first posted on now gone blog Spiral)

Stanley Crouch - Ain’t No Ambulances For No Nigguhs Tonight

2008-01-05T22:38:00.000+01:00

Stanley Crouch - voice

Flying Dutchman Records FDS-105
1969

LINK (found on Soulseek)

Bob Thiele Emergency - Head Start

2008-01-04T22:09:00.001+01:00

Buddy Childers - trumpet
Paul Hubinon - trumpet
Gary Barone - trumpet
Bob Brookmeyer - trombone
Mike Barone - trombone
George Bohanon - trombone
Ernie Tack - bass trombone
Bob Henderson - French horn
Tom Scott - clarinet, alto sax
Bill Perkins - alto sax, flute
Pete Christlieb - tenor sax, flute
Jim Horn - bariton sax, flute, clarinet
Roger Kellaway - piano, organ, harpsichord, celeste
Howard Roberts - guitars
Chuck Domanico - fender bass, contrabass
Jimmy Gordon - drums, timbal
John Guerin - drums, timbal
Gary Coleman - percussion
George “Harmonica” Smith - vocals
Joe Pass - guitar
Bernard Carrere - trumpet
Joe Darensbourg - clarinet
John Ewing - trombone
Alton Purnell - piano
Joe Passalaque - contrabss
Alton Redd - drums
John Carter - tenor sax
Bobby Bradford - trumpet
Horace Tapscott - piano
Tom Williamson - contrabass
Buzz Freeman - drums
Elvin Jones - drumsE
Joe Farrell - flute
Wilbur Little - contrabass
Rosko - voice
Ornette Coleman - alto sax
Charles Moffett - drums
David Izenzon - contrabass
Charlie Haden - contrabass
Bob Thiele - voice

Flying Dutchman Records FDS-104
1969

LINK (found on Soulseek, likely to be posted on Call It Anything first)

Jon Appleton - Appleton Syntonic Menagerie

2008-01-03T21:55:00.000+01:00

Liner Notes (found on Vintage Vinyl Revival):

Labels, categories, boundary lines – the neat classifications separating musical experiences – are dissolving rapidly. Young musicians and listeners, brought up in a “global village” because of the pervasiveness of television, recordings, and transistor radios, refuse to be compressed by past conventions. The popular music of the present is, for example, a continually changing fusion of rock, country and wester, blues, Indian influenes, echoes of Appalachian ballads, jazz, rhythm and blues, and many other elements.
Simultaneously, young composers – who, in another time, would have been called “classical” composers – are also probing, discovering, and transcending territorial markings of the past. Jon Howard Appleton, for example. Since 1967, he has been Director of the Electronic Music Studio at Dartmouth, where he is also Assistant Professor of Music. [This] The first album of his work – on Flying Dutchman – reveals the open-ended scope and resourcefulness of the new music as well as Appleton’s inventive singularity.
[... In many of his] pieces, Appleton begins with a natural – a concrete sound – and then develops it musically. He also works the other way. At those times, he will start with purely electronic sounds which suddenly reveal a concrete sound that the listener can immediately recognize as part of his natural environment.
In one sense, then, Appleton’s work can be described as a highly developed extension of “musique concrete.” He has spent hours getting the squawks of penguins, recording variegated water sounds, and collecting the wide-ranging sounds which human beings make in different situations. Appleton’s musical credo is that all sounds are potentially musical; the composer’s function is to select those which are more musical and to develop them within a musical context.

LINK (Mutant Sounds)

Spontaneous Combustion - Come And Stick Your Head In

2008-01-02T21:37:00.000+01:00

Tom Scott - reeds
Jim Horn - reeds
Dennis Budimir - guitar
Mike Deasey - guitar
Larry Knechtel - electric bass
Mike Melvoin - keybords
Jimmy Gordon - drums
John Guerin - drums
Gary Coleman - percussion

LINK (mysteryposter)

Steve Allen & Oliver Nelson - Soulful Brass #2

2008-01-01T21:16:00.002+01:00

TV personality Steve Allen releasing an album on Flying Dutchman no less? Exactly what I thought when I first saw Souful Brass #2. Actually, Allen got a lot of help with Oliver Nelson doing the arranging and conducting, and of course, some of the top studio musicians took part as well such as Bobby Bryant, John Klemmer, Ernie Watts, Mike Lang, and Howard Roberts. What’s even funnier is that most of the tracks are covers of Soul and Rock hits, this from a man who hated Rock N Roll, with a couple Jazz tunes thrown in for good measure. What’s surprising is that a lot of it’s good, in fact downright surprising at points. For example on Everyday People Allen lets loose with a fine solo, even though it’s low in the mix compared to the blaring horns. That’s not all, because Allen also composed two songs, with Where Did The People Go? with its 60s Go-Go swing beat being the best of the pair. Son Of A Preacher Man and Soulful Strut are also good. (Motown67 on Soul Strut)

Steve Allen - Orchestra Arranged and Conducted by Oliver Nelson
Los Angeles: February 21, 1969

Bobby Bryant, Freddie Hill, Buddy Childers, Ollie Mitchell (tp); Billy Byers, George Bohanon, Bob Brookmeyer, Ernie Tack (tb); Bill Hinshal, David Duke, Alan Robinson, Vince DeRosa (hrn); Frank Strozier, John Klemmer, Ernie Watts (sax); Steve Allen, Mike Lang (key); Howard Roberts (g); David Cohen (g, g solo); Max Bennett (el-b); Jimmy Gordon (d); Bobby Morin (perc); Oliver Nelson (arr, cond).

a. Games People Play (Joe South) - 2:00
b. This Guy's In Love With You (Bacharach/David) - 4:37
c. Tell Me Something (Steve Allen) - 2:05
d. Lo Mucho Que Te Quiero (The More I Love You) (Lbara/Ornelas/Herrera) - 4:00

Los Angeles: February 22, 1969

Bobby Bryant, Freddie Hill, Buddy Childers, Ollie Mitchell (tp); Billy Byers, George Bohanon, Lou Blackburn, Dick McQuary (tb); Bill Hinshal, David Duke, Art Maebe, Vince DeRosa (hrn); Frank Strozier, John Klemmer, Ernie Watts (sax); Steve Allen, Mike Lang (key); Dennis Budimer (g); David Cohen (g, g solo); Max Bennett (el-b); Jimmy Gordon (d); Bobby Morin (perc); Oliver Nelson (arr, cond).

e. What A Wonderful World (G.D. Weiss/Bob Thiele) - 2:19
f. Soulful Strut (E. Record/S. Sanders) - 3:12
g. Son-Of-A Preacher Man (J.F. Hurley/R. Wiekins) - 2:45
h. New Dance (Oliver Nelson) - 3:31

Bobby Bryant, Freddie Hill, Buddy Childers, Ollie Mitchell (tp); Billy Byers, George Bohanon, Lou Blackburn, Dick McQuary (tb); Bill Hinshal, David Duke, Alan Robinson, Vince DeRosa (hrn); Frank Strozier, John Klemmer, Ernie Watts (sax); Steve Allen, Mike Lang (key); Dennis Budimer (g); David Cohen (g, g solo); Larry Knechtel (el-b); John Guerin (d); Bobby Morin (perc); Oliver Nelson (arr, cond).

i. Where Did The People Go? (Steve Allen) - 3:45
j. California Soul (N. Ashford/V. Simpson) - 2:19
k. Everyday People (S. Stewart) - 2:32

(Credits & tracklist taken from dougpayne.com)

LINK (MP3 @160k, found on Soulseek)