Cannonball Adderley "Pyramid", Fantasy Records 1974

Cannonball Adderley is definitely one of the pivotal figures in history of Jazz, from playing with Miles Davis in late 50s with such releases as "Milestones" and "Kind Of Blue" to leading his own group associating with talents like Joe Zawinul, Bobby Timmons, George Duke, Walter Booker, Charles Lloyd, and Yusef Lateef. He is master of soul-Jazz, and went to find successes with producing classic Jazz standards. His music was well-received with large audiences, due to his ability to cross over between Jazz and more funk, electric and R&B oriented styles of music. Especially, after moving to Capital Records and teaming up with Jazz-Funk producer David Axelrod from mid 60s, he had produced crossover Jazz releases that had met with listeners' taste during those years when psychedelic rock flourished (Beatles' "White Album", Jimi Hendrix Experience, and none of other Miles Davis "Bitches Brew".

Co-produced with Cannonball and Axelrod, this electric, groovy Jazz-funk album was released in 1974, a year before his sudden death. It is a year after Herbie Hancock released "Head Hunters". So maybe we can hear the influence and experiment in sounds from this album, personally not quite sure about his true intension on the recordings. It is very spacy feeling into each tracks, from ARP synth by George Duke who was playing on Frank Zappa's band around this time.

The album features electric sounds throughout most tracks, and lesser soloing from the man himself. The first track is groovy electric funk track, a perfect evidence of Axelrod's production style with heavy percussive beats and layers of sounds.

Personally, though all tracks are electric, fusion vibes, I like the last track "BESS , OH WHERE'S MY BESS", a ballad with more straight forward Jazz with just alto sax and piano. I think the song, style, mood suit him better in this way.

CD Reissue with audio samples

Personnel:
Julian Cannonball Adderley - Alto & Soprano Sax
Nat Adderley - Cornet
Hal Galper - Electric piano
Walter Booker - Bass
Roy McCurdy - Drums

plus
Phil Upchurch - Guitar
George Duke - Electric & Acoustic Clavinet, ARP Synthesizer
Jimmy Jones - Piano (on "BESS" only)

Tracklist:
Side A:
1. Phases (Hal Galper) (6:00)
2. My Lady Blue (Hal Galper) (4:45)
3. Books End (David Axelrod) (5:35)

Side B:
1. Pyramid (Julian Adderley) (3:40)
2. Suite Cannon (Julian Adderley)
1. The King & I (3:13)
2. Time In (4:41)
3. For Melvin Lastie (2:26)
3. BESS , OH WHERE'S MY BESS (G & I Gershwing) (3:36)

David Axelrod Official Site

Steve Reid "Nova", Mustevic, 1976

Steve Reid lives life in Jazz through generations, crossing path with many artists such as Miles Davis, Sun Ra, to James Brown, Fela Kuti and Chaka Khan. His presence has always remained in underground scene, where struggling Black music, particularly left-field, avant-garde Jazz did not find home in the US in the 70s.

This is Steve Reid "Nova", released by Mustevic in 1976. A classic record. Underground experimental, avand-garde Jazz hit. A true original sound. But that is because now people know and understand the musical spirit and dimensions this record produces, with reissues, new materials, supports from DJs such as Gilles Peterson and Benji B. It is good to see such living legend share us with his innovative and spiritual musical mastery today.

On personal story. I picked up this record without knowing anything about it. Same routine as usual, just looking at the cover, and decided to give it a try. At my home, I placed the record on the player, and groovy and wailing horn ensemble came out of speakers and just continued repeating this theme. The very odd record, but the groove stuck in my mind. Soon, I heard the track on Gilles Peterson's Brownswood Basement, and shortly after he began taking that theme part for the opening of his radio show. And then, thanks to the power of Gilles, everyone know about the record. Soul Jazz decided to reissue "Nova", under their Universal Sounds label. Gilles invited him over to the show. And now, once a forgotten figure in Jazz world, Steve Reid is coming back, recording and releasing new materials, and collaborating with young artists such as Kieran Hebden aka Four Tet.

Personnel:
Steve Reid - Drums
Luis Angel Falcon - Acoustic Bass
Richard Williams - Fender Bass
Les Walker - Piano, Organ
Joe Rigby - Alto / Tenor / Soprano Sax
Ahmed Abdullah - Trumpet

Tracklist:

Side A:
1. Nova
2. Lions of Judah
3. Free Spirit Unknown

Side B:
4. Long Time Black
5. Sixth House

Steve Reid Official Site

Phil Ranelin "Time Is Now!", Hefty Records, 2001

Over the weekend, I came across to find Phil Ranelin's "Time Is Now!". Originally released by Tribe Records in 1974, this is a double-LP reissue from Chicago's Hefty Records. This edition is remastered and remixed by John McEntire of Tortoise drummer.

I am not sure if or when I am going to see the original copy of this record. As you may or may not know, releases from Tribe Records are so difficult to find, because 1) the original releases are basically distributed only local-basis (home town Detroit area) with small amount, and 2) today, so many people are looking for them. But this reissue is nice and beautiful, and, over 30 years since the release, it still remains as a lost classic album of 70s spiritual / free-jazz era. A deep musical mix of avant-garde, hard bop, and soulful melodies with rhythmic density reflecting social and political movement seen in 70s.

Living Jazz legend and Tribe Records founder, Phil Ranelin is still active player. His latest release "Living A New Day" will be released by Wide Hive Records on January 27.

Personnel:
Phil Ranelin (Trombone, Percussion)
Haroun El Nil (Alto Sax, Bass clarinet, Percussion)
Wendell Harrison (Tenor Sax, Percussion)
Marcus Belgrave (Trumpet, Flugelhorn)
Charles Moore (Trumpet, Percussion)
Keith Vreeland (Piano)
John Dana, Reggie Shoo Be Doo Fields (Bass)
George Davidson (Drums, Percussion)

Tracklist:
A1. The Time Is Now For Change (13:29)
A2. Time Is Running Out (4:37)
B1. Of Times Gone By (8:41)
B2. Black Destiny (4:01)
B3. 13th And Senate (6:02)
B4. He, The One We All Knew, Pt.1 (3:09)
C1. The Time Is Now For Change (Outtake) (11:32)
D1. Time Is Running Out (Extended) (5:50)
D2. He The One We All Knew (Extended) (4:39)

Phil Ranelin
Phile Ranelin on Myspace
Hefty Records

Farewell to Freddie Hubbard (1938 - 2008)

My first post of 2009, and it is a tribute to one of the truly greatest trumpeter of the history of Jazz. Freddie Hubbard died on December 28, 2008. He was 70. R.I.P

The sound of Freddie Hubbard cannot be categorized into one segment, from hard-bop with Art Blakey and The Jazz messengers (replacing Lee Morgan), his Blue Note recordings, post-bop including Eric Dolphy's "Out to Lunch", Herbie Hancock's "maiden Voyage", to avant-garde recordings with John Coltrane's "Ascension" and "Afrca Brass", and Ornette Coleman's "Free jazz. Later, he moved on to record for CTI, and recorded more pop-Jazz, Jazz-Funk, Soul-Jazz oriented materials. Still, his sound was always energetic, overwhelming, and illuminating, so powerful that his playing will be forever ranked his as the top trumpet playter, along with Gizzy Gillespie, Clifford Brown.

My personal and memorable encounter with one of Freddie Hubbard's record was "Red Clay" I found in London. It was a year 2000, and I was still young and just a guy who was trying to find the records so cool and hip that no one really has. I went to "Release the Groove" on Denman St., and was at the first floor talking to the store clerk about the sounds that I was looking for. And he put out this old record. When I heard the first trumpet sound on intro, I thought this is something different, different means good different. The drums and bass began. And by the time horns sounds came in, I was so hooked, with whole groove, melody, rhythm section, and the horn solo! I talked for like an hour about the album, Jazz-funk records, and CTI records at the store that day. One of the best record buying day of my life. Freddie Hubbard will always and definitely be one of my favorite players, no matter what style of Jazz he played, and his records will remain among my top disc in my vault. R.I.P. H.B. We remember.

Freddie Hubbard "Red Clay", CTI Records, 1970
Personnel:
Trumpet: Freddie Hubbard
Tenor Sax: Joe Henderson
E. Piano: Herbie Hancock
Bass: Ron Carter
Drumbs: Lenny White

Side A:
1. Red Clay
2. Delphia

Side B:
3. Suite Sioux
4. The Intrepid Fox

Woody Herman "Heavy Exposure", Cadet 1969

Woody Herman, as many know his as a big band leader and fine clarinet player during swing era in 40s, before be bob started to take the spotlight in Jazz. Perhaps, the most famous for "Four Brothers", but he encourage young Jazz musicians to play with his band, whom later have become well-known figures in the history of Jazz. Even after Be Bop had become the much talked music, Herman was always keen to newer styles of music, and kept his versatilities by playing with big band / small band / pop, rock, soul-oriented music.

During 60s, Herman records with 3 albums with Cadet Records.With Cadent arranger Richard Evans, surprisingly he plays more rock and soul music at that time, mixing with Herman's splashy big band with Evans' soulful groove. This is Woody Herman "Heavy Exposure", released by Cadet in 1969. On this recording, he and producer / arranger Richard Evans combines Soul-Jazz arrangement into Herman's conventional big band style of playing, very tight with horns and yet groovy with fuzzy guitar, and funky drumming and percussions.

BTW, Donny Hathaway plays organ on the album.

Side A:
1. Flying easy (Donny Hathaway)
2. I can't get next to you (Whitfield & Strong)
3. Aquarius (J. Rado, G. Ragni, G. MacDermot)
4. Memphis underground (Herbie Mann)
5. High school hero (Jake Holmes)
6. Lancaster gate (Richard Evans)

Side B:
1. The hut (Richard Evans)
2. My cherie amour (Cosby, Wonder & May)
3. It's your thing (Richard Evans)
4. Catch that bird (Loonis McGlohan)
5. Sex machine (Sylvester Stewart)

Personnel:
Gene Perla - Bass
Edward Soph (tracks: A1, A5, B1, B2, B4, B5) - Drums
Morris Jennings (tracks: A2 to A4, A6, B3) - Drums
Phil Upchurch - Guitar
Donny Hathaway - Organ
Marshall Thompson - Percussion
Richard Powell - Percussion
John Hicks - Piano
Richard Evans - Producer, Arranger
Alan Gauvin - Reeds
Frank Vicari - Reeds
Sal Nistico - Reeds
Steve Lederer - Reeds
Woody Herman - Saxophone, Clarinet
Bobby Burgess - Trombone
Pete Dalbis - Trombone
Tom Malone - Trombone
Bill Chase - Trumpet
Harry Hall - Trumpet
Jeff Brillinger - Trumpet
Richard Murphy - Trumpet
Rigby Powell - Trumpet
William Byrne - Trumpet

Woody Herman & Richard Evans "The Hut"

Archie Shepp "For Losers", Impulse 1971

Archie Shepp is probably most known for his free-Jazz association, mainly for works with Cecil Taylor and John Coltrane in 1960s and albums from Impulse. As a leader, he started releasing albums from Impluse with fellow avant-garde artists such as John Tchikai, and Roswell Rudd. He also appeared on John Coltrane's "Ascension" in 1965, which was one of the most up-front free-Jazz, and one of my personal favorite recordings. But gradually, maybe from "The Magic of Ju-Ju" in 1967, he began to incorporate different sounds, as for this session the African rhythm. Other styles of music including gospel, ballad, blues, and even swing ("The Way Ahead" in 1968)

This is Archie Shepp "For Losers", released by Impulse in 1971. If you expect to hear his usual eccentric improvisation, anger, chaotic wailing, the first track is going to make you wonder whether you got the right album from the same person. The opening track is going completely to trick you. It is soul-Jazz, with vocals. Then the album follows with another soulful, R&B track.

This could turn the listeners who have listened his past albums away from listening the entire album. But wait and turn the record over to Side B. The 22-min track starts with latin-afro rhythm and Shepp playing the theme over and over, and then goes into the exploration of sound, the firing solo, and ensemble with female vocal. The B-side is definitely the reminiscent of Coltrane sound. In the album liner note, he states his admiration and respect to Coltrane. Side B is does not dissapoint any listners for Impulse recordings and free-Jazz.

Side A
1. Stick 'Em Up
2. Abstract
3. I Got It Bad (And That Ain't Good)
4. What Would It Be Without You

Side B
1. Un Croque Monsieur (Poem: For Losers)

Personnel:
On Stick 'Em Up:
Archie Shepp - Tenor Sax
Martin Banks - Trumpet, Flugelhorn
Grachan Moncur - Trombone
Martin Kenyatta - Alto Sax
Andrew Bey - Piano
Albert Winston - Fender Bass
Bert Payne - Guitar
Beaver Harris - Drums
Leon Thomas, Doris Troy, Tasha Thomas - Vocals

On Abstract:
Archie Shepp - Tenor Sax
Jimmy Owens - Trumpet, Flugelhorn
Grachan Moncur - Trombone
James Spaulding - Alto Sax
Chales Davis - Baritone Sax
Dave Burrell - Organ
Wally Richardson - Guitar
Bob Bushnell - Fender Bass
Bernard Purdie - Drums

On I got It Bad, What Would It Be Without You, Un Croque Monsieur
Archie Shepp - Tenor and Soprano Sax
Woody Shaw - Trumpet
Matthew Gee - Trombone
Clarence Sharpe - Alto Sax
Cecil Payne - Baritone Sax
Cedar Walton - Piano
Wilbur Ware - Bass
Joe Chambers - Drums
China-Lin Sharpe - Vocal

Ramsey Lewis "Up Pops", Cadet 1967

For any jazz records, you cannot ignore the album cover, especially when the album has pop-oriented covers and R&B materials. But you never know what you come across until you actually listen to the record.

This is Ramsey Lewis "Up Pops", released by Cadet in 1967. The album is arranged by Richard Evans. First, it is Ramsey Lewis in 60s, with his soul-jazz and funky-jazz piano sound. If you like jazz-funk, jazz-pop, soul-jazz, and think that you need electric guitar and bass and vocal, full band outlet, you definitely want to listen to his albums. Ramsey Lewis is probably the one of a few pianist who can create soulful sound with trio.

Second, it's Cadet and it's Richard Evans. He is the leading arrangers and producers along with Charles Stepney at Argo/Cadet Records during this time. He conducts strings for the album. Having said that, jazz album with strings does not sound like a good mix, as if the whole album becomes mellow and too much pop-influenced (not much improvisation). But Richard Evans is not ordinary arranger. He brings lively, changing, heavy sound with strings. I have been listening to arrangements by Richard Evans quite often for some time now, and I highly recommend this album as the example of classic Cadet sound.


Ramsey Lewis: piano
Cleveland Eaton: bass
Maurice White: drums

Side 1

Soul Man
The Look of Love
Respect
Goin' out of My Head
Party Time

Side 2

Bear Mash
I Was Made to Love Her
Alfie
Why Am I Treated so Bad
Jade East