Julian 'Cannonball' Adderley with Strings - "The Lush Side Of Cannonball"

Mercury Records MG 20652 (mono) (USA), 1961 (reissue of "Cannonball Adderley + Strings", Mercury Records MG 36063, 1955). 

A wonderful album in the much-maligned "jazz with strings" category, this being (in my opinion) on a par with Clifford Brown's wonderful "With Strings" album coincidentally also recorded in the same year, 1955, and for the same record label, Mercury / Emarcy.  Eleven of the tunes here are well-known standards: Johnny Green - Edward Heyman's "I Cover The Waterfront", George & Ira Gershwin's "A Foggy Day", Rodgers & Hammerstein's "The Surrey With The Fringe On Top" (pre-dating both Miles Davis' 1956 version and Ahmad Jamal's 1958 version of this tune), Frank Loesser & Hoagy Carmichael's "Two Sleepy People", Sammy Cahn & Nicholas Brodsky's "I'll Never Stop Loving You" (a hit for Doris Day around this time), Herb Magidson & Allie Wrubel's "The Masquerade Is Over", Frank Loesser's "I've Never Been In Love Before", Rodgers & Hart's "Falling In Love WIth Love", Victor Young & Sam Lewis' "Street Of Dreams", Jimmy Van Heusen & Johnny Burke's "Polka Dots And Moonbeams", Rodgers & Hart's "You Are Too Beautiful", and one tune penned by the great vibraharpist, Terry Gibbs, that being "Lonely Dreams".  The masterful arrangements are by Richard Hayman, who was also a well-known harmonica maestro, having recently made a hit record out of "Ruby (You're Just a Dream"), later a big hit for Ray Charles. 

'Cannonball' Adderley Quintet - "Still Talkin' To Ya"

Oriole / Realm Records RM 17 (mono)(UK), 1963 (UK reissue of 1955 Savoy album "Presenting Cannonball"). 

This album was the first to present the 'Cannonball' Adderley Quintet, dating from that momentous 1955 visit to the Café Bohemia, when the heretofore unknown 'Cannonball' proceeded to sit in with bassist Oscar Pettiford's group, and blow the house down, a sensational debut on the New York jazz scene.  As a result of this appearance, he was brought to the attention of Savoy Records by Pettiford's drummer, Kenny Clarke, and the rest is history, with this album an outstanding result.  With the rhythm section consisting of pianist Hank Jones, bassist Paul Chambers, and the aforementioned Kenny Clarke on drums, this is a wonderful set, recorded in New York City on 26 July, 1955.  The titles include four tunes written by Adderley, Still Talkin' To Ya", "A Little Taste", Carribean Cutie", and "Spontaneous Combustion" (co-written with his brother Nat Adderley, a tune he later recorded on his 1959 breakthrough album for Riverside, "'Cannonball' Adderley Quintet In San Francisco", where he also recalled these early New York days by including Oscar Pettiford's "Bohemia After Dark"), and the standard "Flamingo", written by Ted Grouya and Edmund Anderson.  

David Sanborn - "Voyeur"

Warner Bros WB 56900 (Germany), 1981  



The premier soul / fusion alto saxophonist, David Sanborn, is presented here in a varied programme which includes Sanborn originals "Just Say Goodbye", "It's You", and "One In A Million", while the amazing bassist Marcus Miller contributes "Run For Cover", "All I Need Is You" and "Just For You", and also "Wake Me When It's Over", which he co-wrote with Sanborn.  Dave also plays Saxello on two tracks, Fender Rhodes piano on three, and Wurlitzer electric piano on one, while Miller, in addition to playing bass or Moog bass on six out of seven tracks, also plays drums (track 3), Fender Rhodes piano on three tracks and electric guitar on three tracks.  Among the wonderful line-up of musicians are  Michael Colina, synthesizers and co-producer, Buzzy Feiten or Hiram Bullock on guitars, and Steve Gadd or Buddy Williams on drums.  Lenny Castro or Ralph MacDonald play percussion, and on "All I Need Is You", Tom Scott plays flute and tenor saxophone.  There are backing vocals on two tracks.  A great album albeit with a short running time.

David Sanborn - "Straight To The Heart"

Warner Bros. WB 925 150-1 (Germany), 1984

Here is David Sanborn, playing at the top of his game, in front of a 'live' studio audience in New York, c. 1984.  Present are such stalwatts as Don Grolnick, keyboards, Hiram Bullock, guitar, Marcus Miller, bass guitar and synthesizer,andBuddy Williams, drums.  Additional musicians include Ralph MacDonald, "Crusher" Bennett, Michael White, percussion, Michael Brecker, tenor saxophone (track 8)Randy Brecker, Jon Faddis, trumpets (track 8) and the greatHamish Stuart, lead vocalist for Average White Band doing the honours on Al Green's "Love And Happiness".

Sanborn contributes "Hideaway" and "Lisa", Marcus Miller wrote the title track, "Straight To The Heart" and "Run For Cover" (originally on the album "Voyeur"), Don Grolnick composed "Lotus Blossom", and the other tracks are "Smile" by C. Parkinson, and "One Hundred Ways", made famous by James Ingram's vocal, but played here instrumentally with backing vocals, and the aforementoned Mike Brecker tenor sax solo.   Clocking in at nearly 52 minutes, this is a great 'live' album.

Wilbert Longmire - "The Best Of Wilbert Longmire"

Tappan Zee / Columbia AL 37094 (USA), 1981   





Blessed with an angelic voice and awesome guitar 'chops', fusioneer Wilbert Longmire appears here on six tracks culled from his 3 albums for Tappan Zee Records, Sunny Side Up (1978), Champagne (1979) and All My Love (1980).  With the likes of label chief Bob James (also arranger and composer of some of the tracks) and Richard Tee on keyboards, bass supremo Gary King, exemplary funk drummer Harvey Mason and guest appearances by two of the era's most impressive saxophonists, altoist Dave Sanborn and tenor saxophonist Michael Brecker, we have Longmire offering a rhythmic / melodic mix that combines style with grace and charm, but he also burns on some of the tracks.  The selections are: 'Music Speaks Louder Than Words', 'Black Is The Colour', 'Ragtown', 'Love Why Don't You Find Us', 'Pleasure Island', and 'Love's Holiday'.  So, a rare album by an unjustly neglected singer/guitarist from the much maligned 'fusion' era. 

The Band - Moondog Matinee

Capitol E-SW 11214 (UK issue), released in 1973.  

On this album, The Band pay tribute to their musical origins, when they played all the juke joints in Canada and points South as Ronnie Hawkins' band The Hawks.  With a lot of the tunes being classic Rock 'n' Roll repertoire by the likes of Clarence "Frogman" Henry ("Ain't Got No Home"),  and even a nostalgic look back via Anton Karas' "Third Man Theme", a tune made famous by Elvis written by Sun Records' Sam Phillips and Wm. Parker, Jr., "Mystery Train", one by Allen Toussaint, "Holy Cow", Chuck Berry's "Promised Land", Buck Ram's "The Great Pretender", Fats Domino's "I'm Ready", "Saved" (made famous by Laverne Baker), and written by the great rock tunesmiths Lieber & Stoller, and finishing with Sam Cooke's "A Change Is Gonna Come", this is a nonpariel collection, in some ways explaining the origins of the music of The Band. 

The Band - Islands

Capitol E-ST  11602 (UK issue), released in 1977.  

Two years on, and The Band are still spinning their magic on a set of original songs from within the group, with only two, the first being the  Hoagy Carmichael  classic, "Georgia On My Mind", and the second, "Ain't That A Lot Of Love", by H. Banks and W. Parker coming from outside.  Six of the tunes, "Right As Rain", Let The Night Fall", "Christmas Must Be Tonight", "The Saga Of Pepote Rouge", "Knockin' Lost John", and "Livin'' In A Dream" are by Robbie Robertson, while he collaborates with Rick Danko on one, "Street Walker", and with Danko and Garth Hudson on the title tune, "Islands".  Present on some tracks are guest horn-players Tom Malone, Jim Gordon and John Simon. Another winning programme.   The only Band album not included in this collection is the live album from 1978, "The Last Waltz", which also exists as a much-broadcast 'live' concert.

The Band - Northern Lights, Southern Cross

Capitol E-ST 11440 (UK issue), released in 1975.   

A departure from previous albums, as Robbie Robertson is the sole composer represented here.  But given the nature of The Band, it's always a collaborative effort, and they always seem to get it right!  So, one track, "Acadian Driftwood" harks back to their Canadian heritage, the story of the migration to Louisiana, with the Acadian presence as "Cajuns" there.  Some French vocalizing is heard.  Also, on this track appears the only non-Band musician, guest fiddler Byron Berline.   The other titles are: "Forbidden Fruit", "Hobo Jungle", "Ophelia", "Ring Your Bell", "It Makes No Difference", "Jupiter Hollow", and "Rags And Bones".  The guys do their usual musical sorcery using a vast array of instruments (see previous Band listings).  Another worthy addition to theBand canon.

The Band - Rock of Ages (live double album)

Capitol E STSP 11 (2 LP set) (UK issue), released in 1972.  

By the end of 1971, The Band could call on their extensive repertoire to play a 'live' show, on New Year's Eve, and this one gets it all right, with sixteen of the best songs from their first four albums, plus one, "(I Don't Want To) Hang Up My Rock And Roll Shoes" harking back to their days as The Hawks with Ronnie Hawkins.  Included are: "Don't Do It", "King Harvest Has Surely Come", "Caledonia Mission", "Get Up Jake", "W. S. Walcott Medicine Show", "The Genetic Method / Chest Fever", "Stage Fright", "The Night They Drove Old Dixie Down", "Across The Great Divide", "This Wheel's On Fire", "Rag Mama Rag", "The Weight", "The Shape I'm In", "Unfaithful Servant", and "Life Is A Carnival.  Along with the usual Band lineup, we have additional punch in the horn section, contributed by jazzmen Snooky Young, trumpet and flugelhorn;  Howard Johnson baritone saxophone, tuba and euphonium; Joe Farrell. tenor and soprano saxophones, English horn;  Earl McIntyre, trombone; and J. D. Parron, alto saxophone and Eb clarinet.  Garth Hudson of The Band contributes tenor and soprano saxophone solos.

The Band - Cahoots

Capitol SMAS 651 (USA), released in 1971.  

The fourth album by The Band features the song-writing of Robbie Robertson on eight tracks; "Last Of The Blacksmiths", Where Do We Go From Here?",  "Shoot Out In Chinatown", "The Moon Struck One", "Thinkin' Out Loud", "Smoke Signal", "Volcano", and "The River Hymn" (plus one co-written withLevon Helm and Rick Danko, "Life Is A Carnival", one co-written with Van Morrison  who guests on the track ("4% Pantomime"), plus one song by Bob Dylan, "When I Paint My Masterpiece"). Another guest vocal is rendered on "Life Is A Carnival" by New Orleans great Allen Toussaint.  Again, no instrumental credits are listed.

The Band - Stage Fright

Capitol SW - 425 (USA), released in 1970. 

Another winning set of original songs, mostly penned by Robbie Robertson, including "The Shape I'm In", "The W. S. Walcott Medicine Show", "Daniel And The Sacred Harp", "Stage Fright", "The Rumour", "Time To Kill" and "All La Glory", while he co-wrote, with Levon Helm, "Strawberry Wine", and co-wrote two songs, "Sleeping", and "Just Another Whistle Stop" with Richard Manuel.  Another trawl through rural and 'old western' themes, ("W. S. Walcott"), while the title track deals with every musician's fear of exposure to an audience. The line-up, with Robbie Robertson, Garth Hudson, Richard Manuel, Rick Danko and Levon Helm is as the previous albums, but the cover doesn't say who plays what. 

The Band (second album)

Capitol STAO - 132 (USA), released in 1969. 


Here we have the second Band LP, featuring all compositions by Jaime Robbie Robertson, and including "Across The Great Divide", "Rag Mama Rag", with a great groove, "The Night They Drove Old Dixie Down" (later covered by Joan Baez, among others), "Up On Cripple Creek", "Rockin' Chair", "Look Out Cleveland", "The Unfaithful Servant", and the epic "King Harvest Has Surely Come", evoking the tragedies wrought by Dust Bowl farm foreclosures, and people striking for higher wages.  With Richard Manuel, he wrote "When You Awake", "Whispering Pines" and "Jawbone", while "Jemima Surrender" has Robbie collaborating with Levon Helm. The musicians all play many instruments each, with Garth Hudson, organ, clavinette, piano, accordion, soprano, tenor and baritone saxophones, slide trumpet(!);  Richard Manuel, vocals, piano, drums, baritone saxophone, mouth harp;Levon Helm, vocals, drums, mandolin, guitar; Rick Danko, vocals, bass, violin, trombone; and  Jaime Robbie Robertson, guitar, vocals & engineer. Guesting is producer John Simon, tuba, electric piano, "high school and peck horns & engineer".  What a great follow-up to the "Big Pink" album. 

The Band - Music From Big Pink

Capitol SKAO 2955 (USA), released in 1969

This is the debut album by The Band, who served a long apprenticeship in the 'roots music' part of the business, first as The Hawks, backing Canadian blues shouter Ronnie Hawkins, then latterly as the backing band for 'His Bobness', Bob Dylan!  Sometimes credited with introducing the 'electric phase' of Dylan's music, the group took a lot of flak from Dylan's 'pure folk' fans, even attracting audience boos and catcalls during some of the earliest concerts.  Be that as it may, this group of Canadians (with one transplanted Arkansas good ol' boy, Levon Helm on drums), revolutionised what then counted as 'rock 'n' roll'.  Gone were the bombast and posturing, in their place one found pure, honest and ethereal songs that harked back to the American Civil War and then further, evoking various facets of frontier life, along with just pure romantic subject matter.  With Robbie Robertson, guitar, Richard Manuel, keyboards, Garth Hudson, keyboards and occasional saxophone and  Rick Danko on bass, and with nearly everyone in the band singing lead and backing vocals, the sound was certainly unique.  The selections included on this first album included one by Dylan, 'I Shall Be Released', with two others co-written by Dylan with Manuel ('Tears Of Rage')and Danko ('This Wheel's On Fire').  Robbie Robertson contributes 'To Kingdom Come', 'Caledonia Mission', 'The Weight' (later covered by Aretha Franklin), and 'Chest Fever',  Richard Manuel  wrote 'In A Station', 'We Can Talk' (a parable dealing with the then generational gap and the anti-war movement), and 'Lonesome Suzie'.   A true landmark release.  

Of interest is the fact that the cover painting is by Bob Dylan.

Gerry Mulligan et al - I Want to Live

Gerry Mulligan - The Jazz Combo (with Shelly Manne, Art Farmer et al) - I Want to Live!

London / United Artists LTZ-T 15161 (monaural) (UK release of United Artists UAL-4006(M)(USA)), 1958 

The film "I Want To Live", based on a true story, a tour de force for actress Susan Hayward, playing Barbara Graham, a wayward woman falsely accused of murder who is the last woman summarily executed in the state of California, was one of the first films with effective use of jazz in the soundtrack.  Part of the reason for this is the scoring by Johnny Mandel, also composer of such evergreen standards as "The Shadow Of Your Smile" again taken from a film soundtrack ("The Sandpiper").  Another reason was that there is a combo appearing in the film, a septet led by Gerry Mulligan, reflecting Barbara Graham's abiding interest in the music of Mulligan.  So, there are two soundtrack albums, this one and another, also on United Artists, which finds Mandel leading an orchestra featuring top West Coast jazz musicians.  In this album,Mulligan is joined by Art Farmer, trumpet; Bud Shank, alto saxophone, flute; Frank Rosolino, trombone; Pete Jolly, piano; Red Mitchell, bass; and Shelly  Manne, drums.  The programme they play is all composed by Johnny Mandel,and the titles include: 'Black Nightgown', 'Thme from I Want To Live', 'Night Watch', 'Frisco Club', 'Barbara's Theme', and 'Life's A Funny Thing'.  Two years later, Mulligan recorded 'Theme From I Want To Live' and 'Barbara's Theme' with his Concert Jazz Band, in versions very like the ones here.  

Woody Herman - Light My Fire

Phonogram / Chess Records 6310 127 (UK), 1969 (UK release of Cadet LPS 819 (USA)

Presenting the ever-changing Woody Herman, whose forward-thinking musical mind started working when he inherited the Isham Jones band in the late 1930s, then metamorphosed from "The Band That Plays The Blues" into one of the first big bands to take account of the changes that be bop wrought in the late '40s ("Four Brothers", and others!).  On this wonderful album, in the late '60s,  with a band full of powerhouse players, he acknowledged the music that was capturing the attention of the young audiences around the country.  One of the first bands to play at colleges and universities, the band presented here featured young graduates of the premier musical colleges in the country, such as Berklee School of Music and North Texas State.  Briefly, the selections are: 'Pontieo' (Lobo - Capinan). 'Here I Am, Baby' ('Smokey' Robinson), 'Hard To Keep My Mind On You' (Holmes), ' MacArthur Park (Jim Webb), 'Light My Fire' (The Doors), 'I Say A Little Prayer' (Bacharach - David), 'Hush' (South), 'For Love Of Ivy' (Quincy Jones - Bob Russell), and two originals by the arranger and album producer Richard Evans, 'Impression Of Strayhorn', and ' Keep On Keepin' On'.  Soloists include Woody himself on alto saxophone and clarinet, Sal Nistico and Frank Vicari, tenor saxophones, Nat Pavone, Sal Marquez and Henry Hall, trumpets, Robert Burgess, trombone, and John Hicks, piano.  A real swinger of an album, with a bit of a jazz-rock twist!

The Ellington All Stars - In A Mellow Tone

(stereo), Riverside / Polydor 673 026 (UK), 1958 (UK reissue of Clark Terry's 1957 U.S. album on Riverside RLP 12-246, "Duke With A Difference")

The great trumpeter Clark Terry is heard here with two different line-ups, both featuring Johnny Hodges, in an all-Ellington programme which, originally released in 1957, was called "Duke With A Difference".  Here entitled Ellington All-Stars - "In A Mellow Tone", this Riverside reissue has all of the original album's tracks save one; inexplicably omitted is the Duke's "In A Sentimental Mood".  Be that as it may, the selections here certainly sound a bit different when compared with their previously recorded Ellington versions.

The personnel includes Clark Terry, trumpet, all arrangements except 'Come Sunday; Johnny Hodges, alto saxophone; Paul Gonsalves, tenor saxophone; Quentin Jackson or Britt Woodmann, trombone; Tyree Glenn, trombone and vibes ('C Jam Blues' & 'Mood Indigo' only); Billy Strayhorn, piano (on 'Come Sunday' only); Jimmy Woode, bass; and  Sam Woodyard, drums.

The selections include 'C Jam Blues, 'Cottontail', 'Just Squeeze me', 'Mood Indigo', 'Take The 'A' Train', 'In A Mellow Tone', and 'Come Sunday', all written by Ellington except 'A Train', by Billy Strayhorn.  A very satisfying album by some of Duke's most illustrious alumni.

Oliver Nelson's Big Band, Live from Los Angeles

(monaural), EMI / Impulse MIPL 510 (UK), 1967 (UK release of Impulse A 9153 1967 (USA))

Working at Wallich's Music City, Hollywood, in 1967, I vividly remember often hearing Frank Strozier, one of the featured soloists herein, when he played with Shelly Manne & His Men at Shelly's Manne-Hole on North Cahuenga Blvd, as didMonty Budwig, the bassist here.  So I made the trek up to Marty's-On-The-Hill for this awesome big band's engagement in June, 1967. The band was made up of the crème de la crème of L.A.'s top session players, and as Oliver Nelson himself says in the album notes, "I never before had a trumpet section where each player could do everything - from playing lead to improvising jazz.  For that matter, we had that kind of flexibility throughout the band."  The personnel includes Oliver Nelson, arranger conductor, soprano saxophone; Buddy Childers, Bobby Bryant, Freddy Hill, Conte Candoli, trumpets; Billy Byers, Pete Myers, Lou Blackburn, Ernie Tack, trombones; Gabe Baltazar, Tom Scott (not even 20 when this was recorded), Bill Perkins, Jack Nimitz, Frank Strozier, reeds; Frank Strazzeri, piano; Monte Budwig,bass; Mel Brown, guitar, and Ed Thigpen, drums.  The selections include: 'Miss Fine' (Oliver Nelson), 'Milestones' (Miles Davis), 'I Remember Bird' (Leonard Feather), 'Night Train' (O. Washington - J. Simpkins - Jimmy Forrest), 'Guitar Blues' (Oliver Nelson), 'Down By The Riverside' (trad., arr. Oliver Nelson), and 'Ja Da' (B. Carleton).  Strozier solos effectively on alto on 'Milestones', also featuring Tom Scott on tenor sax,  and Strozier makes 'I Remember Bird' his own.  Guitarist Mel Brown is featured on both 'Night Train' and 'Guitar Blues', sounding 'down-home' and funky.  on 'Down By The Riverside', all the trumpets engage in chase choruses, and very exciting it is, too.  A fine 'live' big band tour de force.

Duke Ellington & Johnny Hodges play the blues - Back to Back

HMV Records Verve series (UK release of Verve MGV 8317), CLP 1316, 1959

Featuring Duke Ellington, piano; Johnny Hodges, alto saxophone;  Harry 'Sweets' Edison, trumpet; Les Spann, guitar; Al Hall or Sam Jones on bass and Jo Jones, drums, this is quite an unusual album in that the entire repertoire consists of the blues, in various celebrated selections, with Ellington on top form on piano, and Hodges, Edison and Spann soloing at the top of their game.  The tunes are: 'Wabash Blues' (Meinken - Ringle), 'Basin Street Blues' (Spencer Williams), Beale Street Blues' (W. C. Handy), 'Weary Blues' (Matthews), 'St. Louis Blues' (W. C. Handy), 'Loveless Love (aka 'Careless Love', a traditional tune first published by W. C. Handy), and 'Royal Garden Blues', also by Spencer Williams. This album has a four star rating in "The Virgin Encyclopedia Of Jazz", and is a companion volume to "Side To Side", also featuring Ellington and Hodges, and published in the same year.

Oscar Peterson Quartet Vol 2 - 10" LP

Clef / EMI Columbia Records 33C 9025 (UK), 1954

This 10" album is the companion album to 'Oscar Peterson Quartet', Clef MGC 116, released in 1952, and it was recorded at the same date, December 1951, in Los Angeles.   The quartet consists of Oscar Peterson, piano, with long-time collaborators Barney Kessel, guitar; Ray Brown, bass; and Alvin Stoller, drums.  As it's a 10" album, they present extended versions of only two selections, the Gershwins' "Oh, Lady Be Good" (12:14), and Heyman, Green & Sour's "Body And Soul" (11:58). This band swings like the clappers!

Finger Poppin' with The Horace Silver Quintet

Blue Note BLP 4008 (monaural) (USA) 'Deep groove' version, West 63^rd Street on label. Released in 1959

One of my 'desert island' discs, this Horace Silver album came out just about the time I returned home from the Army, aged 20, and was working as a taxi driver.  I had the good fortune of having Horace in my cab as a fare, and found out that his band was playing at Mitchell-Ruff's 'Playback' Club in New Haven, and I was there that night, digging all the tunes heard on the present album, LIVE!   The wonderful line-up at the club, as here, was Horace Silver, piano & leader; Blue Mitchell, trumpet; Junior Cook, tenor saxophone; Eugene Taylor, bass; and Louis Hayes, drums, soon to leave Horace and join the Cannonball Adderley Quintet.  The tunes, all composed by Horace Silver, are: 'Finger Poppin'', 'Juicy Lucy', 'Swingin' The Samba', 'Sweet Stuff', 'Cookin' At The Continental', 'Come On Home' (the latter two covered vocally by Lambert, Hendricks & Ross), 'You Happened My Way', and 'Mellow D'.  

This is the very rare deep groove pressing (from the pre-1961 era when Blue Note albums used special dies attached to the pressing machine which held down the stampers for Side A and Side B during manufacturing.  These dies traditionally cut a deep groove into the label during a pressing).