The Basement Rug

Don’t let the cheesy album cover fool you, this is a great hip and swinging session: Count Basie - Basie Meets Bond (1965).

Review by Ken Dryden (AMG):

This campy LP from the 1960s features the Count Basie Orchestra playing ten themes from four early James Bond movies, with arrangements by either Chico O’Farrill or George Williams. While it seems doubtful that Basie added any of this music to his regular band repertoire, his band does its best to do justice to the arrangements. The somewhat monotonous “007″ is converted into a dramatic calypso, while “The Golden Horn” is straight-ahead swing and might surprise someone who hadn’t seen the film From Russia With Love. But most Basie fans will want to know how the band handled the best-known themes. “Goldfinger” is given a low-key but swinging treatment that has a fine solo by Eddie “Lockjaw” Davis, while the foot-patting treatment of “Thunderball” focuses on Marshall Royal’s soulful alto sax and a typically sparse Basie solo. This long out of print record is unlikely to resurface as a CD reissue and it can be safely bypassed by most jazz fans, but Basie devotees who have a fondness for the earliest James Bond films (Dr. No, From Russia With Love, Goldfinger, and Thunderball) might find this surprising LP worth the investment — if they can only locate a copy.

Personnel:

Count Basie (Piano)
Freddie Green (Guitar)
Sonny Payne (Drums)
Norman Keenen (Double Bass)
Charlie Fowlkes (Baritone Saxophone and Bass Clarinet)
Eddie “Lockjaw” Davis (Tenor Saxophone)
Eric Dixon (Tenor Saxophone and Flute)
Bobby Plater (Alto Saxophone and Flute)
Marshall Royal (Alto Saxophone)
Bill Hughes (Bass Trombone)
Grover Mitchell (Trombone)
Al Grey (Trombone)
Henderson Chambers (Trombone)
Phil Guilbeau (Trumpet)
Wallace Davenport (Trumpet)
Sonny Cohn (Trumpet)
Al Aarons (Trumpet)

Track Listing:

1) 007 (John Barry) - 3:01
2) The Golden Horn (John Barry) - 3:45
3) Girl Trouble (John Barry) - 3:37
4) Kingston Calypso (Monty Norman) - 2:26
5) Goldfinger (John Barry/Leslie Bricusse/Anthony Newley) - 4:06
6) Thunderball (John Barry/Don Black) - 4:02
7) From Russia With Love (Lionel Bart) - 4:15
8) Dr. No’s Fantasy (Monty Norman) - 3:57
9) Underneath The Mango Tree (Monty Norman) - 3:38
10) The James Bond Theme (Monty Norman) - 3:49
11) Dr. No’s Fantasy (first version) (Monty Norman) - 3:54

So you decided to drop by on a holiday huh? Perhaps you are having a little soiree with the fam and friends tonight? Get out your best cocktail recipes (or brew up some coffee and cocoa) and give this a spin. I had planned to offer up a rip from the original 1959 LP, but I found a superb FLAC offering over at the andifyouhadtwocoats blog. You can download the FLAC version of the CD in 4 parts: 1 | 2 | 3 | 4, or else download my 320 kbps mp3 conversion.

Review by Scott Yanow [AMG]:

Most of this CD reissue contains one of singer Annie Ross’ finest sessions away from the premiere jazz vocal group Lambert, Hendricks and Ross. She is joined by either Zoot Sims or (on two numbers) Bill Perkins on tenor, pianist Russ Freeman, Billy Bean or Jim Hall on guitar, bassist Monty Budwig and Mel Lewis or Frankie Capp on drums. Ross’ renditions of such tunes as “I’m Nobody’s Baby,” “Invitation To The Blues,” “I Didn’t Know About You” and “You Took Advantage Of Me” are highlights. Also on this set are five instrumentals taken from samplers that showcase the talents of Zoot Sims and Russ Freeman. Recommended.

Personnel:

Annie Ross (vocal)
Zoot Sims (tenor sax)
Bill Perkins (tenor sax on 1-2)
Russ Freeman (piano)
Jim Hall (guitar)
Billy Bean (guitar on 3-7)
Monte Budwig (bass)
Frank Capp (drums)
Mel Lewis (drums)

Recorded in Los Angeles in the spring of 1959.

Track Listing:

1) I’m Just A Lucky So And So
2) You’re Nearer
3) I’m Nobody’s Baby
4) Lucky Day
5) Invitation To The Blues
6) You’re Driving Me Crazy
7) Invitation To The Blues (Instrumental)
8) Everything I’ve Got
9) I Didn’t Know About You
10) I Was Doing All Right
11) You Took Advantage Of Me
12) I Don’t Want To Cry Anymore
13) Bones For Zoot
14) Funky Old Blues
15) Brushes

I found this budget issue CD at a local “dollar” store and decided to take a chance. While I sympathise with Ken Dryden’s points about the quality of this re-issue (the CD does not sound that bad), the implosion of CD sales has made it difficult to find Dolphy’s work in many places now, so I think this offering is better than nothing at all.

Review by Ken Dryden (AMG):

This Eric Dolphy CD appeared out of nowhere in 2000, and Dolphy fans might be enticed by the supposed presence of any unreleased tracks. Sadly, this low-quality reissue, which lacks a list of musicians, liner notes, track timings, or composer credits, is little more than a rip-off. The first four tracks were originally recorded in 1963 and previous appeared on LPs issued by either Everest or Douglas. The obvious surface noise indicates this label didn’t even bother to pretend that they had access to the master tapes but simply dubbed the tracks from records. “Stormy Weather” is the originally unreleased first take recorded by Candid under the leadership of Charles Mingus in 1960, with Dolphy on alto sax, trumpeter Ted Curson, and drummer Dannie Richmond; the distorted sound, particularly of the bass, is the result of lousy production by this cheesy reissue label and not on the original tape. “Wherever I Go” sounds as if it is a date by drummer Chico Hamilton’s quintet; the instrumentation includes drums, cello, bass, guitar, and Dolphy doubling on alto sax and flute, although he only solos on the former. Whether or not this one track has been previously issued in any form, the first five tracks contained on this CD are all available elsewhere with far superior sound, making this release an extremely poor investment; therefore, the price would have to be extremely low for Dolphy fans to justify paying for one track of less than four minutes in length.

Track Listing:

1) Jitterbug Waltz (7:06)
2) Music Matador (9:18)
3) Alone Together (13:14)
4) Love Me (3:14)
5) Stormy Weather (13:16)
6) Wherever I Go (3:56)

Expansions was recorded by McCoy Tyner for Blue Note (BST 84338) on 23 August 1968. It was his first outing as a bandleader/composer, and the beginning of the end of his relationship with the Blue Note label.

The fact that this stunning recording remains absent from the Blue Note catalog is incomprehensible, as it has got to be one of the finest sessions in the “Van Gelder” library. The only way to get this recording now is to shell out $44 for a special limited edition Mosaic label 3-CD boxset of the final Tyner Blue Note sessions.

Right out of the gate you know this is going to be a memorable session. Waits’ swiss watchery drumming sets a pace to be reckoned with; Lewis and Tyner have no trouble keeping up; and Carter slips in a few drone strokes on the cello while Shaw leads the way on the trumpet.

After a few warm-up bars, the whole gang come together and take the groove out for an off-kilter circus swing, a la Sun Ra Arkestra. But this ain’t no circus, even if we are walking a tightrope!

Tyner takes the lead and begins furiously hammering out a message to the gods: Send us a sign, send us a sign! Fearing anger in the heavens, Waits and Lewis begin pleading for mercy in morse code just as an angel responds in Carter’s cello: We hear you all loud and clear…. we hear you and are pleased!

Shorter sends thanks; Shaw joins in praise; and before long the whole gang are dancing through the cosmic courtyard in bliss. Waits - whose stamina has been relentless thus far - signals to the gang that it’s time to come home, and after one last circus romp, the curtain comes down.

And this is only the first 12 minutes!

This download was ripped at 320 kbps from a tape copy of the original LP that was given to me a few years ago. The tape itself was made in 1984, but did not include the final track for some reason. I have searched and searched, but have not been able to find either the LP or the short-lived CD re-issue. If you ever see this album, do not hesitate to grab it!

Personnel:

Bass - Herbie Lewis
Cello - Ron Carter
Drums - Freddie Waits
Piano - McCoy Tyner
Producer - Duke Pearson
Recorded By - Rudy Van Gelder
Saxophone [Alto], Flute [Wooden] - Gary Bartz
Saxophone [Tenor], Clarinet - Wayne Shorter
Trumpet - Woody Shaw

Track Listing:

1) Vision (12:15)
2) Song Of Happiness (11:55)
3) Smitty’s Place (5:20)
4) Peresina (10:20)
5) I Thought I’d Let You Know (6:25)

Notes on the Mosaic boxset:

This set covers the last two years of McCoy Tyner’s tenure with Blue Note, beginning with the pianist’s Expansions, the first album on which his own identity as a leader-composer-pianist came ringing through.

With Woody Shaw, Gary Bartz, Wayne Shorter, Ron Carter (on cello), Herbie Lewis and Freddie Waits, he fashioned a new sound, inspired by, but not mimicking his work with the John Coltrane Quartet. McCoy blended modality, Eastern music, African elements and spirituality into a music that was unmistakably his own.

Unfortunately neither this album nor its extraordinary follow-up Extensions with Bartz, Shorter, Alice Coltrane (on harp), Carter and Elvin Jones received the recognition they deserved at the time. So three more superb dates sat in the vaults Asante, with Andrew White, Ted Dunbar, Buster Williams, Billy Hart and Mtume was issued in 1974. The rest of the music on this set was finally issued on the 1976 double album Cosmos. One session features a sextet with Bartz, White and Hubert Laws; the other is a magnificent date which adds two reeds and string quartet to Tyner’s trio and includes the first version of “Song For My Lady.”

In 1972, McCoy signed with the Milestone label and gradually his fortunes began to change. McCoy’s new sound had found a receptive audience; record sales increased and McCoy was able to keep a band together and working. By the late seventies, he was one of the most popular and best-paid acoustic jazz artists in the world. The music in this set, five brilliant, innovative sessions over a 25-month period, represents the seeds of that success.

About 15 years ago some friends and I went to see Jethro Tull at Massey Hall in Toronto. After the show we were a bit hungry, and looking for something to do, we ventured over to George’s Spaghetti House. I was not a very big jazz fan at the time, and so I didn’t know that George’s was Canada’s longest running jazz club. Shortly after we ordered some food and drinks, a band hit the stage, and there was some serious magic for the next hour or so as we enjoyed their set. Toronto was in a recession at the time, and most music clubs were dead scenes. This night was no exception, as there was less than a dozen people in the place, including our group of four. George’s closed its doors shortly after that. This double-LP (GRT 9230-1055), recorded in 1975, hails back to the days when George’s was still a landmark venue, and Moe Koffman’s outfit was the regular weekly house band. This is considered to be one of his best albums. I hope you enjoy this taste of Canadian jazz history.

Track Listing:

1) Taurus Rising
2) Bilbo
3) Lover Man
4) A Country Place
5) Two Bourrees
6) Theme
7) Pastorale
8) Detour Ahead
9) Gazebo
10) Echoes from Before
11) Don’t
12) Theme

Moe Koffman - Flute, Alto & Soprano Sax
Don Thompson - Keyboards
Doug Riley - Keyboard on Pastorale
Ed Bickert - Guitar
Rick Homme - Electric & Acoustic Bass
Jerry Fuller - Drums

Here’s Roland at the ripe young age of 20, in a NYC session for the Bethlehem label on 9 November 1956. The 320 kbps mp3 files were converted from FLAC files (part-1 | part-2) that I grabbed from the If You Had Two Coats blog.

Personnel:

Roland Kirk (tenor sax)
James Madison (piano)
Carl Pruitt (bass)
Henry Duncan (drums)

Track Listing:

1) Roland’s Theme
2) Slow Groove
3) Stormy Weather
4) Nearness of You
5) La Carte
6) Easy Living
7) Triple Threat

You definitely must drop by the Magic of Juju blog, where I scooped this interesting gem. Do NOT download this if you are musically timid, on medication (the prescribed kind, that is), or have a severe case of tinitis, or your ears may begin to leak copious amounts of fluid. Apparently Mr. Nothing dropped some blotters just before this recording was made for the Takoma label (C-1015) back in 1967. There, you have been warned. Enjoy!

Track Listing:

1) The Psychedelic Saxophone of Charlie Nothing (19:25)
2) In Eternity With Brother Fredrick (14:19)