Trio 3-D, "O Trio 3-D Convida", RCA Victor/BMG CD
[Brazil] #74321.883742 (2001).[CD Reissue]
Musician personnel: Antonio Adolfo (piano), Carlos
Monjardim (bass) & Nelson Serra (drums) with special guests Raul
de Souza (valve trombone), Edson Maciel (trombone), Paulo Moura (alto
sax), J.T. Meirelles (tenor sax) and Eumir Deodato (arranger).
Original session produced by Roberto Jorge in 1965.
Reissue Produced by Arnaldo DeSouteiro for Jazz Station Productions (JSR) in October 2001.
Texto para contracapa (Text for back cover):
"Segundo (e último) disco do Trio 3D – liderado pelo pianista
Antonio Adolfo -lançado pela RCA, em abril de 1965, conta com o
reforço de convidados especiais do porte de Raul de Souza, J.T.
Meirelles e Eumir Deodato, responsável pelos notáveis
arranjos para a seção de sopros em temas como “Só
Tinha de Ser Com Você”, clássico de Tom Jobim."
* * *
Liner Notes (in Portuguese) written by Arnaldo DeSouteiro for the CD booklet:Fruto da “febre dos trios” característica da segunda fase da bossa nova, quando uma geração de instrumentistas da mais alta impedância e estirpe passou a reinar no Beco das Garrafas, em contraponto estético à leveza da bossa “peso-pluma” (nas palavras de Ruy Castro) de Jobim, Bonfá & João Gilberto, o Trio 3D representou um marco na carreira de seu fundador, o carioca Antonio Adolfo Maurity Sabóia. Nascido em 10 de fevereiro de 1947, estudou no Conservatório de Música Lorenzo Fernandes, passando a frequentar o Bottle’s Bar e o Little Club a partir de 1963, integrando o grupo Samba Cinco.
Chamado para atuar na banda de apoio do musical “Pobre Menina Rica”, de Carlos Lyra, durante a temporada no Teatro de Bolso, formou o Trio 3D, em dezembro de 63. Contratado pela RCA em 1964, o conjunto debutou no LP “Tema 3D”, com Nelson Serra e Dom Um Romão revezando na bateria, o argentino Catcho Pomar domando o contrabaixo, o hoje esquecido Arisio dando canja no violão, e Claudio Roditi – agora reconhecido como um dos melhores trompetistas do mundo, segundo os leitores da revista Down Beat em 2000 - entrando pela primeira vez em um estúdio de gravação, na provecta idade de 17 anos.
Neste segundo disco para a RCA, “Trio 3D Convida”, lançado em abril de 1965, Adolfo ampliou a fórmula do LP anterior, convocando seis feras para contribuições especiais. Outro talento precoce, Eumir Deodato, já com curriculo de veterano aos 22 anos, assinou brilhantes arranjos para “Só Tinha de Ser Com Você” e “Peter Samba”, empregando um potente naipe de sopros. Na verdade, um quarteto formado, simplesmente, pelos dois melhores trombonistas na história da música brasileira - Edson Maciel e Raul de Souza - e por dois dos nossos melhores saxofonistas, João Theodoro “JT” Meirelles e Paulo Moura.
O contrabaixo foi entregue ao niteroiense Carlos Monjardim, ainda hoje ativo na noite paulistana, parente distante da cantora Maysa, sideman de Wilson Simonal nos tempos do Top Club, uma boate situada na praça do Lido. E a bateria ficou a cargo de Nelson Serra de Castro, carioca que, depois do 3D, trabalhou ao lado de Dom Salvador (piano) e Manuel Gusmão (baixo) no trio que acompanhava Elis Regina em programas dirigidos por Carlos Manga na TV Excelsior. Mais tarde, atuou na França com Meirelles, Fernando Martins e Edson Lobo. Tocava com Osmar Milito na casa noturna 706 quando, vítima de um desastre de motocicleta, faleceu prematuramente em fins dos anos 70.
Nas seis faixas do “lado A” do LP, atua apenas o trio. A faixa de abertura, “Água de Beber” (Jobim), tratada de forma grandiloquente em rebuscado arranjo, com várias alternâncias de andamento, deixa transparecer a nítida influência do Zimbo Trio, surgido um ano antes em São Paulo. Não menos intrincado, o tratamento dispensado a “My Heart Stood Still”, standard de Richard Rodgers & Lorenz Hart, popularizado por jazzistas do porte de Bill Evans, Chet Baker & Dave Brubeck, também passa por diferentes moods. Depois de uma longa introdução, com Monjardim usando o arco e Nelson Serra aderindo às baquetas de feltro, o trio mergulha num balanço a mil por hora, permitindo a Adolfo demonstrar a apurada técnica lapidada nos estudos de piano clássico. Ecos de Hamilton Godoy e também de Oscar Peterson voltam a se manifestar na versão de “Reza”, de Edu Lobo, abrigando criativa performance do baixista Monjardim.
Dois temas de Marcos Valle ensejam performances irretocáveis: a bossa-balada “Preciso Aprender A Ser Só”, acelerada na medida certa para escapar do romantismo meloso, e o samba “Batucada Surgiu” (recentemente redescoberto por DJs da cena dancefloor-jazz depois da gravação de Towa Tei no “Future Listening!” de 95), ralentado e revirado harmonicamente no melhor arranjo de Adolfo no disco. Igualmente arrojada e surpreendente, a recriação de “Tamanco no Samba” - gravado pelo Tamba 4 como “Samba Blim” - confirma as excepcionais qualidades do líder como arranjador. O tema de Orlandivo, volta e meia tratado, inclusive pelo próprio autor, como sambinha corriqueiro, se transforma em samba-jazz de alta densidade, abrigando evoluções poliritmicas de Nelson Serra a la Elvin Jones.
Os convidados surgem nas faixas do “lado B”. Edson Maciel desliza seu trombone de vara, pela bela melodia de “Minha Namorada” (Carlos Lyra), em atmosfera de intenso lirismo mas nada açucarada, enquanto Raul de Souza, que três meses antes havia lançado seu disco-solo “À Vontade Mesmo” pela RCA, conta “um, dois, três” antes de esbaldar-se no trombone de válvula em “Bye Bye Blackbird”, aprontando solo de estonteante fluência. Meirelles (líder do Copa 5) mostra sua classe no sax-tenor no sambop “Tema 3D”, única composição de Adolfo incluida no repertório. E Paulo Moura, no sax-alto, destrincha “O Passarinho”, obscura parceria de Chico Feitosa & Lula Freire, encaixando explícita referência a “Take Five”.
A constelação de astros aparece reunida em duas faixas, cujos arranjos foram sabiamente confiados ao gênio Eumir Deodato: “Só Tinha de Ser Com Você” (o tema de Jobim gravado um ano antes por Eumir, em clima bem mais dark, em seu LP de estréia, “Inútil Paisagem”, e por ele novamente regravado para a trilha do filme “Bossa Nova” em 1999), e “Peter Samba”, swingada colaboração de Durval Ferreira & Mauricio Einhorn. Graças a genialidade de Eumir na arte da orquestração, o quarteto de sopros soa como uma big-band! Sequência dos solos: Maciel, Moura, Raulzinho, Meirelles e Adolfo.
Grafado na capa como 3D Trio, o grupo participou em outubro de 65, dividindo o palco com Pedrinho Mattar, Jongo Trio e Gilberto Gil, do “4º Festival do Balança – O Maior Som Universitário do Brasil”, lançado pela RCA em 66. Ainda na RCA, acompanharam de Eliana Pittman (“Minha Melhor Melodia”) a Wilson Miranda (“Tempo Novo”). Novelli passou a ser o baixista, e Vitor Manga, o baterista. Alterando mais uma vez o nome, desta vez para Conjunto 3D, fazendo um som bem nos moldes do “Brasil 66” de Sergio Mendes, saiu em 1967 o álbum “Muito na Onda” (Copacabana), que marcou a estréia discográfica do guitarrista Helio Delmiro, acoplado à base formada por Adolfo, Gusmão e Nelson Serra, e às vozes de Beth Carvalho & Eduardo Conde.
Em 1968, ainda com o 3D, o pianista marcou presença no LP “Isto É Musicanossa!”, do selo Rozenblit, ao lado de Mario Telles, Johnny Alf, Gaya, Menescal e o Sexteto Contraponto. Aderiu à Turma da Pilantragem, comandando o grupo Antonio Adolfo & Asseclas Musicais nos três discos que o pseudo-movimento liderado por Carlos Imperial, Wilson Simonal e Nonato Buzar gravou para a Polydor entre 68 e 69. Logo depois, Adolfo obteve sucesso comercial ainda maior com seu grupo A Brazuca, gravando dois LPs para a Odeon, faturando prêmios em festivais, e emplacando sucessivos hits em parceria com Tibério Gaspar como “Sá Marina” (sucesso internacional sob o título “Pretty world”), “Juliana”, Teletema” e “BR-3”.
Continuou trilhando peculiar caminho pela MPB nas três últimas décadas, tornando-se um dos pioneiros na luta pela abertura de mercado para os discos independentes (a partir do “Feito em Casa”, de 77, seguido por “Encontro Musical” e “Viralata”), desenvolvendo sólido trabalhado como educador (inclusive no exterior, como membro da IAJE), e dedicando-se às releituras das obras de Chiquinha Gonzaga, Ernesto Nazareth e João Pernambuco. Mas jamais retornando à estética bossanovista do Trio 3D. Motivo extra para que o relançamento deste disco singular seja amplamente celebrado.
Arnaldo DeSouteiro
Petrópolis, 6 de outubro de 2001
(Produtor musical, historiador de jazz e música brasileira, jornalista e educador – membro da IAJE, International Association of Jazz Educators).
Various Artists, "Focus on Brazilian Music
Grooves", RCA/BMG CD 4321.79172-2 (2001).[Compilation CD]
LINER NOTES:
Luiz Eça, Bebeto & Helcio Milito,
"Tamba", RCA/BMG [Brazil] #74321.866282
(2001).[CD Reissue]
Musician personnel: Luiz Eça (piano, keyboards, vocal), Bebeto Castilho (electric bass, flutes, vocal) & Helcio Milito (drums, percussion, vocal).
Original sessions produced by Raymundo Bittencourt in 1974.
Reissue Produced by Arnaldo DeSouteiro for Jazz Station Productions (JSR) in London, July 2001.
Liner Notes by Arnaldo DeSouteiro.
Joe Beck, "Beck", Kudu [Japan] #KICJ 8359 (released on July 25, 2001).[CD Reissue]
Tracklist:
1. Star Fire aka The Saddest Thing (Joe Beck) 4:34
PZB Publishing/ASCAP
2. Cactus (Don Grolnick) 4:59
Carmine St. Music/BMI
3. Texas Ann (Joe Beck) 7:57
PZB Publishing/ASCAP
4. Red Eye (Joe Beck) 7:13
PZB Publishing/ASCAP
5. Cafe Black Rose (Gene Dinwiddie aka Jalal Mansur Nuriddin) 4:26
Djallon Music/ASCAP
6. Brothers and Others (Joe Beck) 6:31
PZB Publishing/ASCAP
Total Time 35:54
PZB Publishing/ASCAP
2. Cactus (Don Grolnick) 4:59
Carmine St. Music/BMI
3. Texas Ann (Joe Beck) 7:57
PZB Publishing/ASCAP
4. Red Eye (Joe Beck) 7:13
PZB Publishing/ASCAP
5. Cafe Black Rose (Gene Dinwiddie aka Jalal Mansur Nuriddin) 4:26
Djallon Music/ASCAP
6. Brothers and Others (Joe Beck) 6:31
PZB Publishing/ASCAP
Total Time 35:54
Liner Notes below written by Arnaldo DeSouteiro for the 24Bit Remastering Japanese CD reissues of Joe Beck, "Beck":
* * *
Beck is back! A perfectionist, gifted with a sharp sense of self-criticism, Joe Beck (born on July 29, 1945, in Philadelphia, Pennsylvannia) was making good music (and a lot of money) when he disappeared from the NY music scene in 1971 to become a dairy farmer in Vermont. After his professional debut with Paul Winter’s group in 1964, he had played with such masters as Gary McFarland, Charles Lloyd, Chico Hamilton, and Gil Evans, on whose orchestra he was a member from 1967 to 1971. (One of his best albums with Evans, Where Flamingos Fly, only came out ten years later on the Artists House label).
Not to mention that Joe Beck had been the first guitarist to record with Miles Davis, on a controversial December 1967 session later released, in 1979, on the Circle in The Round album. “For years I dreamed to play with Miles, one of my heroes. But, when I had the chance, I wasn’t prepared yet, and I played very badly on that session,” Beck comments. “By the end of 1971, I was feeling so stressed that I gave up everything and decided to take a long break of music. I wasn’t satisfied with my life nor with my career.”
After almost three years milking cows (“during that period as a farmer, my only musical work was to write the soundtrack for a porno movie, a spiced version of Grimm’s Fairy Tales, which I did just for fun”, he laughs), Beck returned with renewed energy to Manhattan’s studio scene. Soon he was recording on Dom Um Romao’s debut album for Muse, as well as touring with Joe Farrell.
At that time, Farrell was signed to CTI and, through him, Joe Beck re-encountered Creed Taylor. Beck’s first session as a sideman for CTI, on October 29, 1968, had been for J.J. Johnson & Kai Winding’s Betwixt & Between album, followed by a recording for Paul Desmond’s Summertime album on November 20, 1968, playing acoustic guitar on the now cult samba version of Louis Armstrong’s Struttin’ With Some Barbecue.
After being an integral part, in October 1973, of the sessions which yielded Joe Farrell’s Penny Arcade album (for which he also contributed as composer of its title track), Beck was invited to take part on Idris Muhammad’s Power of Soul (March 1974), as well as on two other albums by Farrell’s group: Upon This Rock (March 1974) and Canned Funk (Nov-Dec 1974). Beck’s ferocious guitar style impressed Creed Taylor so much that the producer invited him to join the CTI/Kudu family. “Creed offered me the chance to do my own album, which represented my artistical redemption”, states the guitarist.
On March 10 & 11, 1975, at Van Gelder’s Studio in New Jersey, Joe Beck and his buddies (Don Grolnick, Will Lee, Chris Parker, Steve Khan and David Sanborn, a superteam of second-generation fusion players) recorded all the basic tracks for the self-titled Beck album. On March 17, Beck, Khan and Grolnick, plus percussionist Ray Mantilla, returned to do some overdubs. At last, on June 25, Don Sebesky added unobstrusive string arrangements to three tracks: Star Fire, Cactus and Red Eye.
The opening track, Star Fire, had been previously recorded (under the title The Saddest Thing) on Idris Muhammad’s Power of Soul album. Beck and Sanborn play the melody in unison, in a dense atmosphere that is not sweetened by Sebesky’s string arrangement.
Don Grolnick shines as a composer on Cactus (adding an organ during Joe Beck’s fiery guitar solo), and as a soloist on Texas Ann, on which Grolnick performs a masterful improvisation on the Fender Rhodes, a lesson in dynamics and architectonic logical. By the way, he uses electric piano on all tracks, except on Brothers And Others (comping on the acoustic piano in a way only he and another late funk master, Richard Tee, knew how to do).
Percussionist Ray Mantilla adds congas and cowbell to Red Eye, an incandescent bluesy tune written by Beck, whose guitar attack seems to bite the listener’s ears. However, Sanborn steals the show with a fantastic performance, phrasing beautifully during his astonishing solo.
Cafe Black Rose, a Gene Dinwiddie song for which Lightinin’ Rod later added lyrics on the Hustler’s Convention album, is a country-tinged performance. Steve Kahn, a guitarist’s guitarist, son of the legendary composer Sammy Cahn, sounds like if he was playing a pedal steel guitar. It is worth to remember that Gene Dinwiddie is the Christian name of Jalal Mansur Nuriddin, who formed the legendary The Last Poets group in 1969, after releasing from prison. A USA paratrooper, who opted to go to jail instead of fighting in the Vietnam War, Gene converted to Islam while in prison, adopting a new name.
Undoubtedly the album highlight, Brothers and Others begins with a piano intro played by Don Grolnick on his unmistakable style. There are bright solos by both Beck and Sanborn, propelled by a rhythm section that is pure dynamite. It is the perfect ending for an album full of excitement, musical intensity and vital energy.
The psychedelic cover art was done, at Joe Beck’s request, by Abdul Mati Klarwein, who created the paintings for several Miles Davis’ albums of the jazz-rock era, such as the seminal Bitches Brew and its follow-up Live Evil. However, when reissuing the Beck album in 1979, on the CTI 8000 series, Creed Taylor opted for a new cover provided by photographer Mitchell Funk, and retitled the album Beck & Sanborn for obvious commercial purposes, to take advantage of David Sanborn’s huge fame. This second cover and false title were also used on the USA CD reissue by CBS in 1987.
Although he never recorded again for Creed Taylor as a leader, Joe Beck did many other albums as a sideman for both the CTI and Kudu labels: The Chicago Theme (Hubert Laws), The Rape of El Morro (Don Sebesky) and House of the Rising Sun (Idris Muhammad), all of them recorded in 1975. That same year, he became the main responsible for making What A Diff’rence A Day Makes, the best-selling album ever in Esther Phillips’ career, thanks to Beck’s disco-arrangement of the title track, which became a big dancefloor hit all over the world during the summer of 1975. A second Phillips/Beck collaboration, For All We Know, was quickly produced in October of that same year. But it’s another story that also deserves to be told in details. For now, let’s cheers because . . . Beck is back!
Arnaldo DeSouteiro
May 24, 2001
Mr. DeSouteiro is Brazil’s top jazz producer and CTI historian
* * *
Musician personnel:
Joe Beck: lead guitar and all guitar solos
David Sanborn: alto sax
Don Grolnick: electric piano (1,2,3,4,5), acoustic piano (6), organ (2,4)
Will Lee: electric bass
Chris Parker: drums
Ray Mantilla: congas & percussion (4,6)
Steve Khan: rhythm guitar
Strings Section (tracks 1,2,4)
Frederick Buldrini, Harry Cykman, Peter Dimitriades, Max Ellen, Harold Kohon, Charles Libove, Harry Lookofsky, Joe Malin & David Nadien: violins
Jesse Levy, Charles McCracken & George Ricci: cello
Basic tracks arranged by Joe Beck
Strings arranged & conducted by Don Sebesky
Album credits:
Recorded at Van Gelder Studios
Engineer: Rudy Van Gelder
Basic tracks recorded on March 10, 11 & 17, 1975
Strings overdubs recorded on June 25, 1975
Original album producer: Creed Taylor.
Album illustrations: Abdul Mati Klarwein.
Original album design: Bob Ciano.
Reissue supervisor: Arnaldo DeSouteiro.
Liner notes: Arnaldo DeSouteiro.
Original catalog number: KU-21
Reissued as Beck & Sanborn (CTI LP 8002)
2001 and 2007 CD Reissues Supervised and Remastered by Arnaldo DeSouteiro for CTI/Kudu.
Esther Philips with Beck, "For All We Know", Kudu [Japan] #KICJ-8360 (2001).[CD Reissue]
Tracklist:
1. Unforgettable (Irving Gordon) 3:38
2. For All We Know (J. Fred Coots / Sam M. Lewis) 3:33
3. Pure Natural Love (J. Deshannon / G. Ballantyne) 5:20
4. Fools Rush In (R. Bloom / J. Mercer) 4:25
5. Going Out of My Head (T. Randazzo / B. Weinstein) 7:51
6. Fever (J. Davenport / E. Cooley) 3:35
7. Caravan (D. Ellington / J. Tizol / I. Mills) 5:43
1. Unforgettable (Irving Gordon) 3:38
2. For All We Know (J. Fred Coots / Sam M. Lewis) 3:33
3. Pure Natural Love (J. Deshannon / G. Ballantyne) 5:20
4. Fools Rush In (R. Bloom / J. Mercer) 4:25
5. Going Out of My Head (T. Randazzo / B. Weinstein) 7:51
6. Fever (J. Davenport / E. Cooley) 3:35
7. Caravan (D. Ellington / J. Tizol / I. Mills) 5:43
Liner Notes (included below) by Arnaldo
DeSouteiro for the 24Bit Remastering Japanese CD reissues of ESTHER
PHILIPS with Beck: FOR ALL WE KNOW
* * *
For all we know, it is impossible to talk
about For All We know (originally released in 1976 as KU-28) without
talking about the unforgettable What A Diff’rence a Day Makes (KU-23),
the album that transformed Esther Phillips (at least for one year) into
a disco-music diva. Conceived by Tony Sarafino, the unofficial A&R
man at CTI/Kudu for disco-oriented projects, What A Diff’rence A Day
Makes became a milestone on Esther’s career as her biggest hit and
best-selling album ever. Recorded in April 1975, released as a single
three months later, its title track (curiously, the big hit of Dinah
Washington, Esther’s main idol and influence) exploded in the New York
dancefloor scene, and soon it swept Europe.
Besides Tony Sarafino, the other musical hero in that project was Joe Beck, then recently signed for the Kudu label as a solo artist. All in the music circles became very surprised to know that the great guitarist had done the arrangements not only for the basic tracks, but for the string section as well! Basically because nobody had ever heard Joe Beck arranging for strings, not even on his solo album Beck (KICJ 8359), which included string arrangements by Don Sebesky. Anyway, the pairing of Esther Phillips and Joe Beck succeeded in all aspects, leading producer Creed Taylor to do a kind of volume 2, quickly booking dates at Van Gelder’s studio in October 1975.
Most of the musicians featured on What A Diff’rence A Day Makes (Don Grolnick, Will Lee, Chris Parker, Steve Khan, Ralph MacDonald, Barry Rogers and The Brecker Brothers) were once again hired for its follow-up album, For All We Know, with some other studio kings (like Andy Newmark and Ronnie Cuber) also invited to the sessions. Not to mention two other great percussionists: Latin legend and Fania recording artist Nicky Marrero, and the underrated George Devens, a classically-trained percussion master who was a former member of George Shearing’s quintet. Plus: seasoned studio vocalists Patti Austin and Tasha Thomas got the hard task to write the vocal arrangements.
In November, Esther Phillips completed the vocal parts. In December, Joe Beck added the string section. The following month, the first promo copies were mailed to club and radio DJs, who enjoyed the new album almost as much as they have loved the previous one. However, in spite of all the promotional efforts by the CTI team, For All We Know did not yield any huge hit a la What A Diff’rence A Day Makes, although two tracks (shortened versions of Fever and For All We Know), released on the KU-929 single, received heavy airplay.
Maybe that was the first mistake. According to Joe Beck, “Creed should have selected Unforgettable as the first single, because it was the most commercial track, as well as a potential disco-hit which I had prepared the same way I had done with What A Diff’rence A Day Makes”, remembers the guitarist, whose name was discretely featured in the album cover.
While, on What A Diff’rence A Day Makes, Esther had been reluctant to record most of the tracks selected by Tony Sarafino, during the pre-production work for the new album she was so happy that she wanted to select some of the songs. Three of them (Unforgettable, For All We Know, Fools Rush In) previously recorded by Nat King Cole. Two of them (Unforgettable and For All We Know) also covered by Dinah Washington.
Actually, Irving Gordon’s Unforgettable, introduced by Nat King Cole in 1951, was recorded by Dinah Washington as the title track of her 1959 album for the Mercury label. Later on, in 1964, it also became the title of an Aretha Franklin session in tribute to Dinah, released by Columbia. And most recently, Natalie Cole sold over six million copies of her 7-time Grammy Award winner Unforgettable album for Elektra in 1991. Listening to Esther Phillips’ crepitant and very sexy version, with the singer sighing of desire behind Michael Brecker’s sax, it is difficult to understand why it was not chosen as the album title neither as its first single.
Fred Coots/Sam Lewis’ For All We Know, another song picked by Esther herself, had been covered by both Dinah Washington (on Drinking Again, in 1962) and Billie Holiday (on Lady In Satin, in 1958), after Nat King Cole’s 1943 version. Another Nat smash hit, covered by everyone, from Glenn Miller to Frank Sinatra to Elvis Presley, Johnny Mercer’s sublime Fools Rush In, also receives a discofied arrangement that sounds better than anything ever recorded by Donna Summer or Gloria Gaynor. The keyboardist is LA-based Bobby Lyle, fresh from his stint with Sly & The Family Stone.
Next, Esther displays her r&b roots on a stunning rendition of Pure Natural Love, penned by the beautiful and very talented singer/songwriter Jackie DeShannon. On the acoustic piano, Don Grolnick plunges into Eddie Cooley’s Fever, a big hit for Peggy Lee in the Fifties, revived by Madonna on her x-rated Erotica album from 1992. Curiously, besides Esther Phillips’ intoxicating version, the most successful recording of this song, in the dancefloor scene, was done by Brazilian singer/actress Norma Bengell back in 1959, being recently rediscovered by European DJs. Then comes Duke Ellington’s classic Caravan, in a funky groove, with a baritone sax obbligato by Ronnie Cuber.
But nothing compares to the Latin-tinged arrangement Joe Beck prepared for Teddy Randazzo’s Going Out Of My Head, turned into a hit by Little Anthony & The Imperials in 1965. That same year, Creed Taylor convinced Wes Montgomery to cut this song, used as the title track for his best-selling Verve album which won a Grammy the following year for Best Instrumental Jazz Performance. This is really a perfect track, with an intoxicating groove, a subtle Don Grolnick solo on electric piano, a fantastic interaction between George Devens on congas and Nicky Marrero on timbales, plus a superb backing vocal arrangement by future CTI star Patti Austin.
After For All We Know, Esther, who had already recorded five albums for Kudu (From A Whisper To A Scream, Alone Again Naturally, Black-Eyed Blues, Performance, and What A Diff’rence A Day Makes), still cut another album for the label, Capricorn Princess, in 1976, with David Matthews replacing Joe Beck as arranger. She can also be heard on two moving performances (Cherry Red and God Bless The Child) from the CTI Summer Jazz Live At The Hollywood Bowl concert, recorded in 1972 but only issued in 1977. And one exciting album recorded live on July 1975, at NY’s Bottom Line, remains unreleased in the CTI archives.
Then, after leaving Kudu, Esther released four albums on Mercury, the same label for which her idol Dinah Washington had recorded her most memorable albums. Her final session, titled A Way To Say Goodbye, for the small Muse label, came out in 1984. Esther Phillips, born Esther Mae Jones on December 23, 1925, passed away on August 7, 1984, of liver and kidney failure. This digitally remastered of For All We Know is a good way to celebrate her immortal talent.
Arnaldo DeSouteiro
May 29, 2001
Mr. DeSouteiro is Brazil’s top jazz producer and CTI historian
Besides Tony Sarafino, the other musical hero in that project was Joe Beck, then recently signed for the Kudu label as a solo artist. All in the music circles became very surprised to know that the great guitarist had done the arrangements not only for the basic tracks, but for the string section as well! Basically because nobody had ever heard Joe Beck arranging for strings, not even on his solo album Beck (KICJ 8359), which included string arrangements by Don Sebesky. Anyway, the pairing of Esther Phillips and Joe Beck succeeded in all aspects, leading producer Creed Taylor to do a kind of volume 2, quickly booking dates at Van Gelder’s studio in October 1975.
Most of the musicians featured on What A Diff’rence A Day Makes (Don Grolnick, Will Lee, Chris Parker, Steve Khan, Ralph MacDonald, Barry Rogers and The Brecker Brothers) were once again hired for its follow-up album, For All We Know, with some other studio kings (like Andy Newmark and Ronnie Cuber) also invited to the sessions. Not to mention two other great percussionists: Latin legend and Fania recording artist Nicky Marrero, and the underrated George Devens, a classically-trained percussion master who was a former member of George Shearing’s quintet. Plus: seasoned studio vocalists Patti Austin and Tasha Thomas got the hard task to write the vocal arrangements.
In November, Esther Phillips completed the vocal parts. In December, Joe Beck added the string section. The following month, the first promo copies were mailed to club and radio DJs, who enjoyed the new album almost as much as they have loved the previous one. However, in spite of all the promotional efforts by the CTI team, For All We Know did not yield any huge hit a la What A Diff’rence A Day Makes, although two tracks (shortened versions of Fever and For All We Know), released on the KU-929 single, received heavy airplay.
Maybe that was the first mistake. According to Joe Beck, “Creed should have selected Unforgettable as the first single, because it was the most commercial track, as well as a potential disco-hit which I had prepared the same way I had done with What A Diff’rence A Day Makes”, remembers the guitarist, whose name was discretely featured in the album cover.
While, on What A Diff’rence A Day Makes, Esther had been reluctant to record most of the tracks selected by Tony Sarafino, during the pre-production work for the new album she was so happy that she wanted to select some of the songs. Three of them (Unforgettable, For All We Know, Fools Rush In) previously recorded by Nat King Cole. Two of them (Unforgettable and For All We Know) also covered by Dinah Washington.
Actually, Irving Gordon’s Unforgettable, introduced by Nat King Cole in 1951, was recorded by Dinah Washington as the title track of her 1959 album for the Mercury label. Later on, in 1964, it also became the title of an Aretha Franklin session in tribute to Dinah, released by Columbia. And most recently, Natalie Cole sold over six million copies of her 7-time Grammy Award winner Unforgettable album for Elektra in 1991. Listening to Esther Phillips’ crepitant and very sexy version, with the singer sighing of desire behind Michael Brecker’s sax, it is difficult to understand why it was not chosen as the album title neither as its first single.
Fred Coots/Sam Lewis’ For All We Know, another song picked by Esther herself, had been covered by both Dinah Washington (on Drinking Again, in 1962) and Billie Holiday (on Lady In Satin, in 1958), after Nat King Cole’s 1943 version. Another Nat smash hit, covered by everyone, from Glenn Miller to Frank Sinatra to Elvis Presley, Johnny Mercer’s sublime Fools Rush In, also receives a discofied arrangement that sounds better than anything ever recorded by Donna Summer or Gloria Gaynor. The keyboardist is LA-based Bobby Lyle, fresh from his stint with Sly & The Family Stone.
Next, Esther displays her r&b roots on a stunning rendition of Pure Natural Love, penned by the beautiful and very talented singer/songwriter Jackie DeShannon. On the acoustic piano, Don Grolnick plunges into Eddie Cooley’s Fever, a big hit for Peggy Lee in the Fifties, revived by Madonna on her x-rated Erotica album from 1992. Curiously, besides Esther Phillips’ intoxicating version, the most successful recording of this song, in the dancefloor scene, was done by Brazilian singer/actress Norma Bengell back in 1959, being recently rediscovered by European DJs. Then comes Duke Ellington’s classic Caravan, in a funky groove, with a baritone sax obbligato by Ronnie Cuber.
But nothing compares to the Latin-tinged arrangement Joe Beck prepared for Teddy Randazzo’s Going Out Of My Head, turned into a hit by Little Anthony & The Imperials in 1965. That same year, Creed Taylor convinced Wes Montgomery to cut this song, used as the title track for his best-selling Verve album which won a Grammy the following year for Best Instrumental Jazz Performance. This is really a perfect track, with an intoxicating groove, a subtle Don Grolnick solo on electric piano, a fantastic interaction between George Devens on congas and Nicky Marrero on timbales, plus a superb backing vocal arrangement by future CTI star Patti Austin.
After For All We Know, Esther, who had already recorded five albums for Kudu (From A Whisper To A Scream, Alone Again Naturally, Black-Eyed Blues, Performance, and What A Diff’rence A Day Makes), still cut another album for the label, Capricorn Princess, in 1976, with David Matthews replacing Joe Beck as arranger. She can also be heard on two moving performances (Cherry Red and God Bless The Child) from the CTI Summer Jazz Live At The Hollywood Bowl concert, recorded in 1972 but only issued in 1977. And one exciting album recorded live on July 1975, at NY’s Bottom Line, remains unreleased in the CTI archives.
Then, after leaving Kudu, Esther released four albums on Mercury, the same label for which her idol Dinah Washington had recorded her most memorable albums. Her final session, titled A Way To Say Goodbye, for the small Muse label, came out in 1984. Esther Phillips, born Esther Mae Jones on December 23, 1925, passed away on August 7, 1984, of liver and kidney failure. This digitally remastered of For All We Know is a good way to celebrate her immortal talent.
Arnaldo DeSouteiro
May 29, 2001
Mr. DeSouteiro is Brazil’s top jazz producer and CTI historian
* * *
Musician personnel:Arranged by Joe Beck
Esther Phillips: vocal
Joe Beck: lead guitar & all guitar solos
Steve Khan: rhythm guitar (1,2,3,4,5,6)
Don Grolnick: electric piano (1,2,3,5), acoustic piano (7)
Leon Pendarvis: electric piano (2)
Bobby Lyle: electric piano (4)
Will Lee: electric bass (1,2,3,4,5,6)
Gary King: electric bass (7)
Andy Newmark: drums (1,3,4,7)
Chris Parker: drums (2,6)
George Devens: percussion & congas (2,5,6)
Ralph MacDonald: percussion & congas (3,4)
Nicky Marrero: percussion (1,2,6,7) & timbales (5)
Michael Brecker: all tenor sax solos
Frank Vicari: tenor sax (7)
Ronnie Cuber: baritone sax
Randy Brecker: trumpet
Barry Rogers: trombone
Fred Wesley: trombone (7)
Max Ellen, Paul Gershman, Harry Glyckman, Emanuel Green, Harold Kohon, David Nadien, John Pintavalle & Max Polikoff: violin
Harold Coletta & Theodore Israel: viola
Seymour Barab, Charles McCracken, Alan Shulman & Anthony Sophos: cello
Patti Austin: backing vocal & vocal arrangement (1,6)
Tasha Thomas: backing vocal & vocal arrangement (2,4,3,5,7)
Peggy Blue, Carl Carldwell, Hilda Harris & Maeretha Stewart: backing vocal
Album credits:
Original album produced by Creed Taylor (KU-28)
Album photos: Bruce Weber
Album design: Rene Schumacher
Reissue supervisor: Arnaldo DeSouteiro
Liner notes: Arnaldo DeSouteiro
Recorded at Van Gelder Studios
Engineer: Rudy Van Gelder
Recorded October 17, November 14 & December 08, 1975
[CD Reissue] Kudu #KICJ 8360 (released on July 25, 2001)
[CD Reissue] Kudu #KICJ 2213 (released on March 7, 2007)
Reissues Supervised and Remastered by Arnaldo DeSouteiro
Lonnie Smith, "Mama Wailer", Kudu #KICJ 8361 (2001).[CD Reissue]
Release Date: July 25, 2001.
Reissue Supervised and Remastered by Arnaldo DeSouteiro for CTI/Kudu.
Tracklist:
1. Mama Wailer (Lonnie Smith) 6:14
Screem Gems-Columbia Music/BMI
2. Hola Muneca (Lonnie Smith) 6:29
Screen Gems-Columbia Music/BMI
3. I Feel the Earth Move (Carole King) 5:00
Screen Gems-Columbia Music/BMI
4. Stand (Sylvester Stewart) 17:22
Daley City Music/BMI
1. Mama Wailer (Lonnie Smith) 6:14
Screem Gems-Columbia Music/BMI
2. Hola Muneca (Lonnie Smith) 6:29
Screen Gems-Columbia Music/BMI
3. I Feel the Earth Move (Carole King) 5:00
Screen Gems-Columbia Music/BMI
4. Stand (Sylvester Stewart) 17:22
Daley City Music/BMI
Total Time 35:13
Musician personnel and Album credits:
Lonnie Smith: organ (all tracks), clavinet & vocal (1)
Ron Carter: electric bass (1,2,4), acoustic bass (overdub on track 4)
Chuck Rainey: electric bass (3)
Billy Cobham: drums
Airto Moreira: percussion (caxixi on track 1, tambourine, chimes & afoche on track 3)
William King: bongos (1)
Richard Pratt: congas (1)
Robert Lowe: electric guitar solo (1)
Jimmy Ponder: electric guitar (3,4)
George Davis: electric guitar (2,4)
Marvin Cabbel: tenor sax solo(1)
Grover Washington, Jr.: flute (2), tenor sax solo (4)
Dave Hubbard: tenor sax (1,3)
Danny Moore: trumpet / flugelhorn (1,2,3,4)
"Stand" arranged by Grover Washington, Jr.
All other tracks arranged by Lonnie Smith
Recorded at Van Gelder Studios (New Jersey), on July 14 & 15, 1971
Engineer: Rudy Van Gelder
Album Photos: Duane Michals
Album Design: Bob Ciano
Original catalog number: KU-02
Original sessions produced by Creed Taylor
Reissue Supervisor: Arnaldo DeSouteiro
Hank Crawford, "Help Me Make It Through The Night", Kudu [Japan] #KICJ 8362 (2001).[CD Reissue]
Reissue Supervised, Annotated & Digitally Remastered by Arnaldo DeSouteiro for CTI/Kudu.
First CD reissue ever, released in Japan on July 25, 2001.
Tracklist:
1. Help Me Make It Through The Night (Kris Kristofferson) 5:40
2. Brian’s Song (Michel Legrand/Alan & Marilyn Bergman) 3:25
from the TV movie Brian’s Song
3. Uncle Funky aka Bowl Full O’Blues (Hank Crawford) 5:32
4. In The Wee Small Hours of the Morning (Bob Hilliard/David Mann) 2:48
5. Go Away Little Girl (Carole King/Gerry Goffin) 4:20
6. Imagine (John Lennon) 4:05
7. Ham (Alfred Pee Wee Ellis) 3:07
8. The Sun Died aka Il Est Mort Le Soleil (Delanoe/Giraud/Gregory/Charles) 4:05
Total Time 33:02
2. Brian’s Song (Michel Legrand/Alan & Marilyn Bergman) 3:25
from the TV movie Brian’s Song
3. Uncle Funky aka Bowl Full O’Blues (Hank Crawford) 5:32
4. In The Wee Small Hours of the Morning (Bob Hilliard/David Mann) 2:48
5. Go Away Little Girl (Carole King/Gerry Goffin) 4:20
6. Imagine (John Lennon) 4:05
7. Ham (Alfred Pee Wee Ellis) 3:07
8. The Sun Died aka Il Est Mort Le Soleil (Delanoe/Giraud/Gregory/Charles) 4:05
Total Time 33:02
Liner Notes (included below) written by Arnaldo DeSouteiro for the first CD reissue of Hank Crawford's "Help Me Make it Through the Night":
* * *
One of the first artists signed by Creed Taylor for the Kudu label, Hank Crawford suffered violent criticism during the period (1971-1978) he recorded for the label, being accused to make mellow and commercial albums. On the other hand, Hank achieved a new level of popularity during his Kudu years. Some of the eight albums he cut for the label sold over 100,000 copies with almost no promotion. And his Kudu debut, Help Me Make It Through The Night, now for the first time reissued on CD, was the first step in this process of unprecedented fame. It is really a cult album for many saxophonists – among them, David Sanborn, Hank’s most famous fan and disciple!
Born on December 21, 1934, in Memphis, Tennessee, Bernie Ross Crawford remains one of the most distinctive alto saxophone stylists in the music history. He began studying piano at age nine, and was soon playing for his church choir. As a teenager, he took up alto sax in his high school band, influenced by Johnny Hodges, Charlie Parker, Louis Jordan and Earl Bostic. At school, he hang out with Phineas Newborn, Jr., Booker Little, George Coleman and Harold Mabern. Although their after-school hours were devoted to studying bebop, they cut their professional teeth on the blues.
Before he had finishing high school, Crawford was playing in bands led by Ben Branch, Tuff Green and Ike Turner, backing B.B. King, Bobby Bland and Junior Parker in several Memphis venues. In 1953, he went away to Tennessee State College in Nashville, where he developed his arranging skills as leader of the school’s dance band.
His big break came in 1958, when Ray Charles passed through Nashville. Baritone saxophonist Leroy Cooper had just left the band, and Charles offered Crawford the baritone choir. In 1959, when Cooper returned to the fold, Crawford switched to alto sax. Two years later, Charles expanded to full big-band size and appointed Crawford musical director. By the time Crawford left Charles in 1963 to form his own seven-piece combo, he had already established himself with several solo albums on Atlantic, for whom he would cut a total of twelve albums.
Signed to CTI/Kudu in 1971, Hank Crawford appeared on Johnny Hammond’s Breakout (recorded on June 1971), the first album issued by the new CTI subsidiary company. Soon he was called by Creed, in August, to work on his debut solo album for the label. But he could not attend the second record session, scheduled for September, and the famous producer offered to Grover Washington, Jr. (who had been hired as one of the members in the horn section assembled for Crawford’s album) the chance to lead the session. The result was the Inner City Blues album, which launched Grover’s hugely successful solo career.
Actually, Crawford’s first official live appearance as a CTI/Kudu artist was on July 18, 1971, in the memorable California Concert album, cut live at the Hollywood Palladium. But, although playing in several songs, his main solo performance, a beautiful rendition of Never Can Say Goodbye (one of the songs he had recorded for Johnny Hammond’s Breakout), was not included in the original 2-LP set, remaining unreleased up to this date.
One month later, Hank Crawford finally went to Van Gelder’s Studio, in New Jersey, to start the recording of the Help Me Make it Through the Night album. However, from the first session they did that August, Creed Taylor decided to use only one track, a tune composed and arranged by Alfred Pee Wee Ellis with a strong brass section on the backing. As aforementioned told, Hank failed to show up for the September session. Then, on January 1972, Creed decided to complete the album following a completely different musical direction, inviting different musicians (Cornell Dupree and Bernard Purdie were called to replace Eric Gale and Idris Muhammad), and inviting Don Sebesky to write the string arrangements.
Except for Pee Wee Ellis’ Ham, and Crawford’s own Uncle Funky (later retitled Bowl Full O’Blues on the CTI Summer Jazz At The Hollywood Bowl concert, recorded on July 30, 1972, but released only in 1977), all other tracks are pop favorites. The title track, a song from country singer and future Hollywood star Kris Kristofferson’s self-titled debut album in 1970, had been also a Top 10 pop hit thanks to a recording by songstress Sammi Smith. Crawford transforms that erotic ballad into a bouncy funky-soul piece, which features inspired performances by Cornell Dupree on guitar and by the late Richard Tee, who plays organ on his unmistakable style.
The ballad department includes the John Lennon peaceful hymn Imagine, Michel Legrand’s movie theme Brian’s Song (sub-titled The Hands of Time after the couple Alan & Marilyn Bergman added lyrics), and the title tune of Frank Sinatra’s first 12-inch LP for Capitol, In the Wee Small Hours of the Morning, arranged by Nelson Riddle in 1954, and recently rediscovered by pop (Carly Simon) and jazz (Keith Jarrett) heavyweights.
Plus: soulful renditions of hits by Carole King (Go Away Littlle Girl, a gem from her creative heyday in partnership with Gerry Goffin, then Carole’s husband) and Ray Charles (The Sun Died, aka Il Est Mort Le Soleil, a jazz singer’s favorite since covered by Betty Carter in 1969, and recreated by Shirley Horn on her 1993 tribute to Charles, Light Out of Darkness).
Throughout the album, there are many details to be savored: the spicy groove provided by drummer Bernard Pretty Purdie on Go Away Little Girl, the subtle comments by vibes player Phil Kraus on In the Wee Small Hours, Cornell Dupree’s bluesy guitar solo on Uncle Funky, Margaret Ross’ sophisticated harp embellishments on Brian’s Song. But, above all, Crawford’s touching sound, melted with Sebesky’s sensitive arrangements. Romantic soul music at its best, showing the reason why David Sanborn, who idolizes Crawford as his main influence, loves Help Me Make It Through the Night so much!
Arnaldo DeSouteiro
May 14, 2001
Mr. DeSouteiro is Brazil’s top jazz producer and CTI historian.
* * *
Musician personnel:Hank Crawford: alto sax
Richard Tee: organ (1,4,7,8) acoustic piano (2,3), electric piano (5,6)
Ron Carter: acoustic bass (2,3,4,5,6,8), electric bass (1,7)
Bernard Purdie: drums
Idris Muhammad: drums (7)
Airto Moreira: percussion (7)
Phil Kraus: vibes (1,4,5)
Cornell Dupree: electric guitar
Eric Gale: electric guitar (7)
Horns Section (only on track 7):
Grover Washington, Jr.: tenor sax
Pepper Adams: baritone sax
Al DeRisi & Snooky Young: trumpets
Wayne Andre: trombone
Strings Section (all tracks, except 7):
Bernard Eichen, Felix Giglio, Emanuel Green, Harold Kohon, Harry Lookofsky, Joe Malin, Gene Orloff, Max Polikoff, Elliot Rosoff: violin
Alfred Brown, Theodore Israel, Emanuel Vardi: viola
Charles McCracken, George Ricci: cello
Margaret Ross: harp
Arranged & Conducted by Don Sebesky
Track 7 Arranged & Conducted by Alfred Pee Wee Ellis
Album credits:
Original Album Producer: Creed Taylor
Recorded at Van Gelder Studio, January 1972, except track 7 (August 1971)
Engineer: Rudy Van Gelder
Album Photos: William Cadge
Album Design: Bob Ciano
Reissue Supervisor: Arnaldo DeSouteiro
Liner Notes: Arnaldo DeSouteiro
Original LP Issue: KU-06
Idris Muhammad, "House of the Rising Sun", Kudu [Japan] #KICJ 8363 (2001).[CD Reissue]
Reissue Supervised by Arnaldo DeSouteiro for CTI/Kudu.
Released July 25, 2001.
Tracklist:
1. House of the Rising Sun (Trad.) adapted by David Matthews 4:39
2. Bahia aka Na Baixa do Sapateiro (Ary Barroso/Ray Gilbert) 4:38
3. Hard to Face the Music (Valerie Simpson/Nickolas Ashford) 4:50
4. Theme for New York City (based on Chopin’s Prelude in E Minor, Op. 28, No.4) adapted by David Matthews 3:30
5. Sudan (Idris Muhammad/Tom Harrell) 11:00
6. Hey Pocky A-Way (Leo Nocenteli/George Porter/Art Neville/Joseph Ziggy Modeliste) 6:00
1. House of the Rising Sun (Trad.) adapted by David Matthews 4:39
2. Bahia aka Na Baixa do Sapateiro (Ary Barroso/Ray Gilbert) 4:38
3. Hard to Face the Music (Valerie Simpson/Nickolas Ashford) 4:50
4. Theme for New York City (based on Chopin’s Prelude in E Minor, Op. 28, No.4) adapted by David Matthews 3:30
5. Sudan (Idris Muhammad/Tom Harrell) 11:00
6. Hey Pocky A-Way (Leo Nocenteli/George Porter/Art Neville/Joseph Ziggy Modeliste) 6:00
Liner Notes (included below) written by Arnaldo DeSouteiro:
* * *
Besides working with some of the all-time best jazz drummers (from Osie Johnson, during the Bethlehem years in the Fifties, to Grady Tate in the Sixties, Jack DeJohnette in the Seventies, Ndugu in the Eighties, and Dennis Chambers in the Nineties), producer Creed Taylor also frequently recruited the services of the three most versatile drummers ever: Billy Cobham, Steve Gadd and Idris Muhammad. However, Idris – really the funkiest drummer among them all, most recently confirming his versatility on albums by John Scofield and Eric Alexander - was the only drummer who had the privilege to be signed to CTI/Kudu as a solo artist!
Born on November 13, 1939, in New Orleans, Louisiana, Idris Muhammad was still known as Leo Morris (his real name) when he rose to prominence in the mid-Sixties. He was hired as the house drummer for Prestige, became a member of Lou Donaldson’s group, and also recorded with Gene Ammons, Charles Earland, Sonny Stitt, Grant Green, Lonnie Smith and Houston Person, to name a few.
His first important collaborations with Creed Taylor started in the late Sixties, when CTI was a kind of jazz division for A&M Records. Creed remembers: “It was in 1968 that I noticed the immense versatility on Leo’s drumming. That year he was able to record one day with Paul Desmond (on "the Summertime" LP), the other day with Nat Adderley (on "Calling Out Loud") or with J.J. Johnson & Kai Winding ("Betwixt & Between"), and at nights he was in the house band of the stage play Hair. He was really amazing”. Actually, Idris’ first session for A&M/CTI was a track, "Footin’ It," recorded for George Benson’s "Shape of Things To Come" on August 27, 1968. With Benson, Idris later recorded the albums "Tell It Like It Is" and "The Other Side of Abbey Road".
Idris continued to record for Creed when CTI became an independent label, appearing on Fats Theus’ "Black Out" (recorded in July 1970, it is one of the rarest albums in the entire CTI catalog, not yet reissued on CD), as well in the first albums recorded for CTI’s subsidiary Kudu by Hank Crawford ("Help Me Make It Through The Night") and Grover Washington, Jr. ("Inner City Blues"). He remained in the landmark Hair until 1972, when he decided to spend six months in India. Returning to New York in early 1973, he resumed recording for Creed, taking part on sessions led by Stanley Turrentine ("Don’t Mess With Mr. T"), Eric Gale ("Forecast"), Bob James ("One"), Hank Crawford ("Wildflower"), and once again Grover Washington, Jr. ("Soul Box").
His eclecticism allowed him to tour with progressive rock supertrio Emerson, Lake & Palmer, as well as to join soul diva Roberta Flack’s group during the singer’s heyday of "Killing Me Softly" and "Feel Like Making Love." Then, in March 1974, Creed Taylor signed Idris Muhammad for Kudu, immediately beginning to prepare his debut album on the label, "Power of Soul," arranged by Bob James and now a cult hit among the hip-hop jazz generation thanks to the dancefloor hit "Loran’s Dance," included on the "CTI: Acid Jazz Grooves" compilation released by King Records in 1997. Just this track would have been enough to make "Power of Soul" sound better than all Idris’ previous albums for Prestige.
Idris’ second solo session for Kudu, "House of the Rising Sun," was cut during June, September and October, 1975, at Van Gelder Studios. That time, Creed invited David Matthews to write the arrangements, instead of Bob James. “I wanted a heavier atmosphere, a more r&b-oriented approach than the one that Bob had provided to "Power of Soul," which had a lighter and subtler flavour, with many flugel and soprano sax solos”, Creed recalls.
David Matthews was unbelievably busy in June 1975, involved in two other projects for Kudu by Ron Carter ("Anything Goes") and Hank Crawford ("I Hear A Symphony"), as well as arranging albums for David Sanborn and Mark Murphy. As if it was not enough, David was writing the scores for George Benson’s "Good King Bad/Pacific Fire" sessions, scheduled to begin on July 1st! Despite working under such a big pressure, Matthews excelled all the expectations on "House of the Rising Sun." (Later, he produced/arranged two other Idris’ albums for Kudu: "Turn This Mutha Out" and "Boogie To The Top.")
David Sanborn carries the melody on the title track, "House of the Rising Sun," with Will Lee pumping on bass and Frank Floyd singing the lyrics of that traditional theme covered by everyone, from Joan Baez to Bob Dylan, from Claus Ogerman to Nina Simone. Sanborn’s crying alto sax once again leads the way on "Theme For New York City," adapted by Matthews from Frederic Chopin’s Prelude in E Minor, Op. 28, No. 4, the same piece which inspired Antonio Carlos Jobim to write "How Insensitive," the famous bossa nova standard. This Prelude has been recorded by such jazzman as Gene Bertoncini (on "Someone To Light Up My Life") and McCoy Tyner ("Prelude and Sonata"), often with a bossa beat, to corroborate the comparison with Jobim’s tune.
Another very interesting track is "Bahia" (aka "Na Baixa do Sapateiro"), a tune composed by Ary Barroso (1903-1964), introduced by Brazil’s diva Carmen Miranda in the Thirties and later covered by John Coltrane (on "Bahia", for Prestige, in 1958) and Stan Getz (on the seminal "Jazz Samba" produced by Creed Taylor for Verve in 1962, the album that launched the bossa craze in the USA). It was Creed Taylor’s personal choice for Idris’ repertoire. He explains: “I became familiar with Ary Barroso’s songs through Walt Disney movies, such as 'The Three Caballeros,' which included Bahia. It was love at first sight”. Five years before, in 1970, Creed had suggested Antonio Carlos Jobim to include another Ary Barroso song, "Brazil" (from the animated film "Alo, Amigos"), on Jobim’s "Stone Flower" album. And, some months after Idris’ recording, he once again included "Bahia" on Lalo Schifrin’s "Black Widow."
"Hard To Face the Music," the Ashford & Simpson r&b hit, includes powerful solos by George Young (tenor sax) and James Brown’s trombonist, Fred Wesley, with Joe Beck on the guitar. It is one of the rare occasions on which ace guitarist Eric Gale is heard playing electric bass, something that also occurred on two other CTI albums: Bob James’ "Two," and "Upchurch & Tennyson."
The only song not arranged by Matthews, "Sudan," should have given Tom Harrell (who composed and arranged this stunning tune) the recognition he only would receive ten years later, when joining Phil Woods’ quintet. It’s an explosive 11-minute long masterpiece, featuring explosive statements by the late Barry Rogers (trombone), Tom Harrell (trumpet), and Sir Roland Hanna (electric piano). Then a newcomer, bassist Wilbur Dud Bascomb, Jr. (son of trumpeter Dud Bascomb, from Erskine Hawkins’ Orchestra in the Thirties) became an overnight sensation in the fusion scene due to his performance on the "Donato/Deodato" album for Muse Records. Another newcomer was Bob Berg, who would only record again for CTI fourteen years later (!) on two all-star sessions: "Rhythmstick" (1989) and "Chroma," recorded live in Tokyo in 1990 during the tour of a combo billed in Japan as CTI Super Band.
After the outstanding Idris’ performances on his previous album, "Power of Soul," "Sudan" is by far Idris’ best track from all his Kudu sessions. And, for sure, also his best improvisation, including astounding African rhythmic variations that preceded, in twenty years, some of the Afro-Bahian beats that most of world-music fans think that were created by Brazilian percussionist Carlinhos Brown in the mid-Nineties...
Funk is back on the last track, an inspired version of a hit from The Meters’ "Rejuvenation" album (1974). Written by band members Joseph Ziggy Modeliste, Art Neville, Leo Nocenteli and George Porter, "Hey Pocky A-Way" gains new life on Idris’ powerful hands (and sticks!), with a gospel-like tambourine beat by percussionist George Devens. Hugh McCracken is on guitar, Eric Gale goes to the bass, there are solos by Fred Wesley (trombone) and future Manhattan Jazz Quintet star George Young (tenor sax), and Matthews adds a discreetly shadowy string section. New Orleans Funk at its best, by the best drummer ever born in New Orleans!
Arnaldo DeSouteiro
London, May, 2001
Mr. DeSouteiro is Brazil’s top jazz producer and CTI historian.
* * *
Musician personnel:
Idris Muhammad: drums (all tracks), percussion (1)
Don Grolnick: acoustic piano (2), electric piano (3,6)
Leon Pendarvis: electric piano and synthesizer (1)
Roland Hanna: electric piano (4,5)
Eric Gale: electric bass (3,6), electric guitar (1,2,4,5)
Will Lee: electric bass (1)
Wilbur Dud Bascomb, Jr.: electric bass (2,4,5)
George Devens: percussion (all tracks)
Joe Beck: electric guitar (3)
Hugh McCracken: electric guitar (6)
David Sanborn: alto sax (1,4)
George Young: tenor sax (2,3,6)
Michael Brecker: tenor sax (2)
Bob Berg: tenor sax (5)
Ronnie Cuber: baritone sax (all tracks)
Tom Harrell: trumpet (5)
Barry Rogers: trombone (5)
Fred Wesley: valve trombone (1,2,3,4,6)
Frank Floyd: lead vocal (1,6)
Patti Austin, Hilda Harris & Debbie McDuffie: background vocals (2,6)
Strings on track 6 only:
Harry Cykman, Max Ellen, Paul Gershman, Emanuel Green, Harold Kohon, Charles Libove, Joe Malin & David Nadien: violin
Seymour Barab, Charles McCracken & Alan Shulman: cellos
Album credits:
Arranged & Conducted by David Matthews
Sudan arranged by Tom Harrell
Recorded at Van Gelder Studios (New Jersey)
Enginneered by Rudy Van Gelder
Recorded June, September, October, 1975
Original album produced by Creed Taylor
Album photos by Alen MacWeeney
Album design by Rene Scumacher
Reissue Producer: Susumu Morikawa
Reissue Supervisor: Arnaldo DeSouteiro
Liner Notes: Arnaldo DeSouteiro
Original catalog number: KU-27
Hank Crawford, "I Hear A Symphony", Kudu [Japan] #KICJ 8364 (2001). [CD Reissue]
2001 Japanese CD reissue supervised & remastered by Arnaldo DeSouteiro for CTI/Kudu in the "Kudu Best 12" series.
(CD released on July 25, 2001)
Tracklist:
1. I Hear A Symphony (Holland / Dozier) 4:43
2. Madison (Spirit, The Power) (David Matthews) 3:55
3. Hang it on the Ceiling (David Matthews) 4:12
4. The Stripper (David Rose) 4:01
5. Sugar Free (Hank Crawford) 4:41
6. Love Won't Let Me Wait (Bobby Eli / Vinnie Barrett) 4:01
7. I'll Move You No Mountain (Jerry Ragovoy / Aaron Scroeder) 4:06
8. Baby! This Love I Have (Minnie Riperton / Richard Rudolph/ Leon Ware ) 3:38
Total Time 33:30
1. I Hear A Symphony (Holland / Dozier) 4:43
2. Madison (Spirit, The Power) (David Matthews) 3:55
3. Hang it on the Ceiling (David Matthews) 4:12
4. The Stripper (David Rose) 4:01
5. Sugar Free (Hank Crawford) 4:41
6. Love Won't Let Me Wait (Bobby Eli / Vinnie Barrett) 4:01
7. I'll Move You No Mountain (Jerry Ragovoy / Aaron Scroeder) 4:06
8. Baby! This Love I Have (Minnie Riperton / Richard Rudolph/ Leon Ware ) 3:38
Total Time 33:30
Musician personnel & album credits:
Alto Saxophone: Hank Crawford
Acoustic & Electric Pianos: Leon Pendarvis (1,2,3,4,7)
Electric Piano: Richard Tee (5,6,8)
Electric Bass: Gary King
Drums: Steve Gadd (1,2,3,4,7)
Drums: Bernard Pretty Purdie (5,6,8)
Percussion (shaker & tambourine): Idris Muhammad (1)
Percussion & Congas: Ralph MacDonald
Electric Guitar: Eric Gale
Trumpet & Flugelhorn: Jon Faddis / John Frosk / Bob Milikan / Alan Rubin
Trombone: Barry Rogers / Fred Wesley
Bass Trombone: Paul Faulise / Tony Studd / Dave Taylor
Violin: Harry Cykman / Lewis Elley / Max Ellen / Paul Gershman / Emanuel Green / Harold Kohon / Charles Libove / Joe Malin / David Nadien / John Pintavalle / Raoul Poliakin / Max Polikoff / Richard Sorthomme
Cello: Seymour Barab / Charles McCracken / Alan Sculman
Lead Vocals : Patti Austin (1) / Frank Floyd (2)
Backing Vocals: Hilda Harris / Debbie McDuffie / Maeretha Stewart
Arranged & Conducted by David Matthews
Original Album Produced by Creed Taylor
Recorded at Van Gelder Studios, June & July 1975
Engineer: Rudy Van Gelder
Album photos & Design: Pete Turner
Kudu A&R: Tony Sarafino
Original catalog number: KU-26
Reissue Supervisor: Arnaldo DeSouteiro
Liner Notes for the CD Reissue: Douglas Payne
Phil Upchurch & Tennyson Stephens, "Upchurch/Tennyson", Kudu [Japan] #KICJ 8365 (2001).[CD Reissue]
Release Date: July 25, 2001.
Reissue Supervised & Remastered by Arnaldo DeSouteiro for CTI/Kudu.
Tracklist:
1. You Got Style (Ralph MacDonald / William Salter) 2:37
2. Ave Maria (Franz Peter Schubert; adapted by Bob James) 4:39
3. In Common (Tennyson Stephens) 3:54
4. Tell Me Something Good (Stevie Wonder) 6:00
5. Don’t I Know You? (Master Henry Gibson) 3:03
6. South Side Morning (Bob James) 3:04
7. Evil (Tennyson Stephens) 3:48
8. Black Gold (Charles Stepney) 3:33
9. I Wanted it Too (Ralph MacDonald / William Salter) 2:44
Total Time 33:41
1. You Got Style (Ralph MacDonald / William Salter) 2:37
2. Ave Maria (Franz Peter Schubert; adapted by Bob James) 4:39
3. In Common (Tennyson Stephens) 3:54
4. Tell Me Something Good (Stevie Wonder) 6:00
5. Don’t I Know You? (Master Henry Gibson) 3:03
6. South Side Morning (Bob James) 3:04
7. Evil (Tennyson Stephens) 3:48
8. Black Gold (Charles Stepney) 3:33
9. I Wanted it Too (Ralph MacDonald / William Salter) 2:44
Total Time 33:41
Musician personnel and Album credits:
Phil Upchurch: electric guitar, acoustic guitar (2) & electric bass
Tennyson Stephens: acoustic piano, electric piano, vocal solos (1,3,5,7,9)
Bob James: Rhodes electric piano (1,2,6,9) & Arp synthesizer (6,7,8)
Doug Bascomb: electric bass (4,8)
Eric Gale: electric bass (2), electric guitar (6)
Steve Gadd: drums (1,4,5,6,8)
Andrew Smith: drums (2,3,7,9)
Ralph MacDonald: congas & percussion (all tracks)
Hubert Laws: flutes (1,3)
David Sanborn: alto sax (1,4,7,9)
Frank Floyd, Lani Groves , Janice Pendarvis & Zachary Sanders: backing vocals (2,7)
Harry Cykman, Max Ellen, Harry Glickman, Harold Kohon, Harry Lookofsky, David Nadien, Gene Orloff & Matthew Raimondi: violins (1,2,5,6,9)
Alla Goldberg, Warren Lash, Jesse Levy & Tony Sophos: cellos (1,2,5,6,9)
Reissue Supervisor: Arnaldo DeSouteiro
Liner Notes: Douglas Payne
Original Album Produced by Creed Taylor
Recorded at Van Gelder Studios, September 1974 and January-March 1975
Engineer: Rudy Van Gelder
Original LP Issue: KU-22
Cover Photo: Victor Skrebneski
Album Design: Bob Ciano
Johnny Hammond, "Wild Horses Rock Steady", Kudu [Japan] #KICJ 8368 (2001).[CD Reissue]
First CD Reissue ever, released on July 25, 2001 in Japan.
Reissue Supervised by Arnaldo DeSouteiro for CTI/Kudu.
Tracklist:
1. Rock Steady (Aretha Franklin) 6:55
2. Who is Sylvia? (Galt MacDermot) 7:27
from "The Two Gentleman of Verona"
3. Peace Train (Cat Stevens) 4:28
4. I Don’t Know How To Love Him (Andrew Lloyd Weber / Tim Rice) 7:30
from "Jesus Christ Superstar"
5. It’s Impossible (Manzanero/Wayne) 5:23
6. Wild Horses (Mick Jagger / Keith Richards) 6:20
1. Rock Steady (Aretha Franklin) 6:55
2. Who is Sylvia? (Galt MacDermot) 7:27
from "The Two Gentleman of Verona"
3. Peace Train (Cat Stevens) 4:28
4. I Don’t Know How To Love Him (Andrew Lloyd Weber / Tim Rice) 7:30
from "Jesus Christ Superstar"
5. It’s Impossible (Manzanero/Wayne) 5:23
6. Wild Horses (Mick Jagger / Keith Richards) 6:20
Liner Notes (included below) by Arnaldo DeSouteiro:
* * *
Born John Robert Smith on December 16, 1933 (in Louisville, KY),
formerly known as Johnny Hammond Smith, and later as Johnnny Hammond,
one of the all-time best jazz organists passed away on June 4, 1997, in
Chicago, Illinois. For some of his early fans, some of the best albums
he recorded were done for Prestige in the Sixties. A younger
generation, who grew up listening to the hip-hop influenced jazz sounds
of the Nineties, prefers Johnny’s over-produced sessions for Milestone
in the mid-Seventies, like the now cult "Gears" album.But, most of his fans agree that Johnny Hammond’s best albums ever were recorded in the early Seventies, under the aegis of Creed Taylor. Four albums released on the Kudu label ("Breakout," "Wild Horses Rock Steady," "The Prophet," "Higher Ground," all taped at Van Gelder’s studio in New Jersey), and one more cut in California and issued on another CTI subsidiary label, Salvation ("Gambler’s Life", on which Johnny played only the Fender Rhodes electric piano and vintage synthesizers, under the guidance of funk producer Larry Mizell).
Curiously, during his CTI/Kudu years, Hammond has not recorded as a sideman on albums led by other members of Creed Taylor’s supercast. But he often performed, from 1971 to 74, in several CTI All Stars concerts all over the world. Two of these gigs were fortunately documented on records: "California Concert" (at the Hollywood Palladium in 1971) and "CTI Summer Jazz at the Hollywood Bowl" (in 1972).
Johnny Hammond’s "Breakout," a typical unpretentious soul-jazz session recorded on June 1971, made history as the first album released by the Kudu label, as well as the session which introduced Grover Washington, Jr. to Creed Taylor. Four months later, on October 1971, Grover once again was recruited as one of the main soloists for Hammond’s second album for Kudu, "Wild Horses Rock Steady," a more ambitious project. Creed wanted it to be a crossover album, with strings and horns sections, and full of jazz stars acting as sidemen.
Its smart title (for sure chosen by Creed) mixes the names of two important tracks, then pop hits. "Wild Horses," a Mick Jagger/Keith Richards tune, appeared on Rolling Stones’ "Sticky Fingers," released in April 71. Rock Steady, composed by Aretha Franklin, was on her "Young, Gifted & Black" album, also from 71, on which Eric Gale and Bernard Purdie, two of Hammond’s sidemen, also took part.
The opening tune, "Rock Steady," feature solos by Hammond, Eric Gale (using the wah-wah pedal) and Grover, with Ron Carter on electric bass and Bernard Purdie doing those incredible funky drum breaks.
Actually, the album repertoire is irreprehensible. Another highlight, "Who is Sylvia?" is a Galt MacDermot song for a stage play, "The Two Gentleman of Verona". Hammond plays the lyrical melody and the first solo on the electric piano. During Grover’s burning tenor solo, he quotes "Eleanor Rigby" near the end, and then Johnny starts an explosive second solo, this time on the organ. Bob James supplies a subtle string arrangement, with a very soft bossa beat provided by Billy Cobham on drums and Ron Carter on acoustic bass. On both "Rock Steady" and "Who is Sylvia?," Airto uses a typical Brazilian instrument called caxixi (there’s also a reco-reco on "Who is Sylvia?") while Omar Clay plays tambourine.
George Benson is the acid guitar soloist on a funky version of "I Don’t Know How To Love Him," one of the main themes written by Andrew Lloyd Weber and Tim Rice for the rock opera, "Jesus Christ Superstar." Both Bob Mann and Melvin Sparks play the rhythm guitar parts. Bob James adds strings (actually, only eight violins – no violas or cellos!) and horns (with muted trumpets and trombones near the end of the track) in a lush orchestration, with Airto playing congas and bells.
Cat Stevens’ "Peace Train" (originally from Stevens’ album, "Teaser & The Firecat") gets a jazzy treatment, with Ron sublime in a walking bass line. Bob once again uses the brass section, opening the solo spot to the underrated late tenorist Harold Vick, recently honored by Sonny Rollins in a tune ("Did you see Harold Vick?") from his latest album, "This Is What I Do."
Probably the most surprising song on the album, "It’s Impossible" was originally written by Mexican composer Armando Manzanero as a romantic bolero (another Manaznero bolero "Esta Tarde Vi Llover," became a Bill Evans ballad-favorite under the title "Yesterday I Heard The Rain"). It is really almost impossible to believe how superbly Johnny Hammond recreates this song, transforming it in a highly-energized jazz vehicle played in a very fast tempo, including some of the best solos ever recorded by both Hammond and Grover, stimulated by an intoxicating beat that Cobham provides. Not even Bob James’ mellow strings diminish the tremendous impact of such a fantastic performance.
Billy Cobham’s martial groove in the snare introduces "Wild Horses," with Ron Carter back on electric bass. Melvin Sparks uses a very distorted guitar sound, while Bob Mann plays with a country-blues inflections.
Among the four albums that Johnny Hammond recorded for Kudu, "Wild Horses Rock Steady," now for the first time reissued on CD, stands out as a masterpiece.
Arnaldo DeSouteiro
May 11, 2001
Mr. DeSouteiro is Brazil’s top jazz producer and CTI historian
* * *
Musician personnel:
Johnny Hammond – Organ, Piano (Electric)
Creed Taylor – Producer
Arnaldo DeSouteiro – Reissue Supervisor, Liner Notes, Engineer (Digital Remastering)
Bob James – Arranger, Conductor
Ron Carter – Bass (Acoustic), Bass (Electric)
Billy Cobham – Drums
Bernard Purdie – Drums
Airto Moreira – Congas, Percussion, Caxixi
Omar Clay – Percussion
Eric Gale – Guitar (Electric)
George Benson – Guitar (Electric)
Snooky Young – Trumpet, Flugelhorn
Al DeRisi – Trumpet, Flugelhorn
Bob Mann – Guitar (Electric)
Harold Vick – Sax (Tenor)
Wayne Andre – Trombone
Grover Washington, Jr. – Sax (Tenor), Sax (Alto)
Melvin Sparks – Guitar
Pepper Adams – Sax (Baritone)
Julius Brand – Violin
Paul Gershman – Violin
Rudy Van Gelder – Engineer (Recording, Mixing)
Bob Ciano – Cover Design
William Cadge – Photography
Julius Held – Violin
Harry Katzman – Violin
Joe Malin – Violin
Gene Orloff – Violin
Album credits:
Recorded between October and November, 1971 at Van Gelder Studios
Engineer: Rudy Van Gelder
Album photos by William Cadge
Album design by Bob Ciano
Original catalog number: KU-04
Produced by Creed Taylor
Reissue Supervisor: Arnaldo DeSouteiro
Arranged & Conducted by Bob James
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