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Another Git Together is a studio album by the Jazztet, led by trumpeter and flugelhorn player Art Farmer and tenor saxophonist Benny Golson. It features performances recorded in 1962 and originally released on the Mercury label. It was the band’s last recording for 20 years. Kay Norton was the producer and Tommy Nola was the recording engineer for the studio session recorded on May 28 (tracks: B2, B3) and June 21, (tracks: A1-A3, B1) 1962 at Nola’s Penthouse Sound Studios, New York City.
Tracks | 34:28
- Space Station (Grachan Moncur III) ~ 5:10
- Domino (Don Raye, Jacques Plante, Louis Ferrari) ~ 6:58
- Another Git Together (Jon Hendricks, Pony Poindexter) ~ 6:12
- Along Came Betty (Benny Golson) ~ 5:24
- This Nearly Was Mine (Richard Rodgers, Oscar Hammerstein II) ~ 6:20
- Reggie (Golson) ~ 4:24
- Art Farmer – trumpet, flugelhorn
- Benny Golson – tenor saxophone
- Grachan Moncur III – trombone
- Harold Mabern – piano
- Herbie Lewis – bass
- Roy McCurdy – drums
Led by two titans of jazz, Another Git Together is their second album for Mercury Records and sixth as a group. The album takes flight with a trip to the Space Station by Grachan Moncur III, an uptempo burner with a scintillating melody by the sextet. The pace slows to mid~tempo for Domino, a French composition which was written in 1950 by Don Raye, Jacques Plante, and Louis Ferrari. The title track, Another Git Together is a soulful midtempo blues by Jon Hendricks and Pony Poindexter which comes to life and ends with a dialogue between the trio which slowly fades into oblivion to end the first side. Along Came Betty opens the second side and is one of Benny Golson’s timeless jazz standards. The Jazztet delivers the melody at a leisurely easy pace (that’s slightly faster than the original recording), stepping aside for the lead solo by Mabern who rolls with relaxing verses that are well matched to the gorgeous groundwork of Lewis and McCurdy. This Nearly Was Mine was written in 1949 by Oscar Hammerstein II and Richard Rodgers, making its debut in their Broadway musical, South Pacific which premiered that year and later reappears in the 1958 film version as well. Farmer is back on flugelhorn and leads the ensemble through the melody of this pretty waltz at a livelier pace than normally heard. The last track is Reggie, a cheerful original by Benny that’s named for his second son and a perfect vehicle for improvisation as the sextet illustrates in unison on the opening chorus.
Source: Jazztracks by Eddie Carter | Excerpt: 1/2019 | atlantaaudioclub.org
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Lighthouse ’68 is a live album by The Jazz Crusaders recorded on November 10-13, 1967 at the Lighthouse in Hermosa Beach, California and released the following year on the Pacific Jazz label. Lighthouse ’68 documents the group performing live at one of the premier West Coast clubs, The Lighthouse Café, opened in 1949.
The producer on the date was Richard Bock. The cover design was created by Gabor Halmos, the engineer was Dino Lappas, the liner notes were written by Howard Rumsey, and the liner photography was taken by Fred Seligo.
The Tracks | 44:33- Ooga-Boo-Ga-Loo (Stix Hooper) – 6:39
- Eleanor Rigby (John Lennon, Paul McCartney) – 7:32
- Native Dancer (Buster Williams) – 8:52
- Never Had It So Good (Joe Sample) – 7:15
- The Emperor (Buster Williams) – 8:50
- Impressions (John Coltrane) – 6:12
- Wayne Henderson – trombone
- Wilton Felder – tenor saxophone
- Joe Sample – piano
- Buster Williams – bass
- Stix Hooper – drums
Review by Eddie Carter
Four friends from Houston, Texas who began performing locally in 1956 were Wayne Henderson, Wilton Felder, Joe Sample, and Stix Hooper. They were originally known as The Swingsters, then The Nite Hawks, but after moving to Los Angeles, California in 1961, they changed their name and became one of the best West Coast ensembles of the sixties, The Jazz Crusaders.
The set opens with Oogo-Boo-Ga-Loo, an infectiously danceable audience grabber by Stix Hooper which begins with a lovely introduction by the trio, then blossoms into a sanctified styled theme treatment. John Lennon and Paul McCartney’s Eleanor Rigby allows their midtempo rendition to explore the melody collectively. The tempo moves up for Native Dancer, the first of two contributions by Buster Williams which gets off to a roaring start with an aggressive opening statement and nimble melodic presentation.
Sample’s Never Had It So Good starts the second side with an easy spirited beat that leads us back to church with a bit of boogaloo in the imaginative display of harmony during the group’s opening melody. The Emperor, is Williams’ second offering to the session that takes us back to straightforward bop with the solos in the same order as the previous tune.
The album ends with John Coltrane’s Impressions, takes an invigorating introduction by the trio and theme statement led by the horns followed with a jet-propelled interpretation infused with searing fire for an energetic workout and effervescent ending.
Source: Jazztracks by Eddie Carter | Excerpt: 12/2018 | atlantaaudioclub.org
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Some Other Spring is an album by Norwegian vocalist Karin Krog with American saxophonist Dexter Gordon recorded in Norway in 1970 and originally released on the Sonet label in Europe. The session was produced by Hallvard Kvale and Johs Berg on May 10, 1970, in Oslo, Norway.
Tracks | 61:54
- Some Other Spring (Arthur Herzog, Jr., Irene Kitchings) – 5:00
- Blue Monk (Abbey Lincoln, Thelonious Monk) – 3:55
- How Insensitive (Antônio Carlos Jobim, Norman Gimbel) – 4:30
- Blue Eyes (Berndt Egerbladh, Karin Krog) – 4:50
- Jelly, Jelly (Billy Eckstein, Earl Hines) – 4:55
- I Wish I Knew (Harry Warren, Mack Gordon) – 5:25
- Everybody’s Somebody’s Fool (Ace Adams, Lionel Hampton) – 4:35
- Shiny Stockings (Frank Foster, Ella Fitzgerald) – 3:40
- Karin Krog – vocals
- Dexter Gordon – tenor saxophone, vocals
- Kenny Drew – piano
- Niels-Henning Orsted Pedersen – bass
- Espen Rud – drums
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Attica Blues is a studio album by avant-garde jazz saxophonist Archie Shepp, recorded on January 24~26, 1972 at A&R Recording in New York City.. Originally released in 1972 on the Impulse! label, the album title is a reference to the Attica Prison riots. The producer on the sessions was Ed Michel.
Track List | 37:16 All compositions by Archie Shepp except as indicated
- Attica Blues (lyrics by Beaver Harris) – 4:49
- Invocation: Attica Blues (Beaver Harris) – 0:18
- Steam, Part 1 – 5:08
- Invocation to Mr. Parker” (lyrics by Bart Gray) – 3:17
- Steam, Part 2 – 5:10
- Blues for Brother George Jackson – 4:00
- Invocation: Ballad for a Child (Harris) – 0:30
- Ballad for a Child (lyrics by Harris) – 3:37
- Good-Bye Sweet Pops (Cal Massey) – 4:23
- Quiet Dawn (Massey) – 6:12
- Archie Shepp – tenor saxophone (1, 6, 8, 10) and soprano saxophone (3, 5, 9)
- Brass and reed section on tracks 1, 6, 9 and 10
- Clifford Thornton – cornet
- Roy Burrows, Charles McGhee, Michael Ridley – trumpet
- Charles Greenlee, Charles Stephens, Kiane Zawadi – trombone
- Hakim Jami – euphonium
- Clarence White – alto saxophone
- Roland Alexander, Billy Robinson – tenor saxophone
- James Ware – baritone saxophone
- String section on tracks 1, 3, 5, and 8—10
- John Blake, Leroy Jenkins, Lakshinarayana Shankar – violin
- Ronald Lipscomb, Calo Scott – cello
- Marion Brown – alto saxophone (1, 6), bamboo flute (3), flute (4), percussion (3—5)
- Walter Davis, Jr. – electric piano (1, 6), piano (6, 8—10)
- Dave Burrell – electric piano (3, 5)
- Cornell Dupree – guitar (1, 3, 5, 8)
- Roland Wilson (1, 3, 5–6, 8), Gerald Jemmott (1) – Fender bass
- Jimmy Garrison – bass (3—5, 9, 10)
- Beaver Harris (1, 3, 5–6, 8) – drums
- Ollie Anderson, Nene DeFense, Juma Sultan – percussion (1, 6, 10)
- Vocals
- Henry Hull (1, 8), Joe Lee Wilson (3, 5) – vocals
- William Kunstler (2, 7), Bartholomew Gray (4) – narrator
- Joshie Armstead, Albertine Robertson – backing vocals (1)
- Featured exclusively on tracks 9 and 10, written by Cal Massey
- Romulus Franceschini – conductor and co-arranger
- Cal Massey – fluegelhorn (10)
- Waheeda Massey – vocals (10)
- Billy Higgins – drums
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Journey In Satchidananda is the fourth solo album by Alice Coltrane recorded on November 8, 1970. Avant-garde in its jazz direction and released in 1971, its title and title track reflects Coltrane’s inspiration by Swami Satchidananda whom John Coltrane had become close to while being his disciple.
Shiva-Loka or realm of Shiva references the realm of the third member of the Hindu trinity, the dissolver of creation. Stopover Bombay refers to a five-week stay in India and Sri Lanka on which Coltrane was due to go in December 1970. Something About John Coltrane is based on themes by her late husband, John Coltrane. Isis and Osiris, on which Charlie Haden replaces Cecil McBee on bass, and Vishnu Wood plays oud, indicates Coltrane’s interest in Middle Eastern and North African music and culture. The presence of the tamboura, played by Tulsi, reflects Coltrane’s interest in Indian classical music and religion.
Side A- Journey in Satchidananda ~ 6:39
- Shiva-Loka ~ 6:37
- Stopover Bombay ~ 2:54
- Something About John Coltrane ~ 9:44
- Isis and Osiris ~ 11:49
Tracks A1–B1 were recorded at the Coltrane home studio in Dix Hills, New York on November 8, 1970. Track B2 was a live recording at The Village Gate in New York City on July 4, 1970. Tracks A1 to B1
- Alice Coltrane – piano, harp
- Pharoah Sanders – soprano saxophone, percussion
- Cecil McBee – double bass
- Rashied Ali – drums
- Tulsi – tanpura
- Majid Shabazz – bells, tambourine
- Alice Coltrane – harp
- Pharoah Sanders – soprano saxophone, percussion
- Rashied Ali – drums
- Charlie Haden – bass
- Vishnu Wood – oud
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