We're Moving!

As of a while ago this blog won't be used very much, if at all. I'm continuing the theme from here - with some slight changes - over at daytimelovers.com

Drop by and check things out! There isn't much up just yet but I hope to get at some new records soon and also have some DJ pals dropping some mixes pretty soon. Should be good!

Thanks to everyone that came here and said hello or whatever.

Cheers!

Margie Joseph - Makes A New Impression (Volt, 1971)

I had ripped this to share at My Favourite Sound a few months back (those dudes are amazing!) but I haven't been buying or ripping any new records lately so I thought I'd throw this up just for the hell of it. Straight up early 70's southern soul from Volt for you right here..

Wayne Shorter - Second Genesis (Vee Jay, 1960)

This is the first CD I have posted. There won't be many but this is a great album and I've yet to come across it on vinyl. Really beautiful, melodic stuff. Check it out here.

George Benson Quartet - It's Uptown (Columbia, 1965)

Here's a nice album of early George Benson in a mostly straight ahead jazz style but with a couple vocal tracks thrown in to round it out. Honestly, the vocal tracks are the highlights for me here, but that's not to say the instrumental tracks are anything short of excellent. The playing is superb as you'd expect but I found a few of the arrangements to be pretty stock. It is, at any rate, a good listen. Check out the great version of Summertime below and grab the rest here if it's up your alley.

Kenny Burrell - Out Of This World (Prestige, 1968)

This session was originally released as Bluesy Burrell on the Prestige sub-label Moodsville in 1962, featuring Coleman Hawkins on tenor saxophone. Considering there is little info to be found on this reissue, we'll have a look at the AMG review for the orginal release (minus the parts that concern the CD reissue).

Review by Jim Todd
This session is valuable for the majestic playing of tenor great Coleman Hawkins, who performs on half of the eight tracks. While originally released on the Prestige subsidiary Moodsville -- a label that specialized in recordings with an intimate, reflective atmosphere -- the Moodsville sound doesn't sit comfortably on Hawkins. His playing is brilliantly relaxed, but it's not mood music. Leader Kenny Burrell's playing is much more in line with the Moodsville groove. The guitarist is not amplified as much as he is on his Prestige dates from this time. In fact, he performs on a nylon-string instrument almost as much as he does on his hollow-body electric. Unlike Hawkins, Burrell's subdued contribution is made to measure for this date. Listeners expecting to hear Burrell the hard bopper won't. The key moments come during the interaction between the guitarist and tenor player, especially during their exchanges on Burrell's "Montono Blues." The rhythm section, Hawkins' working band from this period (pianist Tommy Flanagan, bassist Major Holley, and drummer Eddie Locke), provide impeccable, sublime support.

Have a listen and then peep the rest here if you like.

Yusef Lateef Plays for Lovers (Prestige, 1957)

I couldn't find any information on this particular record, but basically it's a compilation of love songs culled from the Prestige releases; Cry! Tender, Eastern Sounds, Other Sounds, Into Something and Meditation. Sorry for the shitty picture, the sleeve is one of those laminated types that is the worst for photographing.

Here's a bio from AMG:

Yusef Lateef has long had an inquisitive spirit and he was never just a bop or hard bop soloist. Lateef, who does not care much for the name "jazz," has consistently created music that has stretched (and even broke through) boundaries. A superior tenor-saxophonist with a soulful sound and impressive technique, Lateef by the 1950s was one of the top flutists around. He also developed into the best jazz soloist to date on oboe, an occasional bassoonist and introduced such instruments as the argol (a double clarinet that resembles a bassoon), shanai (a type of oboe) and different types of flutes. Lateef played "world music" before it had a name and his output was much more creative than much of the pop and folk music that passes under that label in the 1990s.

Yusef Lateef grew up in Detroit and began on tenor when he was 17. He played with Lucky Millinder (1946), Hot Lips Page, Roy Eldridge and Dizzy Gillespie's big band (1949-50). He was a fixture on the Detroit jazz scene of the 1950s where he studied flute at Wayne State University. Lateef began recording as a leader in 1955 for Savoy (and later Riverside and Prestige) although he did not move to New York until 1959. By then he already had a strong reputation for his versatility and for his willingness to utilize "miscellaneous instruments." Lateef played with Charles Mingus in 1960, gigged with Donald Byrd and was well-featured with the Cannonball Adderley Sextet (1962-64). As a leader his string of Impulse recordings (1963-66) were among the finest of his career although Lateef's varied Atlantic sessions (1967-76) usually also had some strong moments. He spent some time in the 1980s teaching in Nigeria. His Atlantic records of the late '80s were closer to mood music (or new age) than jazz but in the 1990s (for his own YAL label) Yusef Lateef has recorded a wide variety of music (all originals) including some strong improvised music with the likes of Ricky Ford, Archie Shepp and Von Freeman.

This is one of my favourite tunes off this record, previously released on Eastern Sounds.

I ripped my original Prestige vinyl record @320 for you here.

Tyrone Davis - I Had It All The Time (Dakar, 1972)

For whatever reason, this record has been sitting in a pile since I got it. I think I maybe gave it a cursory listen the day it came home but didn't give it a fair shake. It's actually pretty good! There's no obvious hit that jumps out at you, though according to AMG, the title track was in fact a hit:

Tyrone Davis scored another smash R&B hit with the title track, although it wasn't a chart topper. Davis was about to exit the Dakar label and did only one more album for them before signing a big money deal with Columbia. This is prototype early '70s soul, sparsely produced and wonderfully performed.



You can give it a tear here if you like.