LEO WRIGHT - discography 3

DISCOGRAPHY PART 3
discography 1 2 3 4 (original) 5 6 7 8 9 (compilations) I press		biography 1 2 3

UBATUQUI UBCD 303
l

Review: An excellent album of hard bossa cuts - played by drummer Antonio Da Souza, aka Miltinho, aka Milton Banana, with backing by Oscar Castro Neves. The band is a quartet led by Oscar Castro-Neves - with some nice piano by him, and some excellent alto work by the great Leo Wright. The record's a prime example of the excellent style of Banana, Joao Gilberto's favorite drummer - in that it's extremly lively, and all over the kit, with sort of a melodic drumming component that's perfect for bossa nova. Quite rare too.

The Rhythm And The Sound Of Bossa Nova / Milton Banana
and The Oscar Castro Neves Quartet, special guest: Leo Wright
recorded: December 8/9, 1962 in New York
issues: 1962 UBATUQUI / AUDIO FIDELITY (Spain) ; CD UBATUQUI 3177224 ;
ORPHEUS PRODUCTIONS/KENYA MUSIC ; BOMBA RECORDS BOM22112 ;
UBATUQUI UBCD 303

also issued as Miltinho (Milton Banana) - The Rhythm & Sound Of Bossa Nova 1963 AUDIO FIDELITY (Spain)
#3,5,8-10,12 also on Big Band Bossa Nova - Oscar Castro-Neves And His Orchestra 1962 AUDIO FIDELITY 5983 & UBATUQUI UBCD

OSCAR CASTRO NEVES-QUARTET, OSCAR CASTRO-NEVES (p, arr); LEO WRIGHT (as, fl); HENRY PERCY WILCOX (g); IKO CASTRO-NEVES (b); MILTON BANANA (dr)

1. Voce E Eu
2. Bossa Nova Blues
3. Nao Faz Assim
4. Influencia Da Jazz
5. Desafinado
6. O Amor E A Rosa
7. O Apito No Samba
8. Chora Tua Tristeza
9. Menino Desce O Morro
10. Chega De Saudade
11. Boato
12. Samba De Uma Nota Só

(DeMoraes/Jobim/Newton Mendonça)

(De Moraes/Jobim)

(Jobim/ Mendonça)

Review: Three months after recording the excellent Bossa Nova Carnival, Dave Pike returned to the studio in December 1962 and recorded another fine LP that under-scored his interest in world music. But instead of providing another Brazilian-oriented album, the vibist and marimba player opted to explore Caribbean rhythms and melodies. The term Caribbean music, of course, can describe many different things. It can refer to Latin forms like Cuban Salsa, Dominican Merengue, or Puerto Rican plena, but it can also describe the music that non-Spanish-speaking blacks have created in the Caribbean, such as Calypso, Soca, and Mento (which was Jamaica's music of choice before Ska and Reggae came along). While Limbo Carnival does contain some Afro-Cuban influence, one of the participants is Salsa/Latin Jazz legend Ray Barretto,

Calypso is a stronger influence. An admirer of Sonny Rollins' Jazz/Calypso experiments, Pike shows his appreciation of the form on material that ranges from two songs Harry Belafonte had recorded ('Jamaica Farewell' and 'Matilda, Matilda') to Rollins' 'St. Thomas' and Charlie Parker's 'My Little Suede Shoes'. Meanwhile, both Afro-Cuban and Calypso influences can be heard on an interesting version of 'La Bamba', which is hardly a Caribbean song; it is a Mexican folk standard that became a Rock´N´Roll hit when Ritchie Valens (a Mexican-American from Los Angeles) recorded it in `59. Pike, whose sidemen include guitarist Jimmy Raney, pianist Tommy Flanagan and bassist George Duvivier, takes his share of chances on this LP, and they pay off handsomely.

Limbo Carnival / Dave Pike
recorded: December 12, 1962 at the Van Gelder Studio, Englewood Cliffs, New Jersey
original release: 1962 LP PRESTIGE NEW JAZZ NJST-8284 purple label ;
re-issued 2000 as Carnavals PRESTIGE 24248 (2 LP´s on 1 CD, see next LP)

DAVE PIKE (vib, marimba, arr.); LEO WRIGHT (as, fl on 4 tracks); TOMMY FLANAGAN (p on 5 tracks); JIMMY RANEY (g on 4 tracks); GEORGE DUVIVIER (b on 4 tracks), AHMED ABDUL-MALIK (b on 6 tracks); WILLIAM CORREO (dr); RAY BARETTO (cga)

Side A
  1. La Bamba    (Richie Valens)
  2. My Little Suede Shoes (Parker)
3. Matilda
4. Mambo Bounce

Side B
1. Limbo Rock
  2. Calypso Blues
3. Cattin’ Latin (Pony Poindexter)
  4. St. Thomas (Sonny Rollins)
5. Jamaica Farewell

Reviews: Dave Pike isn't one of jazz's more famous vibists - he never became as well known as Milt Jackson, Lionel Hampton, Cal Tjader, Bobby Hutcherson, or Roy Ayers. Nonetheless, Pike is a talented, flexible player who has provided some memorable albums here and there.Two of them are Bossa Nova Carnival and Limbo Carnival, both of which were recorded in 1962 for New Jazz. In 2000, Fantasy reissued the albums back to back on the Prestige CD Carnavals. The sessions are equally appealing but quite different - while Bossa Nova Carnival is a caressing, sensuous collection of songs by Brazilian composer Joao Donato, the grittier Limbo Carnival has more of a Caribbean orientation. Afro-Cuban salsa is an influence on Limbo Carnival, but calypso is an even greater influence - and Pike, taking a hint from Sonny Rollins, combines jazz with calypso on Rollins' 'St. Thomas' and Charlie Parker's 'My Little Suede Shoes', as well as two songs that were hits for Harry Belafonte: 'Matilda' and 'Jamaica Farewell'. On both dates, the vibist (who plays the marimba as a second instrument) is joined by some heavy-weights - Bossa Nova Carnival features, among others, Clark Terry on flugelhorn and Kenny Burrell on guitar, while pianist Tommy Flanagan, guitarist Jimmy Raney, and percussionist Ray Barretto are among the sidemen on Limbo Carnival. --
When vibist Dave Pike recorded the 1962 LP´s paired on this disc, U.S. Jazz was being revitalized by the new wave of Brazil’s Bossa Nova, while on the Pop side, dance fever raged on. Kicked off in 1960- 61 by Chubby Checker’s global mega-smash ‘The Twist’, there followed a series of dance hits including Checker’s ‘Limbo Rock’, which is covered herein. At the time of these two lively, tuneful albums, Pike (b. 1938) was employed by the popular jazz flutist Herbie Mann, whose repertoire successfully drew on both Latin music (like Bossa Nova) and some dance hits. It was no surprise, then, that the vibist was thoroughly conversant in the sounds of Carnavals.
--

A tasty CD that combines 2 excellent early LP´s by vibist Dave Pike. Bossa Nova Carnival features Pike grooving hard on a batch of bossa nova grooves all written by Joao Donato. The group is excellent throughout, and the tracks are these wonderful modal vibes cuts, with throbbing bossa underpinnings. All tracks are great, but a few titles include 'Ginha', 'Sambolero', 'Sono' and 'Melvalita'. Donato doesn't play on the record, but he's widely credited for composition throughout - and the album captures a lot of the best essence of his early work. Limbo Carnival is a great album too - and despite the "limbo" in the title, this is more of a Latiny album, with some touches of Caribbean grooves.Dave Pike's vibes are light and jazzy, as they are on the bossa album, and the group swings well behind him. He's got Latin or world-influenced players like Ray Barretto on conga, Ahmad Abdul-Malik on bass, and Leo Wright on flute & alto, plus a few other straight Jazz players like Jimmy Raney & Tommy Flanagan. Tracks include 'Mambo Bounce', 'Matilda', 'St. Thomas' and a strange groovy version of 'La Bamba'. Excellent stuff throughout - and some of our favorite work by Pike.

Carnavals / Dave Pike
issued: 2 LP´s on 1 CD, 2000, CD FANTASY/PRESTIGE 24248-2
reissue of Bossa Nova Carnival & Limbo Carnival

Bossa Nova Carnival recorded: September 6 & 7, 1962 in New York/NY
original release: NEW JAZZ 8281
DAVE PIKE (vib, marimba); CLARK TERRY (fl-h); KENNY BURRELL (g); CHRIS WHITE (b); RUDY COLLINS (dr); JOSE PAULO (cabasa, bandero). Engineer: Ralph Scuff

Limbo Carnival recorded: December 12, 1962 at Van Gelder Studio, Englewood Cliffs/NJ; original release: NEW JAZZ 8284
DAVE PIKE (vib, marimba); LEO WRIGHT (as, fl); TOMMY FLANAGAN (p); JIMMY RANEY (g); GEORGE DUVIVIER, AHMED ABDUL-MALIK (b); WILLIAM CORREA (dr); RAY BARRETTO (cga) Engineer: Rudy Van Gelder

Bossa Nova Carnival (written by João Donato)
  1. Sambolero
  2. Sono
  3. Serenidade (Serenade)
  4. Carnaval Samba (aka Carnaval)
  5. Philumba
6. Melvalita
  7. Ginha
  8. Sausalito
Limbo Carnival
9. La Bamba (Richie Valens)
10. My Little Suede Shoes (Parker)
11. Matilda
12. Mambo Bounce
13. Limbo Rock (Chubby Checker)
14. Calypso Blues
15. Cattin' Latin (Pony Poindexter)
16. St. Thomas (Rollins)
17. Jamaica Farewell

Enregistré en 1962, soit à peu près quatre ans après la naissance de ce que l'on a appelé la bossa nova, l'album est typique de ce style. D'ailleurs, le guitariste et chanteur Luiz Bonfá, à la suite des pionniers Joao Gilberto, Antonio Carlos Jobim et Vinicius de Moraes, en fut un des représentants parmi les plus prisés avec Edu Lobo et le guitariste Baden Powell on doit à Bonfá le célèbre 'Manha De Carnaval' qui immortalisa la bande originale du film Orfeu Negro. Cinema novo, rhythmes nouveaux: le Brésil vit alors sa révolution culturelle. Exit la samba traditionnelle, place à des arrangements nonchalants et à ce détachement qui fait référence à la saudade. Avec l'excellent guitariste Oscar Castro-Neves (déjà remarqué sur Sergio Mendes Presents Edu Lobo) et le flûtiste Leo Wright enrôlés dans des arrangements signés par Lalo Schifrin, Luiz Bonfá joue ses standards les plus connus dont les fameux 'Samba De Duas Notas (Two Notes Samba)' et 'Tristeza (Brazillian Blues)'. Sensualité de la voix, pré-dominance d'accords de guitare cool à souhait: l'imagerie qu'éveille cette musique est pleine de nostalgie et son charme est demeuré intact.

The Composer Of Black Orpheus Plays And Sings Bossa Nova /
Luiz Bonfá
recorded: December 26 & 31, 1962 at A&R Recording Studios, New York
original release: 1962 VERVE 8522 ;
issues: 1962 UNI/VERVE ; 1963 VERVE 2331418 ; 2000 CD VERVE/POLYGRAM 543378

LUIZ BONFA (g, voc, acc); OSCAR CASTRO-NEVES (g, org, p); LEO WRIGHT (fl on # 5, 8, 13); MARIA HELENA TOLEDO (voc); IKO CASTRO-NEVES (b); ROBERTO PONTES-DIAS (dr, perc); LALO SCHIFRIN (arr)

1. Samba De Duas Notas (Two Note Samba)
2. Vem Só (Come Here, My Love)
3. Sambalamento
4. Tristeza (Brazilian Blues)
5. Manhã De Carnaval (Morning Of The Carnival)
(from Black Orpheus)
6. Silencio Do Amor (The Silence Of Love)
7. Domingo A Noite (Sunday Night)
8. Ilha De Coral (Coral Island)
9. Adeus (Goodbye)
10. Quebra Mar (The Sea Wall)
11. Amor Que Acabou (The End Of Love)
12. Chora Tua Tristeza (Cry Your Blues Away)
13. Bossa Nova Cha Cha

(Bonfá)
(Bonfá)
(Bonfá/Toledo)
(Bonfá/Toledo)
(Bonfá)

(Bonfá/Toledo)
(Bonfá/Toledo)
(Bonfá)
(Bonfá)
(Bonfá)
(Feitosa/Freire)
(Castro-Neves/Fiorin)
(Bonfá)

Just For Kicks / Eldee Young And Company
recorded: December 28, 1962 at Ter-Mar recording studio, Chicago, ILL
original release: 1962 ARGO JAZZ LPS-699 (USA) ;
other issues: ARGO LPS-1003 ; CADET ?

ELDEE YOUNG (b, cello, voc); LEO WRIGHT (as, fl); MAL WALDRON (p); RICHARD EVANS (b); ISAAC "RED" HOLT (dr)

Side A
1. When Johnny Comes Marching Home
2. Goodbye
3. Crazy She Calls Me
4. Big Brother
5. Cry Me A River

Side B
1. Truely
2. Mr. Kicks
3. Motherless Child
4. Just For Kicks
5. John Henry

(L. Lambert)
(Gordon Jenkins)
(Sigman/Russell)
(Eldee Young)
(Arthur Hamilton)

(Eldee Young)
(Oscar Brown Jr.)
(? / arr. by Eldee Young)
(Eldee Young)
(? / arr. by Eldee Young)

Note: Eldee Young and Red Holt were Ramsey Lewis´s rhythm section.

Reviews: Tin Tin Deo couples the entirety of Lalo Schifrin's very rare 1962 Roulette album, Lalo=Brilliance, with the five tracks Schifrin arranged for Antonio Diaz Mena's even rarer 1963 Audio Fidelity album, 'Eso Es Latin Jazz Man'. None of these 13 tracks had been issued on CD before this 2001 Spanish release. The CD sounds good, though, catching Lalo in an especially Latin mode throughout. Schifrin's album features a sextet - the core of Dizzy Gillespie's rhythm section of the time - while the Mena album features a somewhat larger group with Clark Terry as featured guest. Both will sound familiar to anyone who has heard Lalo wax poetic on Latin themes. But there's a bit more of an edge here. The 8 tracks from Lalo=Brilliance feature some of Schifrin's most arresting piano work. In both cases, though, it is reedman Leo Wright who shines brightest (if you don't count the sparkling 'Schifrinesque' moods throughout). Two tremendous - and markedly different versions of Diz's 'Kush' are heard here with fascinating covers of 'Harlem Noc- turne', 'Rhythm-A-Ning' as well as Lalo's must-hear compositions, 'Mambo Jazz Opus No. 7', 'The Snake's Dance', 'Syphros' and 'Mount Olive'.
--
Sublime early work from Lalo Schifrin, recorded in New York in 1962, back when he was fresh from Argentina - the hot young Latin pianist working in Dizzy Gillespie's crack early 60s combo - this work was originally issued

on 2 rare LP´s, Lalo= Brilliance, issued by Roulette, and the album Eso Es Latin Jazz Man, issued by Audio Fidelity under the name of trumpeter Antonio 'Chocolate' Diaz Mena. 8 tracks feature Lalo working with a very hip sextet that includes Leo Wright, Jimmy Raney, Art Davis, Rudy Collins and Willie Rodriguez - and another 5 cuts feature a larger group with Wright, Seldon Powell, Jerome Richardson, and Chocolate Diaz. At this point in his career, Lalo's easily comfortable with hard Latin jazz and Bossa Nova alike - and the 13 tunes on the set are a fine batch of south of the border jazz tunes.

Tin Tin Deo / Lalo Schifrin Orchestra And Sextet
recorded: 1962 & 1963
issued: 2001 FRESH SOUND FSR-CD 319 (Spain) ;

#6-9,11-13 also on The Piano Of Lalo Schifrin ROULETTE BIRDLAND 402 773 (Germany)

#1-5 from Eso Es Latin Jazz, Man / Antonio Diaz Mena, rec. July 1963 in NYC
           LP AUDIO FIDELITY AFLP 6117
           ANTONIO 'CHOCOLATE' DIAZ MENA (cga); CLARK TERRY (tp); JIMMY
           CLEVELAND (tb); JEROME RICHARDSON (bar-s, fl); SELDON POWELL (ts, fl);
           LEO WRIGHT (as,fl); FELIPE YANEZ (p); FRANK SCHIFANO (b); RUDY
           COLLINS (dr); VICTOR ALENDE, MEGUIL AVILA (perc); LALO SCHIFRIN (arr,
           cond)    >> see below

#6-13 from Lalo = Brilliance / Lalo Schifrin, rec. 1962 in NYC,
           ROULETTE SR-52088 ; 1966 ROULETTE BIRDLAND R(S) 52088
           LALO SCHIFRIN (p); LEO WRIGHT (as, fl); JIMMY RANEY (g); ART DAVIS (b);
           RUDY COLLINS (dr); WILLIE RODRIGUEZ (cga, bgo, perc)
   >> see disco 2

1. Tin Tin Deo
2. Pega Joso
3. Mambo Jazz Opus No. 7
4. Kush
5. Harlem Nocturne *
6. Cubano Be
7. Kush
8. An Evening In Sao Paulo
9. The Snake's Dance
10. Sphyros
11. Mount Olive
12. Desafinado
13. Rhythm-A-Ning

(Chano Pozo)
(Lalo Schifrin/Antonio Mena)
(Lalo Schifrin)
(Dizzy Gillespie)
(Earle Hagen)
(George Russell)
(Dizzy Gillespie)
(Lalo Schifrin)
(Lalo Schifrin)
(Lalo Schifrin)
(Lalo Schifrin)
(Antonio Carlos Jobim)
(Thelonious Monk)

* same or similar, Duke Pearson or Felipe Yanez (arr, cond) replaces Lalo Schifrin

ReviewsJohn Lewis formed Orchestra U.S.A. as a vehicle to potentially explore any composed or improvised music, blending elements of jazz and classical music by recruiting some first-rate players from both worlds. The result is one of the more successful third stream recordings. On this recording there are 2 string quartets, plus woodwinds, brass, and a rhythm section present. Collaborating with Gunther Schuller, who conducted the group and did some of the orchestrations, Lewis expanded his work ‘Three Little Feelings’ from its original chart for brass, featuring outstanding solos by alto saxophonist Phil Woods and guitarist Jim Hall. Lewis includes two pieces he had written for William Inge's play Natural Affection Dolphy's fireworks on ‘Donnie's Theme’ contrast with the easy-going ‘Natural Affection’, which features the leader's piano and has a sudden dramatic finale. Gary Mc Farland contributed both ‘Milesign’ and ‘Grand Encounter’ the former composition is a driving bop chart with a typically angular alto sax solo by Dolphy, while the latter piece is quirky and has a playful solo by Lewis. Schuller's stiff arrangement of ‘The Star Spangled Banner’ serves as a odd but brief coda to close the record. Although there were additional records by Orchestra USA, none of them match the heights of this initial effort, which is long out of print and deserves to be re-issued on CD.
--
In fall 1962, John Lewis, with the assistance of Gunther Schuller and percussionist Harold Farberman, formed Orchestra USA. The purpose of the huge orchestra (which included a string

section and jazz soloists) was to perform original works that combined advanced jazz with classical music - essentially 3rd-stream works. Its repertoire ranged from pompous to inspiring with material contributed by Lewis, Schuller, Benny Golson, Gary McFarland, Jimmy Giuffre, Hall Overton, Teo Macero and others. Among the musicians who performed with Orchestra U.S.A. were Gerry Mulligan and Ornette Coleman. The venture lasted 3 years, until 1965. Orchestra U.S.A. recorded obscure albums for Colpix (1963) and Columbia (two in `64) which included players such as Herb Pomeroy, Nick Travis, Leo Wright, Richard Davis, John Lewis, Phil Woods, Jim Hall, Connie Kay, Eric Dolphy, Coleman Hawkins, Benny Golson, Thad Jones, Joe Newman and Jerome Richardson. In addition, the Sextet of Orchestra USA made an album for RCA in 1964.

Orchestra U.S.A. Debut / Orchestra U.S.A.
recorded: January 12 (#1), February 4 & 27, 1963 at Atlantic Recording Studios, NYC
issues: 1963 COLPIX CLP-448 (mono) ; COLPIX SCP-448 (stereo); COLPIX (G) 9002

re-issued: September 7, 2004, 2 LP´s on 1 CD LONE HILL JAZZ LHJ 10117 as:
Orchestra U.S.A. The Debut Recording - John Lewis >> see disco 9

recorded: January 12 (#1), February 4 & 27, 1963 at Atlantic Recording Studios, NYC
issues: 1963 COLPIX CLP-448 (mono) ; COLPIX SCP-448 (stereo); COLPIX (G) 9002
JOHN LEWIS (p, prod., musical dir.); NICK TRAVIS, LOUIS MUCCI, HERB POMEROY (tp); MIKE ZWERIN (tb); WALLY KANE (fl, bassoon); LEO WRIGHT (fl); ROBERT DI DOMENICA (picc-fl); ERIC DOLPHY (fl, as); PHIL WOODS (cl, as); ROBERT NORTHERN, ROBERT SWISSHELM (fr-h); DON STEWART (cl, basset-h); PHILIPP WEST (oboe, engl-h); RAY SHINER (oboe); DON ASHWORTH (oboe, bar-s); HARVEY PHILLIPS (tu); JIM HALL (g); NICK TRAVIS (p); ALFRED BREUNING, GERALD BEAL, NATHAN GOLDSTEIN, GINO SAMBUCCO, JERRY WIDOFF (v); JULIAN BARBER, AARON JUVELIER, SELWART CLARK (viola); ALLAN GOLDBERG (cello); JOSEPH TEKULA, RICHARD DAVIS (b); CONNIE KAY (dr); STICKS EVANS, GARY MCFARLAND (perc); MICHAEL COLGRASS (orchestr. bells); GUNTHER SCHULLER (cond., orchestration, liner notes); TOM DOWD (engineer)

on #A2,3, B2 Aaron Juvelier out, on #B1,3,4 Gary McFarland, Alfred Breuning out

Side A
1. Three Little Feelings
2. Milesign
3. Milano

Side B
1. Natural Affection
2. Donnie's Theme
3. Grand Encounter
4. The Star Spangled Banner

(Lewis)
(McFarland)
(Lewis)

(Feather/Lewis)
(Lewis)
(McFarland)
(traditional)

Orchestra U.S.A. discography

Reviews: This long unavailable record pairs valve trombonist Bob Brookmeyer with pianist Lalo Schifrin in a light but swinging Latin-flavored studio session. Although there is a formidable supporting cast, which includes Phil Woods, Al Cohn, Zoot Sims, and Jimmy Raney, the solos are primarily by the co-leaders and Leo Wright, heard on several flute solos. Following Schifrin's extended but lively 'Samba Para Dos', the remainder of the date focuses on very familiar standards. Raney's solos are a highlight of 'I Get A Kick Out Of You' and 'My Funny Valentine'. The full reed section fleshes out a potent interpretation of 'Just One Of Those Things', which features an impressive and often humorous solo by Brookmeyer. Although this may not be considered an essential LP by the average jazz fan, it is well worth acquiring.
--
Another of Creed Taylor's many bossa nova productions for Verve during the early 1960s, this one features a small ensemble led by pianist Lalo Schifrin and trombonist Bob Brookmeyer. Schifrin's piano smokes on the title track, a 10-minute bossa burner, originally written for Quincy Jones's 'Big Band Bossa Nova' (and also featured earlier on Schifrin's 'Piano, Strings & Bossa Nova'). It is the hard-to-find album's centerpiece, but it can also be found on the recently issued compilation 'Talkin' Verve: Lalo Schifrin'.

Samba Para Dos / Lalo Schifrin - Bob Brookmeyer
recorded: February 7, 1963 in New York City
issues: 1963 VERVE V/VG-8543 (stereo) ; #1,3,6 also on VERVE (F) 2615062;

#1,6 also on Talkin' Verve: Lalo Schifrin CD VERVE 314 547 185-2
and on The Very Best Of Latin Jazz CD GLOBAL RADCD-96 ;
#8 also on Gitanes Jazz: Jazz Bossa Nova CD VERVE 814 451-2

FRANK REHAK (tb); BOB BROOKMEYER (valve-tb); LEO WRIGHT (fl, as); PHIL WOODS, JEROME RICHARDSON (as); ZOOT SIMS, AL COHN (ts); DANNY BANK (bar-s); ROMEO PENQUE (b-cl); LALO SCHIFRIN (p); JIMMY RANEY (g); BEN TUCKER (b); CARMELITA KOEHLER (cello); DAVE BAILEY (dr); JOSE PAULO (perc); CREED TAYLOR (prod)

Side A
1. Samba Para Dos
  2. What Kind Of Fool Am I ?
3. I Get A Kick Out Of You

Side B
  1. Just One Of Those Things
2. Time After Time
3. It's All Right With Me
  4. My Funny Valentine
  5. But Not For Me

(Schifrin)
(Bricusse/Newley)
(Porter)

(Porter)
(Cahn/Styne)
(Porter)
(Rodgers/Hart)
(Gershwin/Gershwin)

click image to enlarge

This is the only known album by the wife of tenor saxophonist George Coleman. Funky soulful swingin´ monster record!

Soul Sisters / Gloria Coleman
recorded: April or May 1963
issued: 1963 LP IMPULSE! A-47 (or AS-47) ;
also released 1963 as Gloria Coleman on IMPERIAL

GLORIA COLEMAN (hammond org, voc); GRANT GREEN (g); LEO WRIGHT (as); POLA ROBERTS (dr)

Side A
1. Que Baby   (a tribute to Ike Quebec)
  2. Sadie Green
  3. My Lady´s Waltz

Side B
1. Hey Sonny Redd
2. Melba's Minor
3. Funky Bob

Recording with Duke Pearson (unissued)
recorded: May 2, 1963 in New York City

DUKE PEARSON (p); RICHARD WILLIAMS (tp); LEO WRIGHT (as, fl); BEN TUCKER (b); STU MARTIN (dr)

1. Say You're Mine
2. Ode To A Blossom
3. Los Malos Hombres
4. When You Find Your Lover
5. Richard's Tune

(Duke Pearson)
(Leo Wright)
(Duke Pearson)
(Duke Pearson)
(Richard Williams)

Reviews: A blues singer with a jazz singer’s sensibility, Jimmy Witherspoon embosses everything he tackles with an individual stamp. For this 1963 album, perhaps the finest he recorded during his tenure at Prestige Records, Witherspoon oozed his way through Duke Ellington’s 'Rocks In My Bed', drained 2 Amos Milburn drinking songs to the last drop, and transformed Big Boy Crudup’s 'Mean Old Frisco' into something of a gospel shout. And Kenny Burrell, the jazz guitar giant who’d cut his teeth on T-Bone Walker, played some of the most biting blues licks of his prolific career.
--
Witherspoon is joined by a quintet featuring altoist Leo Wright and guitarist Kenny Burrell on the first eight numbers and a background septet (with trumpeter Bobby Bryant and Arthur Wright on harmonica) for the remainder of the set. The music is enjoyable if not classic, and should please Witherspoon's many fans.

Baby, Baby, Baby / Jimmy Witherspoon
recorded: May 6 (in NYC) and July 8 (in Los Angeles) 1963
original release: 1963 PRESTIGE 7290 ;
issues: 1963 LP FANTASY/ ORIGINAL BLUES CLASSICS ; 1990 or `91 CD OBC 527-2;
re-issued 1970 as Mean Old Frisco LP PRESTIGE PRST-7855 (except #5) ;

#1 also on Prestige: Groovy Goodies Vol. 1 - Prestige All Stars PRLP-7298
#1,3,4 also on The Best Of Jimmy Witherspoon PRLP-7713 ;
#3,6,9,10 also on Jazz Me Blues: The Best Of Jimmy Witherspoon
1998 CD FANTASY/PRESTIGE PRCD-11008 (-2)

JIMMY WITHERSPOON (g, voc); BOBBY BRYANT (fl-h); LEO WRIGHT (as, tamb); GILDO MAHONES (p); KENNY BURRELL (g); GEORGE TUCKER (b); JIMMIE SMITH (dr);
Side B #3-6 : BOBBY BRYANT (tp); JIMMY ALLEN (ts); ARTHUR WRIGHT (hca); ERNIE FREEMAN (p); HERMAN MITCHELL (g); JIMMY BOND (b); JIMMY MILLER (dr)

Side A
1. Mean Old Frisco
2. Rocks In My Bed
3. Bad Bad Whiskey
4. Baby, Baby, Baby
5. Sail On Little Girl
6. One Scotch, One Bourbon, One Beer

Side B
1. Lonely Boy Blues
2. Blues And Trouble
3. Endless Sleep
4. I'll Go On Living
5. I Can't Hardly See
6. It's A Lonesome Old World

(Crudup)
(Ellington)
(Davis)
(David/Livingston)
(Easton)
(Toombs)

(McShann)
(Witherspoon)
(Reynolds/Nance)
(Witherspoon)
(Witherspoon)
(Traditional)

Review: In his first American album, Jobim presents a dozen of his songs, each one destined to become a standard - an astounding batting average. Jobim, who claimed to have been out of practice at the time of the session, merely plays single notes on the piano with one hand, punctuated by chords now and then, sticking to his long, undulating melodies with a few passages of jazz improvisation now and then. Yet it is a lovely idea, not a gesture is wasted. Arranger Claus Ogerman unveils many of the trademarks that would define his Creed Taylor-produced albums with Jobim - the soaring, dying solo flute and spare, brooding unison string lines widening into lush harmony; flutes doubling on top of Jobim's piano chords - again with an exquisitely spare touch.

The Girl From Ipanema / Antonio Carlos Jobim
recorded: May 9 & 10, 1963 at A & R Studios, New York City
original Brazilian pressing: 1963 LP ELENCO ME-9 (mono)
re-issued: 2003 CD ELENCO (limited edition)

ANTONIO CARLOS JOBIM (g, p, viola, voc); JIMMY CLEVELAND (tb); LEO WRIGHT (fl); GEORGE DUVIVIER (b); EDSON MACHADO (dr); CLAUS OGERMAN (arr)

Side A
1. Garota De Ipanema (The Girl From Ipanema) (DeMoraes/Jobim/Da Crus)
2. O Amor Em Paz (Once I Loved)  (De Moraes/Jobim)
  3. Água De Beber  (De Moraes/Jobim)
4. Vivo Sonhando (Dreamer)  (Jobim)
5. O Morro Não Tem Vez (Favela)  (De Moraes/Jobim)
6. Insensatez  (De Moraes/Jobim)

Side B
1. Corcovado (Jobim)
  2. Samba De Uma Nota Só (One Note Samba)  (Jobim/Mendonça)
  3. Meditação (Meditation)  (Jobim/Mendonça)
4. Só Danço Samba (da trilha sonora de 'Copacabana Palace')
        (De Moraes/Jobim)
5. Chega De Saudade  (De Moraes/Jobim)
6. Desafinado  (DeMoraes/Jobim/Newton Mendonça)

This is the original Brazilian pressing of Antonio Carlos Jobim´s first American album.

1963 LP VERVE V 6-8547

1985 CD VERVE 823011-2

1998 CD VERVE 314 521 431-2

The Composer Of Desafinado Plays / Antonio Carlos Jobim
recorded: May 9 & 10, 1963 at A & R Studios, New York City
original release: 1963 LP VERVE V(6) 8547

other issues: 1985 CD VERVE 823011-2 [Import] ; 1990 CD POLYGRAM 823011 ;
1992 CD VERVE 823011-2, CS VERVE 823011-4 ; 1996 CD IRIS MUSIC 256 ;
1997 CD POLYGRAM 521431 ; 1998 CD VERVE 314 521 431-2 [US Reissue] ;
VERVE POCJ-2459 ; VERVE POCJ-1811

ANTONIO CARLOS JOBIM (g, p, viola, voc); JIMMY CLEVELAND (tb); LEO WRIGHT (fl); GEORGE DUVIVIER (b); EDSON MACHADO (dr); unknown strings and orchestra; CLAUS OGERMANN (cond, arr); BOB BELDON (interviewer); CREED TAYLOR (prod); PHIL RAMONE (recording engineer); MICHAEL LANG (reissue prod)

1. Desafinado
2. Dreamer (Vivo Sonhando)
3. One Note Samba (Samba De Uma Nota Só)
4. Insensatez
5. Jazz Samba (Só Danço Samba)
6. O Morro
7. Meditation (Meditação)
8. The Girl From Ipanema
9. Agua De Beber
10. Chega De Saudade
11. Corcovado (Quiet Nights Of Quiet Stars)
12. Favela (O Morro Não Tem Vez)

(A.C. Jobim/N. Mendonça)
(A.C. Jobim)
(A.C. Jobim/N. Mendonça)
(A.C. Jobim/V. De Moraes)
(    " / "    )
(    " / "    )
(A.C. Jobim/N. Mendonça)
(Jobim/DeMoraes/Gimbel)
(A.C. Jobim/V. De Moraes)
(    " / "    )
(A.C. Jobim/G. Lees)
(A.C. Jobim/V. De Moraes)

The succession of the songs varies on the different issues, but the playlist remains the same except for the 1998 VERVE CD, where 'Amor Em Paz (Once I Loved)' replaces 'O Morro'.
Note: This album was inducted in 2001 for the Latin Grammy Hall of Fame Awards. Antonio Carlos "Tom" Jobim (1925-1994) was undeniably one of the great Brazilian composers, a globally known songwriter who shares equal rank with the Gershwins, Cole Porter and The Beatles. His arrangements combined modernist classical touches with a suave swing similar to North Amercan Cool Jazz, rendering individual musical parts with such deceptive simplicity that it masks the gorgeous harmonic structures, while captivating listeners and musicians alike. These twin elements combine to make his songs universal classics. Jobim pioneered Bossa Nova, and wrote many of its greatest hits, notably 'The Girl From Ipanema' and 'Desafinado'.

Reviews:

Jobim derived his unmistakable songwriting style from a very personal sense of melody and harmony, the magnificent songwriting traditions of Brazil, the rythm of the samba, and his love and respect for American Jazz. 'The Composer of Desafinado Plays' followed the success of the title song's Grammy winning performance by Stan Getz in 1962 and helped to secure the immense popularity of the Bossa Nova to this day. -- The digitally remastered 1997 reissue of Jobim's classic LP is part of the Verve Master Editions series. It offers instrumental interpretations of some of Jobim's most famous compositions from the salad days of the early '60s Bossa Nova craze. It's also one of the earliest examples of his longstanding and fruitful collaboration with arranger Claus Ogerman, who conducts the orchestra, featuring Jimmy Cleveland, George Duvivier and Leo Wright. Trademarks like Jobim's single-note piano style, the accompanying flute melodies and Ogerman's arranging techniques (unison string parts, the bass clarinet underpinnings in 'How Insensitive') would decorate Jobim's music for the next two decades. Similarly representative are the authentic Bossa		Nova guitar and drums, subtle variations of which occur on each tune. Throughout the recording, Jobim's songs are powerful. The composer who almost single-handedly made the Brazilian sound an integral part of the 60s (and right through to today) and who, along with Luiz Bonfá, introduced Bossa Nova to the world via the beautiful '60s Brazilian film "Black Orpheus". This man has worked with everyone from Frank Sinatra to Stan Getz to the biggest names in world jazz. This album was recorded on May 9th and 10th, 1963 in New York City (recording engineer was Phil Ramone) and these 12 tracks are small, sparse, beautiful versions of his songs. Jobim plays guitar on most cuts, piano on a few; and while there are other backing instruments in places, the only other soloists are Jimmy Cleveland on trombone and Leo Wright on flute. Jobim was only 36 when this album was recorded and it's a rare treat to hear these songs done the way he heard them then, before the scores of versions of some of them became known to everyone. The cover is a foldout - inside one side is a photo of the artist playing guitar; on the other side is an in-depth look at Jobim and Brazilian music along with a track by track explanation of each song, with Jobim's comments on each. The notes are by Dom Cerulli.

		Plays For Beautiful People / Brother Jack McDuff recorded: #1 January 25, #2 July 12, 1960, #3,4 February 3, 1961, #5 October 23, 1962, #6 January 8, #7,8 February 26,1963 at VGS, Englewood Cliffs/NJ. issued: 1963 PRESTIGE PR 7596 (US) #5 originally from Screamin' - Brother Jack McDuff PRESTIGE 7259 >> see disco 2 BROTHER JACK MCDUFF (org); JIMMY FORREST (ts #2-4); LEO WRIGHT (as #5); HAROLD VICK (ts #6,8); ERIC DIXON (ts, fl #6); LEM WINCHESTER (vib #2); BILL JENNINGS (g #1); GRANT GREEN (g #3,4); KENNY BURRELL (g #5-8); WENDELL MARSHALL (b #1); ALVIN JOHNSON (dr #1); BILL ELLIOTT (dr #2); BEN DIXON (dr #3,4); JOE DUKES (dr #5-8); RAY BARRETTO (cga #6,8) 1. You're Driving Me Crazy 2. Mean To Me 3. I Want A Little Girl [2862] 4. Mr. Lucky [2863] 5. I Cover The Waterfront 6. It's A Wonderful World 7. The Breeze And I [3750] 8. We'll Be Together Again [3754]

click image to enlarge

Brother Jack McDuff Greatest Hits
recorded: #1 January 25, #2 July 12, 1960, #3 February 3, #4 July 14, 1961, #5 October 23, 1962, #6 Jan. 8, 1963 at VGS, Englewood Cliffs/NJ. #7 June 5, 1963, "Front Room", Newark/NJ. #8 October 3, 1963, at "The Jazz Workshop", San Francisco/CA.
issued: 19?? LP PRESTIGE 7481

#5 originally from Screamin' - Brother Jack McDuff PRESTIGE 7259
>> see disco 2

BROTHER JACK MCDUFF (org); JIMMY FORREST (ts #2,3); HAROLD VICK (ts #4,6; ts, fl #7,8); LEO WRIGHT (as #5); ERIC DIXON (ts, fl #6); RED HOLLOWAY (ts #7; ts, ss #8); LEM WINCHESTER (vib #2); GRANT GREEN (g #3,4); KENNY BURRELL (g #5,6); GEORGE BENSON (g #7); BILL JENNINGS (g #1), WENDELL MARSHALL (b #1); ALVIN JOHNSON (dr #1); BILL ELLIOT (dr #2); BEN DIXON (dr #3); JOE DUKES (dr #4-8); RAY BARRETTO (cga #6)

1. Brother Jack
2. Tough 'Duff
3. The Honeydripper [2861]
4. Sanctified Waltz [3141]
5. Screamin'
6. Somethin' Slick!
7. Rock Candy
8. Grease Monkey

Eso Es Latin Jazz ... Man ! / Antonio Diaz Mena
recorded: July 1963 in New York City
issues: AUDIO FIDELITY AFLP-6117, AFSD-6117 (and -2117?) ;

#1 - 5 also on Tin Tin Deo - Lalo Schifrin FRESH SOUND FSR-CD 319 (Spain)

ANTONIO "CHOCOLATÉ" DIAZ MENA (cga); CLARK TERRY (tp); JIMMY CLEVELAND (tb); LEO WRIGHT (as, fl); SELDON POWELL (ts, fl); JEROME RICHARDSON (bar-s, fl); FELIPE YANEZ (p; arr, cond #11, 12); FRANK SCHIFANO (b); RUDY COLLINS (dr); VICTOR ALENDE, MEGUIL AVILA (perc); LALO SCHIFRIN (arr, cond #1-5); DUKE PEARSON (arr, cond #6-10)

1. Tin Tin Deo
2. Pega Joso
3. Mambo Jazz Opus No. 7
4. Kush
5. Harlem Nocturne
6. Take Five
7. Con Alma
8. Caravan
9. Green Dolphin Street
10. Poinciana
11. Gozando El Guaguanco
12. What Kind Of Fool Am I?

(Chano Pozo)
(Lalo Schifrin/Antonio Mena)
(Lalo Schifrin)
(Dizzy Gillespie)
(Earle Hagen)
(Paul Desmond)
(Dizzy Gillespie)
(Duke Ellington/Irving Mills/Juan Tizol)
(Bronislaw Kaper/Ned Washington)
(Buddy Bernier/N. Simon)

Review: Although this Blue Note session (reissued on CD in 1996) is led by trumpeter Johnny Coles, pianist Duke Pearson (who contributed the arrangements and five of the six compositions) really functioned as leader. The typically impressive Blue Note lineup (which includes Leo Wright on alto and flute, tenor saxophonist Joe Henderson, bassist Bob Cranshaw and either Walter Perkins or Pete LaRoca on drums in addition to Coles and Pearson) handles the obscure material with creative invention. Most memorable are the catchy title cut and the somber ballad 'So Sweet My Little Girl'. Cole's brittle trumpet is the lead voice throughout although the young Joe Henderson was already instantly recognizable.

Little Johnny C / Johnny Coles
recorded: July 18 (Side A), Aug. 9 (Side B), 1963 at Van Gelder Studio, Englewood Cliffs/NJ
issues: 1963 LP BLUE NOTE BN-4144 ; 1963 LP BLUE NOTE BST-84144 (stereo) ;
1996 CD BLUE NOTE/CAPITOL CDP 32129 (Blue Note Connoisseur Series) ;
TOSHIBA-EMI TOCJ-4144 (Japan)

JOHNNY COLES (tp); JOE HENDERSON (ts); LEO WRIGHT (as, fl); DUKE PEARSON (p); BOB CRANSHAW (b); WALTER PERKINS (dr on Side A), PETE LA ROCA (dr on Side B)

Side A
1. Little Johnny C
2. Hobo Joe
  3. Jano

Side B
  1. My Secret Passion
  2. Heavy Legs
  3. So Sweet My Little Girl

(Duke Pearson)
(Joe Henderson)
(Duke Pearson)

(Duke Pearson)
(Duke Pearson)
(Duke Pearson)

BLUE NOTE Classic / LIBERTY LT-1082

Review: From 1959 to 1964, Blue Mitchell's warm, soulful, lyrical trumpet was a major component in Horace Silver's finest group, which also featured Junior Cook and Gene Taylor. Trumpeter Blue Mitchell's solo debut for Blue Note in 1963 was given a catalog number and even mastered, but went unissued for 17 years, only coming out as 'Step Lightly' in 1980. The set must have been lost in the shuffle, for the music is consistently excellent. Mitchell, tenorist Joe Henderson, altoist Leo Wright, pianist Herbie Hancock, bassist Gene Taylor and drummer Roy Brooks perform four originals and obscurities, plus lyrical versions of 'Sweet And Lovely' and 'Cry Me A River'. Worth searching for.

KING GXK-8182 / click image to enlarge

Step Lightly / Blue Mitchell
recorded: August 13, 1963 at the Van Gelder Studio, Englewood Cliffs/New Jersey
original release: 1980 LP BLUE NOTE RECORDS LT-1082 ;

re-issues: LIBERTY LT-1082 ; 1994 CD BLUE NOTE TOJC 4142 (Japan) ;
TOSHIBA/EMI 188 (Japan) ; 1980 BLUE NOTE 84142 (Japan) ;
1981 KING GXK-8182 (Japan)

also on The Complete Blue Mitchell Blue Note Sessions (1963-67)
1998 4 CD Box Set MOSAIC RECORDS MD4-178 ;
#2 also on Joe Henderson - The Blue Note Years 1993 CD BLUE NOTE B2-89287

BLUE MITCHELL (tp); JOE HENDERSON (ts); LEO WRIGHT (as); HERBIE HANCOCK (p); GENE TAYLOR (b); ROY BROOKS (dr)

Side A
  1. Mamacita
  2. Sweet And Lovely
  3. Andrea

Side B
1. Step Lightly
2. Cry Me A River
3. Bluesville

(Joe Henderson)
(Arnheim/Tobias/Lemare)
(Roger Boykin)

(Joe Henderson)
(Arthur Hamilton)
(Sylvester Kyner)

Reviews: This is the third Prestige album Burrell made with Coleman Hawkins, each with a different mood. The first, 'Soul', was a gentle small group session with a nice version of 'Greensleeves'. The next, the underrated 'The Hawk Relaxes', was a graceful bal- lad set, originally for the Moodsville label. This record was also for Moodsville, but this mood is sad, contemplative, and at times gentle. It's also the last Hawkins session for Prestige. He clearly enjoys playing with Burrell, as much as you'll enjoy playing the record. Without knowing the production details, this sounds much more organized than a lot of Prestige sessions. The players know each other very well: Tommy Flanagan and Ray Barretto had done many sessions with the leaders, and Eddie Locke and Major Holley were in the Hawkins group at the time. While the group is a sextet, the album boasts 5 different lineups. Burrell has a solo recording (a slow, pretty, and too short version of 'No More') and follows with a guitar-bass-drums number where the two strings blend well.

FANTASY/OJC 8354828

Bluesy Burrell / Kenny Burrell With Coleman Hawkins
recorded: Sep. 14, 1962, August 15, 1963 at Van Gelder Studio, Englewood Cliffs/NJ
original release: MOODSVILLE 29

other issues: 1963 MOODSVILLE VICJ60030 ; LP PRESTIGE P-24106 ;
1997 CD ORIGINAL JAZZ CLASSICS 926 ; April 4, 1997 CD FANTASY/OJC 8354828

KENNY BURRELL (g); COLEMAN HAWKINS (ts); LEO WRIGHT (as); TOMMY FLANAGAN,GILDO MAHONES (p); MAJOR HOLLEY, GEORGE TUCKER (b); EDDIE LOCKE, JIMMY SMITH (dr); RAY BARRETTO (cga)

1. Tres Palabras (Farres)
2. No More
3. Guilty
4. Montono Blues
5. I Thought About You (Mercer/Van Heusen)
6. Out Of This World
7. It's Getting Dark (Burrell)
8. I Never Knew

When Barretto takes a breather, we get a Hawkins-Burrell dialogue on 'I Thought About You' which I consider the highlight of the album. Bean is more aggressive here than on 'The Hawk Relaxes', and his bite brings a lot of strength to this date. Then he sits down, and it's Burrell and Barretto for 'Out Of This World', which driftssoftand sad with great interplay from drums and conga. Barretto also gets a solo, his only one here. These numbers alone show many moods and many tempos, with only a few of the pretty ballads expected from this label. It's already worthy of your ears - and then you hear the tracks with the full band. The sextet appears three times, and all are keepers. 'Tres Palabras', the opener, starts slow and develops slower. Flanagan and Barretto start a pattern which is gradually built by Burrell (a gentle, almost Brazilian solo), Flanagan (a single-note pattern based on his comping figures) and lastly Hawkins, pushing forward with a slow power, an understated authority. When he comes in, all is ready, and the others chug behind him, giving Bean a space to work his magic. Needless to say, he does. 'Montono Blues' is forceful, led by a tough Burrell rhythm part and a fun bowed bass by Holley, singing along a la Slam. 'It's Getting Dark' is another blues, this one slower and more relaxed. It's definitely a variety album, with many tunes to choose from. Burrell is the star (his high ringing tone also plays octaves here and there), but everyone has their time in the spotlight, especially Hawkins, having a grand time on his last session for Prestige. An added plus is the liner notes, which give us two insights. First, you can hear the rain in the mood here, especially on 'Tres Palabras' and		'Out Of This World'. The second is a quote Burrell made at the session: "C'mon Bean, let's play something pretty." They did. -- that it was raining when the record was made. 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. The CD is rounded out with an uptempo performance of the standard 'I Never Knew', from a date led by pianist Gildo Mahones. This is where Burrell gets a chance to cook in his classic hard-bop style, along with the fine alto player Leo Wright.

		I'm Shooting High / Gildo Mahones recorded: August 15, 1963 at VGS-Englewood Cliffs/NJ issues: NEW JAZZ NJLP-8299 ; PRESTIGE 16004 ; 1964 LP PRESTIGE 16006 (mono) #2,9,12,14 also on The Great Gildo - Gildo Mahones 1964 PRESTIGE PRLP-7339 GILDO MAHONES (p); LEO WRIGHT (as); LARRY YOUNG (org); KENNY BURRELL (g); OZZIE BECK (voc); GEORGE TUCKER, PECK MORRISON (?) (b); JIMMY SMITH, OLIVER JACKSON (dr) 1. I'm Shooting High 2. Bali Ha'i 3. Tales of Brooklyn 4. Hey Girl 5. Water Blues Fall 6. Good Morning Heartache 7. Sweetest Sounds 8. Stormy Monday

		The Great Gildo - Soulful Piano / Gildo Mahones original issue: 1964 DoLP PRESTIGE PRLP-7339 GILDO MAHONES (p); LEO WRIGHT (as); LARRY YOUNG (org); KENNY BURRELL (g); GEORGE TUCKER, PECK MORRISON (b); JIMMIE SMITH, SONNY BROWN, OLIVER JACKSON (dr) 1. Blues For Yna Yna 2. Blue 3. I Should Care 4. I Wish You Love 5. What's Become Of Our Love 6. Alone Together 7. Walkin' 8. Something Missing 9. Sweetest Sounds 10. Rainy Dave Love 11. Mambesi 12. Water Blues Fall 13. Oye Ami Piano 14. Good Morning Heartache 15. Bali Ha'i

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