Live at the Lighthouse ’66 is a live album by The Jazz Crusaders recorded in 1966 and released on the Pacific Jazz label.
Because the Jazz Crusaders in the early ’70s dropped the “Jazz” from their name and later in the decade veered much closer to R&B and pop music than they had earlier, it is easy to forget just how strong a jazz group they were in the 1960s. This CD reissues one of their rarer sessions, augmenting the original seven-song LP program (highlighted by “Blues Up Tight,” “Doin’ That Thing,” and “Milestones”) with previously unissued versions of “‘Round Midnight” and John Coltrane’s “Some Other Blues.” The Jazz Crusaders (comprised of tenor saxophonist Wilton Felder, trombonist Wayne Henderson, pianist Joe Sample, drummer Stix Hooper, and, during this period, bassist Leroy Vinnegar) are heard in prime form. Felder shows the strong influence of Coltrane, Henderson recalls J.J. Johnson, Sample displays the most originality and the quintet on a whole (with its tenor-trombone frontline) sounds quite distinctive. An excellent set of primarily straight-ahead (but soulful) jazz. (by Scott Yanow)
One of the most outstanding hard-bop albums ever recorded, by a group of relative unknowns outside the west coast (and, because of location, NOT recorded by Rudy Van Gelder!). Some of the solos are still jaw-dropping after hundreds of listens. What a shame this band changed musical directions. Even the Live at the Lighthouse ’68 is nowhere as good as this record. (by Philip Abromats)
Personnel:
Wilton Felder (saxophone)
Wayne Henderson (trombone)
Stix Hooper (drums)
Joe Sample (piano)
Leroy Vinnegar (bass)
Tracklist:
01. Aleluia (Guerra/Lobo) 6.05
02. Blues Up Tight (Sample) 6.43
03,. You Don’t Know What Love Is (de Paul/Raye) 5.11
04. Miss It (Felder) 6.07
05. Scratch (Henderson) 8.13
06. Doin’ That Thing (Vinnegar) 7.22
07. Milestones (Davis) 7.05
Blonde on Blonde, taking their name from the then-new Bob Dylan album of that title, were spawned in 1967 out of a Welsh blues-rock band called the Cellar Set. Gareth Johnson played the guitar, sitar, and lute, while Richard Hopkins handled the bass, piano, harpsichord, cornet, celeste, and whistle, and Les Hicks played the drums. The addition of Ralph Denyer made them into a quartet with vocals; and Simon Lawrence, an alumnus of Roy Harper’s and Al Stewart’s early recordings, was with them briefly, as well, on 12-string guitar. The group took part in the Middle Earth Club’s Magical Mystery Tour, which brought them an initial splash of press exposure. They were also fortunate enough to open for the Jefferson Airplane on the latter group’s British tour. All of this activity led to an approach by Pye Records producer Barry Murray, who got them signed to the label, and through whom they released their debut single “All Day, All Night” b/w “Country Life.” Though decidedly guitar-based in their sound, the band’s music also used psychedelic pop arrangements that gave it an almost orchestral majesty which, when coupled with Johnson’s sitar and lute embellishments and Hopkins’ harpsichord and other unusual keyboards — with Hicks getting into the act on the tabla — gave them an appealingly exotic sound. Their live performances were frequently divided, à la Crosby, Stills, Nash & Young, into acoustic and electric sets, in order to show off their full range.
flute and the ever-faithful keyboard contingent.
Many people still know this rare Christmas album from the Fifties:
Rob Tognoni and his guitar have been treading the stages worldwide for the past 35 years.
Lenny Niehaus (born June 1, 1929) is an excellent altoist and jazz arranger in the 1950s (most notably for Stan Kenton), Lennie Niehaus in more recent times won fame for his work scoring the music for Clint Eastwood films. After graduating from college, Niehaus played alto and occasionally wrote for Kenton (1951-1952) before being drafted for the Army (1952-1954). Upon his discharge, Kenton welcomed Niehaus back and he worked for the bandleader on and off for the rest of the decade. Niehaus, who led and played alto on six albums between 1954-1957 (five for Contemporary), had a cool tone a bit reminiscent of Lee Konitz. By the 1960s, his playing had gone by the wayside as Niehaus concentrated on writing for films. Although he largely left jazz at that time, his work on Play Misty for Me, and particularly Bird for Clint Eastwood, allowed one to once again admire his jazz writing. (by Scott Yanow)
Sidney Bechet (May 14, 1897 – May 14, 1959) was an American jazz saxophonist, clarinetist, and composer. He was one of the first important soloists in jazz, beating trumpeter Louis Armstrong to the recording studio by several months. His erratic temperament hampered his career, and not until the late 1940s did he earn wide acclaim.
score in the late Romantic style of Tchaikovsky called La Nuit est sorcière (“The Night Is a Witch”). Some existentialists in France took to calling him le dieu (“the god”).
Sneak Attack is an album released in 1981 by the Buddy Miles Regiment, a band headed by American rock guitarist and drummer Buddy Miles. The album was released as an 11-track two-LP vinyl set, and includes tracks that were recorded live at the CIM prison facility in Chino, California. It was co-produced by Jim Paris and recorded and mastered at three different recording studios in Los Angeles, California, including the live show at Chino State Prison where Miles formed an all-inmate band while serving time there. (by wikipedia)
