Herbie Mann – Sunbelt (1978)

FrontCover1.jpgHerbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the ’70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.

Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews’ Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the ’50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute.

After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader’s flute. He toured Africa (1960) and Brazil (1961), had a hit with “Comin’ Home Baby,” and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock.


By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the ’70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the ’70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the ’90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004’s posthumously released Beyond Brooklyn for Telarc. (by Scott Yanow)

This is Herbie Mann just relaxing and chilling with very easygoing pop jazz laced with a decidedly, though not overtly, Brazilian flavor. Nothing flashy or obviously great here, but it’s nice to hear a master leaning back to enjoy himself, rather than straining forward with every muscle to excel as a maestro. (Steven Bruce Jones)

The third track, “What Would You Do?” is a gospel-type tune featuring the talents of the late, soulful pianist Richard Tee. The gem from this session is, without question, the title track. Once again you have great percussion coupled with acoustic guitar and The Girls of Bahia doing light vocals. There is a terrific, irresistable hook at the end of the melody. What more can I say, just should listen to this album, you won’t be sorry. (by pperglenn)


Leroy Clouden (drums)
Rafael Cruz (percussion)
Frank Gravis (bass)
Herbie Mann (flute, saxophone)
Claudio Roditi (trumpet, trombone)
Roy Ayers (vibraphone on 03.)
Ken Bichel (strings, synthesizer, whistle on 02.)
Cliff Carter (synthesizer on 02.)
Steve Gadd (drums on 03.)
Jeff Mironov (guitar on 01., 03., 05., 06.)
Portinho (drums on 07.)
Pat Rebillot (piano on 02.)
Barry Rogers (trombone on 04.)
Dom Salvador (piano on 01., 04., 05.)
Richard Tee (piano on 01., 03., 04., 05., 06.)
Danny Toan (guitar on 04.)
Amaury Tristao (guitar on 02., 05. + 07.)
background vocals:
The Girls Of Bahia


01. Watermelon Man (Hancock) 7.15
02. The Closer I Get To You (Mtume/Lucas) 5.07
03. What Would You Do? (Tee) 5.09
04. Killian (Toan) 5.18
05. Dona Palmeira (Madame Palm Tree) (Lins) 6.24
06. Let’s Stay Together (Mitchell/Jackson) 4.57
07. Sunbelt (Mann) / Mulher Rendeira (Weaver Woman) (Traditional) 5.01


Herbie Mann – Herbie Mann Plays (1954/56)

FrontCover1.jpgHerbie Mann Plays is an album by flautist Herbie Mann on the Bethlehem label featuring seven tracks originally released on the 10 inch LP East Coast Jazz/4 along with four tracks which were recorded in 1956. The CD reissue added three alternate takes.

Flutist Herbie Mann’s first recording as a leader
(seven selections from 1954 originally on a 10″ LP plus four others cut in 1956)
has been reissued on CD with three alternate takes added on.
Even back in 1954, Mann (who doubles here on flute and alto flute) had his own sound.
The music (featuring either Benny Weeks or Joe Puma on guitar in a piano-less quartet)
is essentially straight-ahead bop and finds Mann playing quite melodically and with swing.
This set is a good example of Herbie Mann’s early style before he started exploring various types of world musics. (by Scott Yanow)

Herbie Mann

Keith Hodgson (bass)
Herbie Mann (flute)
Lee Rockey (drums)
Benny Weeks (guitar)+
Whitey Mitchell (bass on 02., 04., 07. + 09.)
Joe Puma (guitar on 02., 04., 07. + 09.)
Herb Wasserman (drums on

01. Chicken Little (Mann) 3.01
02. Cuban Love Song (Fields/McHugh/Stothart) 3.16
03. The Things We Did Last Summer (Cahn/Styne) 4.13
04. Deep Night (Henderson/Vallée) 3.40
05. Between The Devil And The Deep Blue Sea (Arlen/Koehler) 4.06
06. After Work (Mann) 4.07
07. Moon Dreams (MacGregor/Mercer) 3.30
08. A Spring Morning (Mann) 2.46
09. Scuffles (Mann) 2.58
10. The Purple Grotto (Mann) 2.45
11. My Little Suede Shoes (Parker) 2.44
12. A Spring Morning (alternate take) (Mann) 2.51
13. The Purple Grotto (alternate take) (Mann) 2.57
14. Chicken Little [alternate take) (Mann) 3.12



Herbie Mann & Bobby Jaspar – Flute Soufflé (1957)

FrontCover1Flute Soufflé is an album by jazz flautists Herbie Mann and Bobby Jaspar featuring tracks recorded in 1957 for the Prestige label.

At the time of this Prestige set , Herbie Mann was a flutist who occasionally played tenor and Bobby Jaspar a tenor-saxophonist who doubled on flute.

Two of the four songs find them switching back and forth while the other two are strictly flute features. With pianist Tommy Flanagan, guitarist Joe Puma, bassist Wendell Marshall and drummer Bobby Donaldson contributing quiet support, the two lead voices constantly interact and trade off during this enjoyable performance.

Highpoints are the haunting “Tel Aviv” and a delightful version of “Chasing the Bird.” (by Scott Yanow)


Bobby Donaldson (drums)
Tommy Flanagan (piano)
Bobby Jaspar (flute, saxophone)
Herbie Mann (flute, saxophone)
Wendell Marshall (bass)
Joe Puma (guitar)

01. Tel Aviv (Mann) 14,43
02. Somewhere Else (Puma) 5.58
03. Let’s March (Mann) 7.26
04. Chasin’ The Bird (Parker) 8.14


Herbie Mann – Latin Fever (1964)

frontcover1Latin Fever is an album by American jazz flautist Herbie Mann recorded for the Atlantic label and released in 1964. The album features tracks from the 1962 sessions that produced Do the Bossa Nova with Herbie Mann with more recent recordings. (by wikipedia)
Yes, other jazz musicians played Bossa Nova in the early sixties however, they jumped on the bandwagon after Herbie Mann began the craze. From the liner notes of Latin Fever originally recorded in 1964, “In recent years jazzman Herbie Mann has been recognized as the leading exponent and interpreter of the music emanating from Latin America. He traveled throughout Brazil before the music, which came to be known as the bossa nova, had yet to be exported, and on his return to the States, Mann introduced this musical goldmine to audiences in night clubs from New York to California.”
Herbie Mann was also one of the few who recorded with musicians from the particular region that piqued his musical interest. Latin Fever features such Brazilian luminaries as Sergio Mendes Antonio Carlos Jobim and guitarist Baden Powell.(piperglenn)

Recorded in Rio de Janeiro, Brazil on October 15, 1962 (track 8), October 16, 1962 (tracks 7 & 10), October 17, 1962 (track 5) & October 19, 1962 (track 9) and in New York City on October 8, 1963 (tracks 1-3 & 6) and January 29, 1964 (track 4)


Otavio Bailly Jr. (bass on 07. + 10.)
George Devens (vibraphone, percussion on 01. – 03, + 06.)
Durval Ferreira (guitar on 07. + 10.)
Gabriel (bass on 08.)
Paul Griffin (piano, organ on 01. -03., + 06.)
Antônio Carlos Jobim (piano, vocals on 05. + 09.)
Juquinha (drums on 08.)
Herbie Mann (flute)
Sérgio Mendes (piano on 07. + 10.)
Paulo Moura (saxophone on 07. + 10.)
Pedro Paulo (trumpet on 07. + 10.)
Baden Powell (guitar on 08.)
Dom Um Romão (drums on 07. + 10.)
Ernie Royal (trumpet on 01. – 03. + 06.)
Bill Suyker (guitar on 01 – 03. + 06.)
Clark Terry (trumpet on on 01. – 03. + 06.)
Bobby Thomas (drums)


01. Harlem Nocturne” (Earle Hagen, Dick Rogers) – 2:15
02. Fever (Cooley/Davenport) 1.52
03. Not Now – Later On (Sherman/Meade) 1.51
04. The Golden Striker (Lewis) 2.14
05. How Insensitive (Jobim) 3.04
06. You Came A Long Way from St. Louis (Brooks/Russell) 2.28
07. Batida Differente (Einhorn/Lelys) 5.12
08. Nana (Powell) 3.59
09. Groovy Samba (Mendes) 5.06
10. Influenza de Jazz (Lyra) 5.38

Herbie Mann – Yardbird Suite (1957)

FrontCover1Yardbird Suite is an album by American jazz flautist Herbie Mann featuring tracks recorded in 1957 for the Savoy label.

Recorded in the great year of music and especially jazz — 1957 — Herbie Mann at the time was gaining momentum as a premier flute player, but was a very competent tenor saxophonist. Teamed here with the great alto saxophonist Phil Woods and criminally underrated vibraphonist Eddie Costa, Mann has found partners whose immense abilities and urbane mannerisms heighten his flights of fancy by leaps and bounds. Add to the mix the quite literate and intuitive guitarist Joe Puma, and you have the makings of an emotive, thoroughly professional ensemble. The legendary bass player Wilbur Ware, who in 1957 was shaking things up with the piano-less trio of Sonny Rollins and the group of Thelonious Monk, further enhances this grouping of virtuosos on the first two selections. Ware spins thick, sinuous cables of galvanized steel during the Mann penned swinger “Green Stamp Monsta!” with the front liners trading HerbieMann01alert phrases, and into his down-home Chicago persona, strokes sly, sneaky blues outlines surrounding Mann’s tenor and the alto of Woods in a lengthy jam “World Wide Boots.” Bassist Wendell Marshall and drummer Bobby Donaldson step in for the other six selections, with three originals by Puma set aside from the rest. “One for Tubby” (for Brit Tubby Hayes) has Mann’s flute in a gentle tone as Woods and Costa chirp away while keeping the melody going. The midtempo bopper “Who Knew?” (P.S.; the phrase was coined long ago before its contemporary hipness) is shaded by Costa and deepened by the colorful saxes, and the excellent “Opicana,” is a complex and dicey chart, showing the most inventive side of this group and Puma’s fertile imagination. You also get the quintessential bop vehicle “Yardbird Suite” with the classic flute and vibes lead spurred on by the alto talkback of Woods. An early version of the enduring, neat and clean bop original “Squire’s Parlor” from the book of Woods in inserted. Costa’s “Here’s That Mann,” brims with swing and soul from the perfectly paired, harmonically balanced saxes, demonstrably delightful as the horns, especially the celebrated altoist, step up and out.  As is, this is a solid document of all of the participants’ burgeoning skills, and increasing cache as modern jazz masters. (by Michael G. Nastos)


Eddie Costa (piano, vibraphone)
Bobby Donaldson (drums)
Herbie Mann (flute, saxophone)
Wendell Marshall (bass)
Joe Puma (guitar)
Phil Woods (saxophone)

01. Yardbird Suite (Parker) 5.52
02. Here’s That Mann (Costa) 4.22
03. One For Tubby (Puma) 6.04
04. Squire’s Parlor (Woods) 4.48
05. Who Knew? (Puma) 7.08
06. Opicana (Puma) 5.24



Herbie Mann – The Beat Goes On (1967)

FrontCover1The Beat Goes On is an album by American jazz flautist Herbie Mann released on the Atlantic label in 1967.[1] The album features tracks from seven separate sessions recorded in 1964, 1966 and 1967.

Herbie Mann was quite unpredictable in the 1960s — from one album to the next, you never knew if he would embrace hard bop, bossa nova, Latin jazz, soul-jazz, or whatever else he was in the mood for. He could be commercial one minute, esoteric and experimental the next. One of Mann’s more commercial LPs from that period, The Beat Goes On, is a generally funky, groove-oriented soul-jazz effort with strong Latin leanings. Much of the material brings to mind Pucho and the Latin Soul Brothers, and comparisons to Pucho are unavoidable on cuts that range from Mann’s “More Rice Than Peas, Please” to a version of Sonny & Cher’s “The Beat Goes On” and a Latin boogaloo interpretation of Joe Liggins’ “The Honeydripper” (which features King Curtis on tenor sax). Afro-Cuban rhythms are a high priority, although Mann gets into more of a bossa nova groove on vibist Dave Pike’s “Dream Garden.” Jazz purists hated this release, but let them say what they will — this LP is full of highly infectious grooves and makes a great party album. Regrettably, The Beat Goes On has long been out of print — so if you’re a lover of Latin-flavored soul-jazz and come across a copy somewhere, grab it immediately. (by Alex Henderson)

Okay … grab it !


Roy Ayers (vibraphone)
Willie Bobo (timbales)
Bruno Carr (drums)
King Curtis (saxophone)
Don Friedman (piano)
Tamiko Jones (vocals)
Herbie Mann (flute)
Dave Pike (vibraphone)
Jack Six (bass)
Clark Terry (trumpet)
Bobby Thomas (drums)
Carlos “Patato” Valdes (percussion)
Jimmy Wisner (piano)
Reggie Workman (bass)
Joe Zawinul (piano)
Attila Zoller (guitar)

01. No Matter What Shape (Burland) 3.25
02. More Rice Than Peas, Please (Mann) 3.30
03. Hey Ho (Hancock) 2.45
04. The Honeydripper (Liggins) 2.45
05. The Beat Goes On (Bono) 2.50
06. Swingin’ Shepherd Blues (Jacobson/Koffman/Roberts) 3.05
07. West African High Life (Mann) 2.40
08. Dream Garden (Pike) 4.37
09. Soul Montuno (Hernández) 2.58
10. Is Paris Burning? (Jarre) 2.37

Recorded in New York City on April 6, 1964 (track 8), May 6, 1964 (track 9), May 8, 1964 (track 7), September 29, 1966 (tracks 6 & 10), December 15, 1966 (track 4), December 16, 1966 (tracks 1-3) and March 16, 1967 (track 5)


Various Artists – The Atlantic Family Live At Montreux (1978)

FrontCover1The Atlantic Family Live at Montreux is a live recording made at the 1977 Montreux Jazz Festival. It featured the Don Ellis Orchestra together with the Average White Band and guest musicians. It was originally released as a double album on vinyl.

This double LP was recorded at a series of concerts sponsored by Atlantic Records at the 1976 Montreux Jazz Festival. The mixture of jazz and R&B musicians is quite odd and sometimes stimualting. In addition to members of The Average White Band and soul singers Ben E. King and Luther Vandross, such players as tenor-saxophonist Michael Brecker, trumpeter Randy Brecker, altoist Sonny Fortune, flutist Herbie Mann, tenor-saxophonist David “Fathead” Newman and even trumpeter Don Ellis have their solos. It’s an odd but ultimately successful jam session, long out-of-print. (by Scott Yanow)

Luther Vandross with Ben E. King

Ben E. King with Luther Vandross

This album is a real oddity, but that’s part of what makes the session really interesting and worthwhile. Originally released as a double LP, this album was never rereleased, so consequently this is an album rip. Recorded at the 1977 Montreux Jazz Festival, this album is a session of all the artists at the festival that were signed to Atlantic Records at the time. It’s essentially a funk jam session with the horn players playing backgrounds and contributing extended solos over classic and original charts. The album notes refer to this idea as “the universal rhythm section,” an idea that ascribes the rhythm section as the foundation of the band in jazz and blues.


The album opens with “Bahia (Na Baixa Do Sapateiro)” (credited on other albums as Baía), a tune penned by Brazilian composer Ary Barroso in the 1930s famous for other tunes like “Brazil.” “Bahia” is a great showcase for the horns, which present a very rhythmic interpretation of the melody, and for the guitars, which interject soloistic lines at the ends of phrases. Randy and Michael Brecker currently signed to Atlantic with their funk outfit The Brecker Brother play extended solos over the heavily funky interpretation of a Brazilian classic.

David Newman +Don Ellis

David Newman +Don Ellis

“Jadoo” is an original penned by German saxophonist Klaus Doldinger, who at the time was leader of Passport, a German fusion group. “Jadoo” relies on heavily accented unison lines in the woodwinds with the Doldinger showing off his command of the altissimo range of his horn. Herbie Mann delivers a memorable solo on flute as does guitarist Jim Mullen. My personal favorite on the album is “Everything Must Change,” the only vocal track on the album. The track is a slow ballad with lead vocals being traded between Average White Band vocalist Hamish Stuart and Ben E. King. “Everything Must Change” is a great example of how suspensions and extended harmony can create the perfect balance of tension and release in a song. This track captures the conception of the album most of any track, as the rhythm section is really the driving rhythmic, harmonic force upon which everything is based exemplified by the rock solid bass line and the sweeping lines on the Fender Rhodes.

Herbie Mann

Herbie Mann

“McEwan’s Export” is a track written by Average White Band guitarist Alan Gorrie and recalls the aesthetic quality of their album Soul Searching released the previous year in 1976. This track is the kind of jam tune that made Average White Band famous. “One to One” is a very slimmed-down track with Average White Band only accompanied with a few soloists. The tune is a solo vehicle for tune author David Newman and fellow saxophonist Klaus Doldinger. “Pick Up the Pieces” closes the album and is probably the biggest highlight of the album showcasing not only the conception of the album, but also giving the horn players a great vehicle for some incredible solos.

Dick Morrissey + Sonny Fortune

Dick Morrissey + Sonny Fortune

While the tune is well-known by most people, the arranged horn sections that are inserted between solos give the tune a new vitality and a sense of identity. “Pick Up the Pieces” has the most strictly “jazz” solos presented by Don Ellis, Herbie Mann, and the Breckers. This album is a testament to the stark contrast of records released in the late 70s to the current times. The environment of that time period ripe for jazz-funk crossovers and artists willing to take the leap create an interesting albeit odd product (by warriorsofsalem.blogspot.de)

In other word: this is much more than a jam-session, this is an unbelieveable celebration of jazz-funk-rock …

Roger Ball (saxophone)
Rubens Bassini (percussion)
Michael Brecker (saxophone)
Randy Brecker (trumpet)
Rafael Cruz (percussion)
Klaus Doldinger (saxophone)
Molly Duncan (saxophone)
Don Ellis (trumpet)
Steve Ferrone (drums)
Sammy Figueroa (percussion)
Sonny Fortune (saxophone)
Alan Gorrie (bass)
Jaroslav Jakubovic (saxophone)
Alan Kaplan (trombone)
Ben E. King (vocals)
Herbie Mann (flute)
Onnie McIntyre (guitar)
Dick Morrissey (saxophone)
Jim Mullen (guitar)
David “Fathead” Newman (saxophone)
Gilman Rathel (trumpet)
Barry Rogers (trombone)
Lew Soloff (trumpet)
Hamish Stuart (guitar, bass)
Richard Tee (piano)
Background vocals:
Alfa Anderson – Diane Sumler – Diva Gray – Krystal Davis – Luther Vandross – Peter Cox – Robin Clark

01. Bahia (Na Baixa Do Sapateiro) (Barroso) 16.32
02. Jadoo (Doldinger) 10.34
03. Everything Must Change (Ighner) 6.21
04. McEwan’s Export (Gorrie) 8.58
05. One To One (Newman) (9:10)
06. Pick Up the Pieces (Ball/Stuart) 21.40


Alan Gorrie

Alan Gorrie

Herbie Mann – Memphis Underground (1969)

HerbieMannMemphisUndergroundFC“Memphis Underground is a piece of musical alchemy, a marvelously intricate combination of the “Memphis sound” and jazz lyricism. Herbie Mann took to Tennessee his regular band of fine young musicians—Sonny Sharrock (guitar), Roy Ayers (vibes) and Miroslav Vitous (Fender bass). To this he added an incredibly cohesive group of Memphis studio musicians and the best of the jazz-rock lead guitarists, Larry Coryell. The mixture worked.

The most interesting cut on the album is “Hold On, I’m Comin’.” For those jazz listeners who used to thrive on improvised solos backed up by a driving riff, this will prove a revelation. It turns out that the Sam and Dave riff is a perfect vehicle for all sorts of improvised lines.

Mann starts out the action with an intense investigation which is both pleasing and entirely faithful to the original meaning of the song. He is followed in solo by Larry Coryell who revives the art of “quoting” (playing bits of other people’s work) by lecturing chapter and verse from the Book of Clapton (“Strange Brew,” to be exact). Next up is vibist Roy Ayers who makes a series of statements which sound much like a fine spiced wine tastes. The song ends with a reeling solo by Sonny Sharrock which completes the excitement that has been building throughout the performance.

In “Hold On, I’m Comin'” as well as “Memphis Underground” and “Chain of Fools,” the rhythm section swings with astounding self assurance. This is the key to the record’s success. For with a solid rhythmic background the soloists are able to speak to each other in combinations of rock and jazz phrasing—the first time I ever heard this done in a way which sounded natural. When I talked to Mann about this aspect of his record he explained that his primary task on the date was to make it clear to the “Memphis rhythm section” that his New York jazz musicians were not there to flaunt any mistaken “superiority.” “We had come to play with them and it was a privilege to do so.” (It is interesting to note that in order to bring this off Mann found it necessary to leave his regular drummer at home and to keep bassist Vitous out of the picture until the last day of the session.)

The point is, I suppose, that jazz and rock musicians can work together effectively but only if they achieve a delicate balance. The rhythm section must integrate their differing styles, the arrangements must be appealing and the musicians must somehow achieve a spiritual harmony. Mann found this balance and ought to be listened to.”(Original review in “Rolling Stone”, July 12, 1969)

Roy Ayers (vibraphone, conga drum on 05.)
Gene Christman (drums)
Tommy Cogbill (bass)
Larry Coryell (guitar)
Bobby Emmons (organ)
Mike Leech (bass)
Herbie Mann (flute)
Sonny Sharrock (guitar)
Miroslav Vitous (bass on 3)
Bobby Wood (piano)
Reggie Young (guitar)

01. Memphis Underground Mann) 7:07
02. New Orleans (Guida /Royster) 2:07
03. Hold On, I’m Comin’ (Hayes /Porter) 8:52
04. Chain of Fools (Covay) 10:42
05. Battle Hymn of the Republic (Traditional) 7:12