Herbie Hancock - 'Man With a Suitcase' - comp. 20

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Hello. Yes, it's been 18 months, so I thought I'd get an entry in for what's left of 2015. 

I was listening to the blistering Herbie Hancock rhodes solo in Joe Farrell's fantastic cover of Stevie Wonder's "Too High", and decided to compile some of my favourite Hancock electric piano tracks from other people's albums - so here's a selection from 1968-1978. The compilation title refers to the portable "suitcase" Fender Rhodes. 

Of course, there are endless Miles Davis tracks from this period with Hancock on rhodes, and I didn't want to get bogged down there, but I've included 1968's "Stuff" because you can hear Hancock in transition, using the Rhodes in a raw state, referencing his acoustic piano style while he learns the new instrument. This continues throughout the turn of the decade through tracks like Joe Henderson's "Black Narcissus"; Freddie Hubbard's "Red Clay" and Miroslav Vitouš' "Infinite Search".

Within a few years, Hancock''s already developed his clustered chord structures and adjusted the amplification for a punchier, rhythmic style on tracks like Joe Farrell's "Too High" and Milt Jackson's "People Make the world Go Round". He's also exploring the in-built chorus, tremelo, delay and panning effects, and incorporating them in his writing and playing style on tracks like Eddie Henderson's "Scorpio-Libra", and Norman Connors' "Blue"and "Revelation".

The latest track here is Quincy Jones' beautifully-orchestrated 1978 version of Hancock's "Tell Me a Bedtime Story". Jones has scored Hancock's rhodes solo from the 1969 original version for strings, then brought Hancock in to create new textures around that arrangement. 

TRACKLIST

01 Miles Davis - Stuff (1968)

02 Joe Henderson - Black Narcissus (1969)

03 Miroslav Vitouš - Infinite Search (1970)

04 Freddie Hubbard - Red Clay (1970)

05 Norman Connors - Blue (1972)

06 Milt Jackson - People Make The World Go Round (1973)

07 Norman Connors - Revelation (1974)

08 Freddie Hubbard & Stanley Turrentine ‎– Hornets (1974)

09 Eddie Henderson - Scorpio-Libra (1973)

10 Harvey Mason - Hop Scotch (1975)

11 Joe Farrell - Too High (1974)

12 Norman Connors - Carlos II (1974)

13 Quincy Jones - Tell Me A Bedtime Story (1978)

14 Eddie Henderson - Ecstasy  (1978)

15 Miroslav Vitouš - Epilogue (1970)

It seems that Divshare has died, so all of the previews on previous posts are gone, grrrrr .... I'd appreciate any advice about other players I can use - even during the writing of this post, Soundcloud has deleted a few of my preview excerpts because they sensed what they were. I've re-upped all previews on the blog three times now, and I realise that nothing ever lasts. 

For those of you who are new, there are more rhodes compilations here,  there's a large selection of live Herbie Hancock 1970s bootlegs here, or just browse through the blog for other stuff - it's all active ... for now .... 

Anyway, I hope you enjoy this 20th rhodes compilation - grab it from the links at the top of the post, and please say hi in the comments below, so I know that I'm not just talking to myself.

Nil's Jazz Ensemble (S/T) (1976)

"Reflexiones" excerpt

"Summer Love" excerpt

"Black Angel" excerpt


Fantastic latin-jazz-funk album recorded in Lima, Peru in 1976, starring leader/saxaphonist/flautist Nilo Espinosa, formerly of Bossa 70, and also featuring keyboardist Miguel "Chino" Figueroa, a member of renowned latin-funk band Black Sugar.

A killer set from start to finish, starting off with the classic jazz-funker 'Reflexiones', and featuring giant covers of "Black Angel" (a Freddie Hubbard tune penned by Kenny Barron); John Handy's funk tune "Hard Work", and the Blackbyrd's track "Summer Love" (written by Allan Barnes).

The vinyl of this goes for way-too-big bucks, and the CD reissue has been deleted, so I've put the album together by combining relevant parts of an Espinosa CD compilation with a tracked-down missing track "Siempre" - so you can all hear the whole wonderful thing in either WAV or 320 mp3 (apart from 'Siempre', which is at 212kbps) - so check the comments for links and say hi .

TRACKLIST

01. Reflexiones (Figueroa)
02. Looking for a Blues
03. Summer Love (Allan Curtis Barnes)
04. Black Angel (Kenny Barron)
05. Siempre
06. Somos Nada
07. Hard Work (John Handy)

MUSICIANS

Nilo Espinosa: Saxophone [Tenor, Alto, Soprano], Flute
Pancho Saenz: Trumpet, Flugelhorn
Miguel "Chino" Figueroa: Electric piano, Clavinet, Mellotron
Richie Zellon: Electric Guitar
Oscar Stagnaro: Electric Bass
Ramon Stagnaro: Electric Guitar
Andres Silva: Drums
Jorge Montero: Guitar
Mauro Silva : Congas
Ary Quispe : trombone
PRODUCTION DETAILS

Recorded in Lima, Peru 1976.
MAG Records N. 2535

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"Sexual Healing" (Simon's Dark Keys mix)

"Sexual Healing" (Simon's Dark Keys Mix)

This is my own mix/mash of the vocal from Marvin Gaye's "Sexual Healing" with "Dark Keys" by the Jazz Liberatorz, with some additional editing work. "Sexual Healing" was never one of my favourite Marvin songs due to the original 80s instrumentation - so I replaced it :)

Edit : Thanks to Gilles Peterson for spinning this on Worldwide, and to all the other DJs who've subsequently picked it up for their mixes.

Feel free to publish on your blogs, but a link back would be nice! Hope you enjoy it, please leave a comment.

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John Shakespeare Orchestra - "Number One Theme" (1969)

  TRACK OF THE DAY

John Shakespeare Orchestra - "Number One Theme" b/w "Fade Out" (1969), arranged by Quincy Jones, promo for BEA airlines in the UK.

Spotted for $1 at the market around the corner a few weeks back, grabbed this 45 immediately for Crap Jazz Covers, then saw Quincy Jones' name. "Number One Theme" is full of his harpsichord lines, lush strings, hammond solo, "do do-do-dooo" vocals, speedy summertimes at 100 mph ..... and all the not-so-hidden meanings are explained on the back cover above.

 The B-Side "Fade Out" is the title theme from a TV episode of "ITV Saturday Night Theatre" starring Stanley Baker. Similar feel, instrumental with an energetic sax solo. Can't find a synopsis of the TV episode, but here's a pic :

Fade Out

People seem to want about 30 pounds for this single, so damn it, we'll give it away for free and throw in a free bikini wax, even for the guys above. Hope you enjoy it (the music, that is).

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More Tracks of the Day here

Gil Scott-Heron - "Live in Bremen" (1983)

"We Almost Lost Detroit" (excerpt)



"Angola Louisiana" (excerpt)

Over two hours of Gil Scott-Heron and his Amnesia Express, live at the Kulturzentrum Schauburg in Bremen, Germany, April 18th, 1983.

Worth it alone for the Gil's opening solo voice-and-rhodes performances of "We Almost Lost Detroit", "Angola Louisiana" and "Three Miles Down", the last of these featuring a similar singalong to one I remember taking part in when I last saw him perform in 1998.

There's an intimacy in these three tracks that I haven't picked up from the other bootlegs. So this now becomes my second favourite GSH bootleg after the Bottom Line show.

Considering this has gone through a cassette generation, there's a good clarity to the recording of his voice throughout, even if he does complain at one stage that he must have "left his voice on Lufthansa". Bass guitar is a little far back in the mix from the recorder position, which probably explains the title that the original DIME seeders gave the set.

"The Bottle" (excerpt)



"Washington D.C." (excerpt)

In the band tracks, the reed and brass particularly shine through in the arrangements. There's a really superb, understated flugelhorn solo from Alonzo Bailey in "Better Days Ahead".

Lots of talk from GSH between tracks - he's still the only guy who can merge from spoken word to poetry to song without you noticing the joins, where the setup is all part of the song.

The seeders added a few other GSH songs from TV broadcasts, and a bonus live performance from Dana Bryant of Scott-Heron's "The Revolution Will Not be Televised" from Jazzfest Berlin. Fantastic stuff! 

CD 1

1 Intro 1:26

2 We Almost Lost Detroit 5:42

3 Intro 2:13

4 Angola Louisiana 5:19

5 Intro 4:10

6 Three Miles Down 4:34

7 B Movie 16:28

8 Intro 1:03

9 A Legend In His Own Mind 5:14

10 Intro 0:30

11 Winter In America 7:49

12 Band Intro 3:27

13 Intro 1:26

14 Shut 'em Down 6:21

CD 2

1 Intro 1:24

2 Washington D C 4:39

3 Intro 1:29

4 The Bottle 14:00

5 Intro 1:08

6 Better Days Ahead 11:06

7 Intro 4:39

8 Johannesburg 7:12

bonus tracks:

9 Winter In America 4:34

"Ohne Filter" German TV March 1984 (broadcast date):

10 Not Needed / Statement 4:03

from "Keynote" (SAT1 - German TV) 1994

11 The Revolution Will Not Be Televised 5:18

Dana Bryant

Jazzfest Berlin, Traenenpalast, Oct 28 1993 (FM recording)

MUSICIANS

Gil Scott-Heron - vocals, keyboards

Alonzo Bailey - trumpet, flugelhorn

Vernon James - alto and soprano sax, flute

Ron Holloway - tenor sax

Larry McDonald - percussion

Kenny Powell - drums

Ed Brady - bass

Glen "Astro" Turner - keyboards, harmonica

CREDITS & BOOTLEG HISTORY

FM broadcast to cassette, cleaned and de-glitched by Langtang and Wolf.

Originally seeded at DIME by Langtang and Wolf.

Cover art by Wolf.

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Also at 'Never Enough Rhodes'

Gil Scott-Heron - "Live at the Village Gate" (1976)

Gil Scott-Heron - "Live at the Bottom Line" (1977)

- start here!

Gil Scott-Heron - "Live at Berkeley" (1978)

Gil Scott-Heron - "Live At Glastonbury" (1986)

Gil Scott-Heron - "Live at Glastonbury" (1986)

"Gun" (excerpt)



"Blue Collar" (excerpt)

With much buzz surrounding Gil Scott-Heron's new album, here's a half hour bootleg featuring four kicking tracks from a 1986 live show at the Glastonbury Festival, originally broadcast on the BBC. Here we capture GSH somewhere in the middle of his 12 year hiatus between "Moving Target" and "Spirits", but he's in fine voice and spirit.

Keyboardist Kim Jordan switches between synth and piano, and she contributes some particularly fine piano solos - she was a member of Gil's touring band for 12 years, also appearing on the live "Minister of Information" album and "Spirits", both in 1994.

Also appearing on those albums was the Turrentine-ish saxophonist Ron Holloway, who also played on "Moving Target" from which both "Blue Collar" and "Washington DC" appear live here. He went on to record some albums for Milestone in the 90s, including 1998's "Groove Update" which features GSH on new versions of "Three Miles Down" and "We Almost Lost Detroit". That album also featured drummer Rodney Youngs from here.

Joe Phillips' guitar adds a blues sensibility to the proceedings, occasionally rocking things out a little too much for me, but holding back (or held back) enough to not ruin things. Bassist Robbie Gordon played with GSH from 1978 until 1994. He released a solo album called "Still Growing" in 1996, which included an unusual straight-ahead acid jazz version of Gil's classic song "B-Movie".

In the comments for this post, Jamie said :

"I was at this gig as a young, wide-eyed first-time Glastonbury festival-goer. I was 16 years old, I'd just left school two days previously and had just had the best weekend of my life up to that point. What this tape omits is that 'Johannesburg' was aborted initially due to the lack of crowd response. Gil had asked the crowd to sing along with the chorus and he'd explained, patiently, that if we didn't sing up he wasn't going to do it. Cue the first 'What's the word?' bit and a fairly lacklustre response from the crowd. Gil cut the band and gently mocked our poor singing. I remember him saying something along the lines of 'OK, I know you were probably too busy pulling on a joint and missed it but this time you've gotta sing up'. The next chant of'JOHANNESBURG!' you can hear on the recording."

An anecdote about this gig from the blog Look on the Nice Side :

"I once had a pee on a fence next to him at Glastonbury festival, right after he’d just come off stage. And when I asked him if he didn’t have a hospitality area backstage and his own posh toilets, he shrugged and sad, “Yeah man, but I like to pee with the people”.

TRACKS

01 'Gun' (4.23)

02 'Washington DC' (5.05)

03 'Blue Collar' (12.30)

04 'Johannesburg' (8.44)

MUSICIANS

Gil Scott-Heron - vocals, keyboards

Kim Jordan - keyboards

Joe Phillips - guitar

Robbie Gordon - bass

Ron Holloway - saxaphone

Rodney Youngs - drums

Larry McDonald - percussion

CREDITS & BOOTLEG HISTORY

FM > cassette (1st gen) > CDR > WAV > trader's little helper > FLAC

Originally posted on DIME by Roofwalker.

I've converted to WAV and 320-mps from the FLACS.

Thanks to Roofwalker, and Scott for the alert!

Blogs linked to in this post are Pure Diggin', BeeQ, RockNRollaZ, Look On the Nice Side and Blaxploitation Jive. Please say hi to these folks and thank them if sample their wares, so that they keep posting.

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Also at 'Never Enough Rhodes'

Gil Scott-Heron - "Live at the Village Gate" (1976)

Gil Scott-Heron - "Live at the Bottom Line" (1977)

- start here!

Gil Scott-Heron - "Live at Berkeley" (1978)

Gil Scott-Heron - "Live In Bremen (1983)

Stanley Cowell - "New World" (1981)

Hello everyone, I'm back after four months, and hope you'll all still come and visit here.

Stanley Cowell's "New World" - recorded in 1978, and released three years later - represents something of a transitional album for the pianist who co-founded the Strata-East record label with Charles Tolliver.

Cowell's instrumentation had always been about finding the right combination of instruments to create the right textures for particular compositions, whether his own or others. From the moment he burst out in 1969 with "Blues For The Viet Cong" (aka "Travelling Man") and then "Brilliant Circles" , he would embroider a piano trio base with a range of instruments - brass, winds, voices, vibes, strings - to find the instrumental palette to realise each musical vision; the roles of each instrument freely changing between lead and support; the tonalities veering between modal and the avant-garde as suited.

"Brilliant Circles", in particular, reflects the range of influences the pre-solo career Cowell had picked up as a sideman on various albums by Marion Brown, Max Roach and Bobby Hutcherson.

Cowell himself would move between (mainly) acoustic piano, rhodes and sometimes the african kalimba (or "thumb piano"). Some tracks featuring his kalimba have been heavily sampled over the years, notably several of his recordings of his track "Travelling Man" as well as "Smilin' Billy Suite" from the Heath Brothers' "Marchin' On" (1976)

Throughout the 1970s, Cowell would move back and forth between more intimate, piano-led sessions like the beautiful "Illusion Suite" (1972); the solo piano album "Musa Ancestral Streams" (1973) and the electric-acoustic solo album "Waiting for the Moment" (1977); and at other times would venture once again into larger instrumental electric/acoustic groupings on albums like "Regeneration" (1975) and the commercial RnB/jazz album "Talkin About Love" (1977).

In November 1978, Cowell indulged both sides of his musical personality by recording two albums. In the last few days of that month he recorded "Equipoise", a great trio album with Cecil McBee and Roy Haynes; but earlier in the month he recorded a larger group work, "New World" which I'm presenting today.

"Come Sunday" opens with solo piano, before church bells herald the entrance of a full vocal section ( Judy Lacey, Linda Mandolph, Robert Mandolph). Kenneth Nash's percussion enhances the trio of Cowell, bassist Cecil McBee and drummer Roy Haynes; with Nate Rubin and Terry Adam's strings enhancing the melodic lines of Cowell's piano.

The gospel-flavoured "Ask Him" features Cowell on both rhodes and piano, with the vocal chorus alternating words and chord backing, and Headhunters Eddie Henderson and Julian Priester contributing brass.

From gospel we move to calypso in the album's dud track, "Island of Haitoo", which not even Cowell's kalimba can save from a fate of bad-travelogue-library resort music. It really needs a video of a cartoon sun going up and down on a blue cellophane ocean .... hmmm move on ...

Up next is a new version of "Trying to Find a Way", first recorded by Cowell on "Regeneration" - he's commonly revisited the same songs across various albums, placing them in new configurations and styles. It's a fairly exuberant version, with the trio backed by full vocal chorus and strings, and features a bass solo by McBee. I do miss Cowell's synth and the vocals by Charles Fowkles and Glenda Barnes from the original, but it's still a good version - almost Steve Reich-ish in the vocal arrangements.

"El Space O" is the standout track, with Priester's growling trombone locking in with McBee's bass to create a platform for Cowell's extraordinary rhodes and prepared piano work, with a subtle wah-wah allowing the keyboards to wind in and out of answering melodies provided by Priester and Henderson. The brass build up in modal chords behind a honking sax solo by Pat Patrick, before embarking on Mwandishi-like wails that lead back to the main melody. A great piece.

The album finishes with the solo piano track "Sienna : Welcome to this New World", and reminds me that I can happily listen to Cowell play the piano anywhere, any time and in any context. "New World" was the last time that Cowell would work with such a broad ensemble of musicians - after this most of his work would focus on the piano.

Hope you enjoy this album, bring on the comments so I know it's worth getting this blogging thing going again :)

TRACKLIST

--> 01. 'Come Sunday' - 8:39 (Duke Ellington)
02. 'Ask Him' - 4:46 (Cowell-McBee)
03. 'Island Of Haitoo' - 4:14 (Cowell-Scott)
04. 'I'm Trying To Find A Way' - 7:27 (Cowell-McLaughlin)
05. 'El Space-O' - 8:20 (Cowell-McBee-Haynes)
06. 'Sienna: Welcome To This New World' - 2:43 (Stanley Cowell)
MUSICIANS
--> Piano, electric piano, prepared pianos, kalimba, hammond organ, orchestra chimes, occasional backing vocals - Stanley Cowell

Bass - Cecil McBee Drums - Roy Haynes Percussion - Kenneth Nash Alto, Tenor and Bass Trombones - Julian Priester Trumpet, Electric Trumpet, Flugelhorn - Eddie Henderson Piccolo, Flute, Clarinet, Tenor Saxophone - Pat Patrick Cello - Terry Adams Violin - Nate Rubin Vocals - Judy Lacey , Linda Mandolph , Robert Mandolph

PRODUCTION DETAILS

Recorded at Fantasy Studios, Berkeley, November 1978 Arranged and Conducted by Stanley Cowell
Producer - Ed Michel Engineer - Baker Bigsby
Assistant - Wally Buck
Mastering - George Horn
Art Direction and Design - Phil Carroll
Photography - Phil Bray
POST CREDITS

Other albums linked to in this post are at Orgy In Rhythm, Musica en Enspiral, Strata-East Fan Club, El Goog Ja, Pharoah's Dance, Nothing Is V2.0, The Changing Same, My Jazz World, Muzikholic.
Please thank these folks if you visit them and download - your "thankyou" makes bloggers realise that people are there, and then they post more ...

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Elvin Jones - "Summit Meeting" (1976)

To complete our series of Elvin Jones albums on Vanguard Records, reader Luis has kindly donated a vinyl rip of "Summit Meeting" from 1976.

This comes the year after "New Agenda" in Jones' Vanguard chronology, recorded a few months after "The Main Force"; and the year before "Time Capsule".

As the title suggests, this is more of a group album, and is listed in some places as such. It's generally a little more straight-ahead that the albums that preceded it and followed it - Jones is deferring to trumpeter Clark Terry and saxaphonist James Moody, neither of whom he had played with before.

The fusion touches of "The Main Force" are nowhere to be seen - guitarist Roland Prince has a more laid-back, supportive role than Ryo Kawasaki from the former album. Keyboards are provided by Albert Dailey - his rhodes work is as solid as ever - not working with the onboard FX, but more working in a blues-based piano style, while still mindful of the electric instrument's tonality.

Mostly, the tracks are a showcase for solos by Moody, Terry and altoist Bunky Green, who would come to the fore in "Time Capsule" the year after. Producer Ed Bland's composition "Moody Magic" is the closest track to the more organised and composed structures that would follow on that album. The other standout for me here is Bunky Green's "Blues for Clark", with great solos by Dailey, Terry and Green. Check previews of both of these tracks at the top of the post.

Hope you enjoy this one! Please thank Luis for the rip.

TRACKLIST

01. 'Tee Pee Music' - (Clark Terry) - 8.09
02. 'Blues for Clark' - (Bunky Green) - 5.59
03. 'Moody Magic' - (Ed Bland) - 6.11
04. 'Summit Song' - (Bunky Green) - 10.13
05. 'Jones' - (Pauline Reddon-Duke Ellington) - 9.54

MUSICIANS

Elvin Jones - drums
Clark Terry - trumpet and flugelhorn
James Moody - tenor sax
Bunky Green - alto sax
Roland Prince - guitar
Albert Dailey - electric piano, piano
Angel Allende - percussion
David Williams - bass

PRODUCTION

Vanguard Records VSD 79390
Recorded NYC November 18th, 1976
Produced by Ed Bland
Recording Engineers - Charlie Repka, Jeff Zaraya
Mixer - David Baker
Design - Jules Halfant
Photograph - Joel Brodsky

OTHER ELVIN JONES at this blog :

1975 "New Agenda"
1976 "The Main Force"
1977 "Time Capsule"

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Elvin Jones - "Time Capsule" (1977)

 

Elvin Jones' final album for the Vanguard label in 1977 was his most melodic and "produced" album from the period. His trademark fiery style is slightly reigned in within these highly arranged and produced tracks, which delve further into group-based jazz-funk fusion - quite different from the looser, post-electric Miles jamming which infused the previous year's "The Main Force", which I posted yesterday.

That said, there's some great playing and textures on "Time Capsule", with ample solo space offered and taken with gusto within these tighter structures. After this album, Jones would return to more 'traditional' post-bop territory and acoustic instrumentation with his newly-named "Jazz Machine" on 1978's "Remembrance" for the MPS label.


Guitarist Ryo Kawasaki and percussionist Angel Allende return from the previous album. Whereas Kawasaki's electric edge somewhat stood out on "The Main Force", here it has become something of the norm. Once again he holds composition credits for the opening track : "Frost Bite".

With the reeds players working more in unison melodies, and Kawasaki contributing single lines and wah-chops, Kenny Barron's fender rhodes holds much of the harmonic background for the album. He had appeared on one track of 1975's "New Agenda", but here he's a strong presence throughout.

Barron's solo work is great on tracks like "Time Capsule", "Spacing". and my personal standout track "Moon Dance" (see preview at top of post). The album catches Barron in his peak period as a rhodes player, coming after his albums "Sunset to Dawn", "Peruvian Blue" and "Lucifer" ; and just before "Innocence", after which he would mainly return to acoustic piano. So one more for the Kenny on electric piano discography.


Only Frank Foster remains from the previous album's reeds lineup, here just contributing his soprano sax to Ed Bland's track "Digital Display".



Drummer alert! Mark Feldman has transcribed some of Elvin's patterns for "Digital Display" over here at "Bang! The Drum School".

The dominant new guest here is alto saxophonist Bunky Green, who composed three of the five tracks here. After a decade-long recording break he had returned earlier in the year with his Vanguard album "Transformations", also produced by Ed Bland. Much of that album borders on proto-"smooth jazz", with highly modal covers of pop hits, but on "Time Capsule" he has a rougher, more interesting edge, perhaps from the company he's keeping here.

Tenor saxophonist George Coleman had played on some of Jones' later Blue Note releases, as well as a few Strata-East releases like Charles Tolliver's "Impact!" ; the Jazz Contemporaries' "Reasons In Tonality" and Keno Duke's "Sense Of Values". In 1977, the same year as this album, he also played on Charles Earland's "Smokin".


At this stage, prolific flautist Frank Wess was straddling both the jazz world and the disco-funk session game - recent credits had included albums as diverse as Sister Sledge's "Circle of Love"; Van McCoy's "Disco Baby"; Oscar Brown's "Brother Where Are You"; Woody Shaw's "Rosewood"; and Crap Jazz Covers' favourite, "Sweet Buns and Barbecue" by Houston Person.

In the few years preceding this album, bass player Juni Booth had worked on Larry Young's "Lawrence Of Newark" ; McCoy Tyner's "Song of the New World" and "Atlantis"; and Joe Bonner's "Angel Eyes" . 2nd bassist Milt Hinton has been described as probably appearing "on more records than any other musician", so feel free to peruse his thirteen pages of credits.

Hoping you enjoy this one folks!

TRACKLIST

01. 'Frost Bite' - 7:53 - (Ryo Kawasaki)
02. 'Digital Display' - 7:31 - (Ed Bland)
03. 'Moon Dance' - 6:20 - (Bunky Green)
04. 'Time Capsule' - 8:07 - (Bunky Green)
05. 'Spacing' - 10:35 - (Bunky Green) 

MUSICIANS

Drums - Elvin Jones
Bass - Milt Hinton (1-2), Juni Booth (3-5)
Electric Piano - Kenny Barron
Flute - Frank Wess (1-2)
Guitar - Ryo Kawasaki
Percussion - Angel Allende
Alto Saxophone - Bunky Green
Soprano Saxophone - Frank Foster (2)
Tenor Saxophone - George Coleman (1, 3-5) 

PRODUCTION

Vanguard Records, 1977
VSD 79389
Producer - Ed Bland
Mixed By - David Baker
Engineer - Charlie Repka , Jeff Zaraya
Photography - Joel Brodsky
Design - Jules Halfant
Montage - Hy Radin 

OTHER ELVIN JONES at this blog :

1975 "New Agenda"
1976 "The Main Force"
1976 "Summit Meeting"
POST CREDITS

Rip from deleted Vanguard CD re-release by Simon666

Other albums linked in this post are at the blogs : Ile Oxumare, Strata-East Fan Club; Magic Purple Sunshine, Nine Sisters, Orgy In Rhythm, My Jazz World, Everything Is On The one, Pharoah's Dance, Raider of the Lost Ark, Jamz for the Soul, Mientras Otros Duermen, My Favourite Sound, Marramua, and Musica Y Programas.
Please thank these people if you visit them.

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