Thursday, January 21, 2066

The place to report broken links and request stuff!


Howdy people...

When notifying about a dead link, please include te link to the actual post, because that would make my work a lot faster (And I mean  A LOT). Thanks in advance to all the dudes and dudettes helping out!



Thanks a lot for all the encouraging messages and anonymous goodies! (I really appreciate it).

Wednesday, December 13, 2017

Happy Birthday Uncle Ted

Happy Fucking Birthday to the Motor City Madman!




Bobby Enriques And Richie Cole - 1981 - The Wildman Meets Madman

Bobby Enriques And Richie Cole
1981
The Wildman Meets Madman



01. Groovin' High 6:10
02. Once In A While 4:50
03. Yardbird Suite 4:50
04. Wild Man Blues 6:50
05. Green Dolphin St. 6:35
06. Blue Hawaii 6:30
07. Serenata 2:28
08. Um Um 5:07


Alto Saxophone – Richie Cole
Bass – Bob Magnusson
Drums – Shelly Manne
Guitar – Bruce Forman
Piano – Bobby Enriquez


If you enjoy flying-by-the-seat-of-your-pants, all out "balls to the wall" jazz at it's best, this is the album for you. Controlled mayhem and tight, tight, tight...so hard to find this kind of energy on studio recordings of jazz artists...usually only found live. Get it - you won't regret it!


Richie Cole - 1981 - Cool 'C'

Richie Cole
1981
Cool 'C'


01. Back To Bop 5:18
02. Willow Weep For Me 7:30
03. Blue Bossa 5:40
04. Someday My Prince Will Come 4:28
05. Autumn Leaves 4:29
06. Cool "C" 4:56
07. On Green Dolphin Street 4:48

Bass – Nobuyoshi Ino
Drums – Motohiko Hino
Percussion – Masato Kawase, Tadaomi Anai
Piano – Himiko Kikuchi
Saxophone – Richie Cole
Trombone – Hitomi Uchida, Michio Kagiwada, Toshinobu Kawashima
Trumpet – Masahiro Kobayashi, Shin Kazuhara* (tracks: B2), Yoshikazu Kishi

Recorded On Feb. 7&8,1981 at King Studio,Tokyo.


Recorded during his first visit to Japan, this out-of-print LP features altoist Richie Cole playing five bop standards, his own "Cool 'C"' and pianist Himiko Kikuchi's "Back to Bop." Cole is joined by eight brass players, a rhythm section and two percussionists, all of whom are fine Japanese musicians. The results are generally hard-swinging bop with enough humor and color to hold one's interest. The focus is on Cole throughout and he makes a rare appearance on tenor during "On Green Dolphin Street."

Richie Cole With Phil Woods - 1980 - Side By Side

Richie Cole With Phil Woods
1980 
Side By Side


01. Save Your Love For Me 8:50
02. Naugahyde Reality 2:42
03. Scrapple From The Apple 7:56
04. Donna Lee 5:30
05. Polka Dots And Moonbeams 5:42
06. Eddie's Mood / Side By Side 12:42

Walter Booker Bass
Jimmy Cobb Drums
Richie Cole Sax (Alto), Vocals
Eddie "Lockjaw" Davis Sax(Tenor)
John Hicks Piano
Phil Woods Sax(Alto)

Recorded live at The Historic Paramount Theatre - Denver, Colorado on July 25 & July 26, 1980


This set features a very logical matchup. Richie Cole's main influence has long been Phil Woods, so these concert performances pitting the two altoists together have plenty of fire and extroverted improvisations. With pianist John Hicks, bassist Walter Booker and drummer Jimmy Cobb backing the soloists, Woods and Cole really push each other on "Scrapple from the Apple," "Donna Lee" and "Side by Side." Tenor-great Eddie "Lockjaw" Davis sits in on "Save Your Love for Me," the younger altoist has "Polka Dots and Moonbeams" to himself and Cole and Woods have fun on a brief free-form "Naugahyde Reality." It's a generally high-powered and enjoyable set.

Richie Cole With Eddie Jefferson - 1980 - Hollywood Madness

Richie Cole With Eddie Jefferson
1980
Hollywood Madness 


01. Hooray For Hollywood 4:42
02. Hi-Fly 6:46
03. Tokyo Rose Sings The Hollywood Blues 4:46
04. Relaxin' At Camarillo 4:30
05. Malibu Breeze 5:53
06. I Love Lucy 5:05
07. Waitin' For Waits 3:50
08. Hooray For Hollywood (Reprise) 1:10

Bass – Marshall Hawkins
Drums – Les DeMerle
Guitar – Bruce Forman
Percussion – Michael Spiro
Piano – Dick Hindman
Saxophone [Alto] – Richie Cole
Vocals – Eddie Jefferson (tracks: A2, A4, B3), The Manhattan Transfer (tracks: A3, B2, B3, B4)
Vocals [The Manhattan Transfers] – Alan Paul (tracks: A3, B2, B3, B4), Cheryl Bentyne (tracks: A3, B2, B3, B4), Janis Siegel (tracks: A3, B2, B3, B4), Tim Hauser (tracks: A3, B2, B3, B4)

Recorded at Home Grown Fidelity Studio, Studio City, Calif. 4-25-79. Mixed at Garden Rake Music, Studio City, Calif.



This is one of Richie Cole's most successful LPs. Four songs utilize the Manhattan Transfer; the great vocalese singer Eddie Jefferson (heard two weeks before his tragic death) makes his final record appearance; there are some good solos by pianist Dick Hindman and guitarist Bruce Forman; and Tom Waits makes an eccentric guest appearance. But it is altoist Cole who stars throughout on an unlikely program highlighted by boppish versions of such tunes as "Hooray for Hollywood," "Hi-Fly," "Relaxin' at Camarillo," "I Love Lucy," and his original "Tokyo Rose Sings the Hollywood Blues." A true gem.

Richie Cole - 1979 - Keeper Of The Flame

Richie Cole 
1979 
Keeper Of The Flame


01. As Time Goes By 6:59
02. I Cant Get Started 4:51
03. Keeper Of The Flame 6:09
04. Harolds House Of Jazz 4:58
05. Holiday For Strings 5:45
06. New York Afternoon 3:59
07. Strange Groove 4:57

Bass – Rick Laird
Drums – Eddie Gladden
Guitar – Vic Juris
Piano – Harold Mabern
Saxophone [Alto] – Richie Cole
Vocals – Eddie Jefferson (tracks: b1-b3), The Alt-Tettes (tracks: b4)

Recorded at Van Gelder Studio 6th September 1978. Engineered by Rudy Van Gelder. B4- featuring the wonderful vocal by The "Alt-Tettes" The "alt-Tettes" Joe Fields, Richie Cole, Harold Mabern, Vic Juris, Eddie Gladden, Rick Laird, David Lahm and Terry Silverlight



This is one of altoist Richie Cole's best-ever albums. He rips through surprisingly effective medium-to-up-tempo versions of "As Time Goes By" and "Holiday for Strings," welcomes the great vocalese singer Eddie Jefferson to "Harold's House of Jazz" and "New York Afternoon," has a humorous dig at free jazz on "Strange Groove," introduces his "Keeper of the Flame" and comes up with a near-classic solo on "I Can't Get Started." This LP is long overdue to be reissued by Muse

Richie Cole - 1978 - Alto Madness

Richie Cole 
1978 
Alto Madness


01. Cole's Nocturne 6:11
02. The Price Is Right 7:13
03. The Common Touch 2:23
04. Last Tango In Paris 4:40
05. Island Breeze 5:20
06. Big Bo's Paradise 5:29
07. Remember Your Day Off 5:15
08. Moody's Mood '78 2:59

Richie Cole : Alto saxophone
Eddie Jefferson : vocals
Eddie Gladden : drums
Harold Mabern : piano
Rick Laird : bass
Steve Gilmore : bass
Vic Juris : guitar
Ray Mantilla : percussion.


Some of altoist Richie Cole's finest records were made for the Muse label during 1976-1981 when he did a great deal to help revive bebop. Cole has long had the ability to turn almost anything into jazz and on this set he manages to swing both the theme from The Price Is Right and the main melody from Last Tango in Paris. In addition to solo space for pianist Harold Mabern and guitarist Vic Juris, singer Eddie Jefferson is featured on two numbers: "The Common Touch" and "Moody's Mood '78."

Richie Cole - 1977 - New York Afternoon (Alto Madness)

Richie Cole
1977
New York Afternoon (Alto Madness)


01. Dorothy's Den
02. Waltz for a Rainy Be-Bop Evening
03. Alto Madness
04. New York Afternoon
05. It's the Same Thing Everywhere
06. Stormy Weather
07. You'll Always Be My Friend

Recorded October, 1976 at Blue Rock Studio, NYC

Richie Cole: Sax (Alto)
Eddie Jefferson: Vocals
Vic Juris: Guitar
Mike Tucker: Piano
Rick Laird: Bass
Eddie Gladden: Drums
Ray Mantilla: Percussion


Back in the mid-'70s, when bebop was being greatly overshadowed by fusion, Richie Cole showed that not only was bop not old-fashioned, but it could be quite fun. His Alto Madness was essentially the idea that any tune, no matter how unlikely its source, could be turned into exuberant bop. Through the years, he has successfully recorded such songs as "The I Love Lucy Theme," "Holiday for Strings," "Horray for Hollywood," "The White Cliffs of Dover," "Come Fly With Me," "The Star Trek Theme," and even "La Bamba." Influenced by Phil Woods and Charlie Parker, Richie Cole heard jazz from an early age because his father owned a jazz club in New Jersey. He started on alto when he was ten, attended Berklee for two years, and joined Buddy Rich's big band in 1969. After a stint with Lionel Hampton, Cole formed his own group, doing a great deal to popularize bebop in the 1970s. Some of his finest recordings were his early ones for Muse, during a period when he often teamed up with singer Eddie Jefferson. His humor sometimes left critics cold, but Cole was one of the top bop-oriented players of the 1980s, and his Heads Up releases of the '90s (after a few years off the scene) are excellent.

This Muse album features the group that altoist Richie Cole and the late singer Eddie Jefferson co-led in the mid-'70s. They had a mutually beneficial relationship, with Cole learning from the older vocalist and Jefferson gaining extra exposure from associating with the popular young saxophonist. Their spirited set, which has two Jefferson vocals, is highlighted by "Waltz for a Rainy Be-Bop Evening," "New York Afternoon," "Stormy Weather" and "Alto Madness."

Sunday, December 10, 2017

Narumo - 1971 - London Notes

Narumo
1971 
London Notes


01. If Everyone
02. She Was A Country Girl
03. Remember?
04. Running Away From Me
05. Everybody Needs A Little Loving
06. When Love Comes Knocking
07. A Touch Of Moonlight
08. It Was Sweet Of You
09. Come Out Fighting
10. The Road Just Goes On
11. Paint Yourself Pretty

Shigeru Narumo: guitar
Brian Keith: vocals, harmonica
Michael de Albuquerque: electric bass, vocals
Bill Parkinson: acoustic guitar, electric guitar
Pete Woolf: drums, percussion
Graham Todd: organ, piano
Maria Popkiewicz: vocals
Frank Aiello: vocals
The Pop Arts Quartet: strings


Album by Strawberry Path / Flied Egg Guitarrist Shingeru Narumo recorded in London in 1971 with a full cast of British musicians. Not an earthshaking album, just a solid rock album that I enjoy playing every so often, recently a vsitor requested it, so here it is!

Thursday, November 30, 2017

Brân - 1975 - Ail Ddechra

Brân 
1975 
Ail Ddechra


01. Y Ddôr Ddig (3:30)
02. F'Annwyl Un (3:01)
03. Y Gwylwyr (3:00)
04. Wrth Y Ffynnon (4:19)
05. Ynys Gudd (2:27)
06. Myfyrdod (2:19)
07. Rhodiaf Hen Lwybrau (2:44)
08. Mor Braf (2:54)
09. Caledfwlch (3:04)
10. Blodyn (3:45)
11. Y Crewr (3:36)
12. Breuddwyd (4:04)

- John Gwyn / guitars, vocals
- Nest Howells / vocals, keyboards
- Gwyndaf Roberts / guitar
- Dafydd Meirion / drums, flute


BRÂN were a Welsh band who began life as a marginally progressive folk-leaning act and moved steadily toward a more conventional sound as they shifted lineups numerous times during their five-year existence. Mk4 of the group recorded a third studio album in 1978 shortly before they fractured with the departure of founding member John Gwyn. The band was noteworthy for recording solely in Welsh, a characteristic that surely endeared them to their countrymen but undoubtedly limited their commercial potential.

The band's early lineup included vocalist/keyboardist Nest Howells, whose angelic voice cemented the band's sound well inside folk territory in their early years. She would depart after the second release, when the band would abandon any pretense of progressive music with a heavy guitar attack that has been referred to as "crotch-rock" in their waning years.

Gwyn would go on to a career in television and soundtrack music, while a handful of the remaining members would reform as the mainstream rock band MAGGS, and two eventually formed the boogie-rock act LOUIS AR ROCYRS. Remnants of the earlier BRÂN including Howells would resurface as the prog folk act PERERIN. Nest Howells would also give birth to Welsh pop singer ELIN FFLUR.

BRÂN were a band whose claim to progressive status is largely limited to their first (and some of their second) studio releases; while they would end up as a decidedly conventional band, those first recordings and their ties to PERERIN merit some attention in the annuals of progressive rock.

Brân’s first album is the only one that really fits in the progressive folk fold; the ones that followed only became progressively more commercial-sounding, and by their third with the departure of keyboardist and angelic vocalist Nest Howells the group abandoned all pretense of being anything but a regional b- list contemporary Welsh rock band.
Too bad, because thanks almost exclusively to Ms. Howells (along with the songwriting and pretty decent of John Gwyn) the band showed some promise in the mold of groups like Mellow Candle or Fuchsia. I’ve read several places that the most excellent prog folk band Pererin had its roots in this group, but in reading the various album lineups for both groups the linkage isn’t particularly strong. Indeed, most of the members that remained in Brân by the time their third album released all ended up in very conventional and forgettable regional groups.

This album clearly demonstrates the two sides of the band, at times seeming to almost compete for attention. The opening “Y Ddor Ddig” is a rather simple and melodic pop-rock tune in the seventies mold of bands such as the Bay City Rollers or Greg Kihn Band; nothing progressive, just decent bar- band fodder. Ultimately forgettable.

If you give up after that one though you’ll miss out on Ms. Howells’ near-operatic soprano that fairly drips with rustic, bucolic resonance from the opening notes of “F'annwyl Un” through “Y Gwylwyr “ and “Wrth Y Ffynnon”. Each of these follows a similar pattern of simple rhythm, tasty electric guitar breaks and Ms. Howells plunking away on her keyboards (that sound like a spinet at times) and crooning blissfully. Not really the highest order of progressive folk, but the noteworthy guitar work and tastefully understated bass are just enough to keep things from passing as either traditional folk or pop.

The band actually makes an attempt at mixing their mainstream rock sensibilities with Ms. Howells’ inherently folk vocals on “Myfyrdod” to mixed effect. The guitar work and percussion are cheesy and quite dated, while Nest’s voice comes off awkward and disjointed and results in something that probably felt as unnatural to record as it sounds. Not the track to start with if you want to hear the best these guys had to offer.

Speaking of the Bay City Rollers by the way, check out “Mor Braf” and “Blodyn“ for other examples of that three-chord seventies spandex rock but once again unconvincingly peppered with Howells’ voice at oddly-placed intervals. The latter one sounds more like a tavern drinking-song as well, something I suppose every live band needs in their arsenal but which should be left off studio albums in my opinion.

But the good outweighs the bad here, and tracks like “Caledfwich” and “Y Crewr” with their ballad-like tempo and wispy flute are much more suited to her voice and make the off-kilter songs a bit more tolerable.

The closing “Breud Dwyd” is an interesting and beautiful composition that is undeniably the best track on the album and probably of the band’s career, indolent in a charming way with Howells’ classically- inspired piano solo and delicate organ bleats and a couple of mild guitar forays just pronounced enough to remind you this is rock you’re listening to. The interesting part of this song is that the band also recorded a more upbeat version with vocals, which was released both as a rare single and on a Welsh folk compilation album several years after their demise. Its one of the few times I’ve heard of a band releasing the same basic tune in such distinctly different renditions. Just a bit of trivia but cause for a couple minutes of pondering as to what their intent was.

Anyway, I like this album even with its unevenness and lack of any real masterpiece tracks. Overall I’ll say this is easily decent, though not quite outstanding.

Eric Kloss - 1998 - Sweet Connections

Eric Kloss 
1998
Sweet Connections


01. Sweet Connections 5:04
02. Wrapped In A Cloud 7:27
03. The Sands Of Time 7:20
04. Places In My Past 5:40
05. Irish Fantasy - The Ballad Of Charlotte McGhee 10:51
06. Love Is Here To Stay 5:53
07. Days Of Wine And Roses 5:41
08. Gil's Tune 8:42
09. The Seasons 9:25

Alto Saxophone – Eric Kloss
Bass – Steve Tisher (tracks: 7 to 9)
Drums – Terry Silverlight (tracks: 7 to 9)
Piano – Gil Goldstein

Recorded live on December 19 & 20, 1979


Eric Kloss is one of many artists recorded live at E.J.'s in Atlanta before it ceased operations in 1982. Unlike typical guest artists performing there, Kloss doesn't simply play with a local house band; he is joined throughout both dates by pianist Gil Goldstein, with bassist Steve Tisher and drummer Terry Silverlight added on the last three selections. Kloss, who abruptly seemed to have ceased performing and recording without explanation during the 1980s, is in great form on these 1979 live sets. The duo leads off with "Sweet Connections," a furious original credited to both men. The saxophonist's lush ballads "Wrapped in a Cloud" and "The Sands of Time" are followed by a fairly straightforward interpretation of rocker James Taylor's "Places in My Past." Goldstein shows off a bit in a rollicking duet of the standard "Love Is Here to Stay," with Kloss adding a bit of a wry solo. Like other recordings made at E.J.'s and issued on its equally defunct namesake label, the piano sounds a bit muddy and distant, making one wonder if the musicians realized they were being recorded, though this rare opportunity to hear Eric Kloss in a live setting late in his career overcomes any sonic shortcomings.

Eric Kloss - 1979 - Celebration

Eric Kloss
1979
Celebration


01. Celebration 6:53
02. The Force 10:07
03. Afterglow 5:12
04. Heavy Connections 6:06
05. The Samba Express 7:52
06. Blue Delhi 7:46

Bass – Mike Richmond
Drums – Terry Silverlight
Guitar – Kenny Karsh
Keyboards – Barry Miles
Saxophone [Alto] – Eric Kloss

Recorded at Dimensional Sound Studio, NYC - January 6 & &, 1979


The music on this obscure LP (the last in a long string of Eric Kloss Muse recordings) is often funky and in the fusion vein. The altoist is joined by keyboardist Barry Miles (who contributed the only one of the six pieces not written by the leader), guitarist Kenny Karsh, bassist Mike Richmond, and drummer Terry Silverlight. The playing is on a high level and the compositions are complex,

Eric Kloss - 1978 - Now

Eric Kloss
1978
Now


01. We Are Together 7:32
02. Now 6:39
03. Morning Song 6:35
04. Hey, Hey, Whatta You Say? 5:21
05. Autumn Blue 6:22
06. Booga Wooga Woman 7:04

Alto Saxophone, Tenor Saxophone – Eric Kloss
Bass – Mike Richmond
Cowbell – Efrain Toro
Drums – Jimmy Madison
Keyboards – Mike Nock

Recorded January 4 & 5, 1978 at Van Gelder Recording Studio, Englewood, N.J.


Tenor/altoist Eric Kloss recorded often from 1965-1981 before disappearing from jazz. His sound was fairly original, he was technically skilled, and, even though his impact was fairly minor, he did record many worthwhile sessions, most of which are currently hard to find. On this LP, Kloss (joined by keyboardist Mike Nock, bassist Mike Richmond, and drummer Jimmy Madison) performs six of his originals, none of which caught on. The music is generally lyrical and the leader plays well, even if the rhythm section is fairly anonymous, but little all that memorable occurs.

Eric Kloss / Barry Miles - 1976 - Together Images

Eric Kloss / Barry Miles 
1976 
Together Images


01. Relay 6:58
02. The Wise Woman 6:24
03. Together 6:09
04. Song For A Mountain 4:19
05. The Goddess, The Gypsy & The Light 13:05
06. Opus De Mulier 1:55

Alto Saxophone – Eric Kloss (tracks: A1, A2, B2, B3)
Electric Piano – Barry Miles (tracks: A2, B3)
Piano – Barry Miles (tracks: A1, A3, B1, B2)
Synthesizer – Barry Miles (tracks: B1)
Tenor Saxophone – Eric Kloss (tracks: A3, B1)

Recorded July 19 & 20, 1976 at CI Recording, NYC


Eric Kloss / Richie Cole - 1977 - Battle Of The Saxes, Vol.1

Eric Kloss / Richie Cole
1977
Battle Of The Saxes, Vol.1


01. Ebony Godfather 9:52
02. Robin 11:22
03. D.C. Farewell 7:45
04. Harold's House Of Jazz 13:00

Recorded Live At The Tin Palace, New York City, March 1976

Richie Cole: Alto Saxophone (Right Channel)
Eric Kloss: Alto Saxophone (Left Channel)
Rick Laird: Bass
Eddie Gladden: Drums


Except for one obscure release from the year before, this Muse LP has the earliest recording of Richie Cole as a leader (actually a co-leader with fellow altoist Eric Kloss). Cole and Kloss battle it out on four lengthy songs with "Harold's House of Jazz" (which is actually based on "Cherokee") being the highpoint. Worth searching for.

Eric Kloss - 1975 - Bodies' Warmth

Eric Kloss
1975
Bodies' Warmth


01. Lady
02. Joni
03. Bodies' Warmth
04. Scarborough Fair
05. Mystique
06. Headin' Out

Alto Saxophone, Soprano Saxophone – Eric Kloss
Drums – Terry Silverlight
Electric Bass – Harvie Swartz
Guitar – Vic Juris
Piano, Electric Piano, Synthesizer – Barry Miles

Recorded 6/24 & 6/25 1975.


Eric Kloss joined forces with Barry Miles' Silverlight on this outing and for touring at the time.The results aren't quite as fusion orientated as the Silverlight connection might lead you to believe and it's not until the final "Headin' Out" that we get some balls out banging fusion.Solid album overall.

Eric Kloss - 1974 - Essence

Eric Kloss
1974
Essence


01. Love Will Take You There 15:38
02. Affinity 8:57
03. Essence 16:36
04. Descent 3:41

Alto Saxophone, Tenor Saxophone – Eric Kloss
Bass – Buster Williams
Drums – Ron Krasinski
Piano, Electric Piano – Mickey Tucker
Trumpet – Hannibal Marvin Peterson


Recorded 12/14/73 with the interesting - especially from this time - lineup of Marvin "Hannibal" Peterson (as he was then billed), Mickey Tucker (who "appears courtesy of Bluenote (sic) Records" a reference to the New Heritage Keyboard Quartet, I guess) , Buster Williams, Ron Krasinski (drummer, apparently a buddy of Kloss' who apparently "went to California to pursue his musical career". Hope that went ok...) & on one tune Sonny Morgan on percussion.

Tunes are very much "of the time", meaning modal in spots, slightly free-ish in spots, occasionally "rock-ish" in a non-commercial way. Kloss was always a "follower", but to me that's not necessarily a derogatory assessment. This is a guy who started waaaay young and was very much learning - as in going beyond what he already knew - as he went along. If you wnat to look at it "artistically" then hey, big whoop, next, move on. But looked at as one man's journey, well, maybe it should or shouldn't have been documented to the extent that it was for as long as it was (especially early on), but it was, and there's a story there, a human one of some interest if not necessarily a musical one of larger interest. Simply put, the guy's a "good player", and you can make of that what you want and probably not be wrong no matter what.

Still...

On this album, Kloss came to play hard and had a band who was more than willing and able to match him (and more than match him). These cats are burning, especially Peterson who was in the first flush of his Gil Evans-facilitated exposure, and Tucker, who's one of the best, most consistently interesting, ever-so-slightly idyosyncratic, pianists/keyboardists that not enough people have heard of (or heard enough of). If Kloss sounds at times like a student who's learned his lessons well and convincingly, these guys sound like the cats he was hoping to get it done with once he did.

Trust me when I say that this is one of those sleeper albums that you can go through your entire life not hearing and still have a good, excellent, even, life. But hearing it ain't gonna hurt a damn thing, and may well be considered a bonus. And if you're into Hannibal and/or Tucker, then you pretty much GOT to hear it.

Eric Kloss - 1972 - One, Two, Free

Eric Kloss
1972
One, Two, Free


01. One, Two, Free
a. One, Two, Free
b. Elegy
c. The Wizard
02. It's Too Late
03. Licea

Bass – Dave Holland
Drums – Ron Krasinski
Electric Piano, Tambourine – Ron Thomas
Guitar – Pat Martino
Saxophone [Alto] – Eric Kloss

Recorded August 28, 1972.


Although based in the hard bop tradition, altoist Eric Kloss was always open to the influence of the avant-garde. This stimulating session features Kloss, guitarist Pat Martino, keyboardist Ron Thomas, bassist Dave Holland, and drummer Ron Krasinski really stretching out on Carole King's "It's Too Late," "Licea," and the three-part "One, Two, Free." Eric Kloss pushes himself and his sidemen throughout the date, and even if the Fender Rhodes sounds a bit dated, the high musicianship and chance-taking are still exciting to hear.

Pittsburgh native Eric Kloss (b. 1949) was one of the most distinctive, original voices to emerge on alto sax in the mid-60s. He was only 16 when the first of his eleven Prestige albums was released in 1965. These records featured the cream of the crop of New York musicians and the young Kloss more than held his own with heavyweights like Booker Ervin, Jaki Byard, Chick Corea, Cedar Walton, and most notably, guitarist Pat Martino.

Kloss switched to the Muse label in 1972 and debuted with this outstanding quartet recording, One, Two, Free ; which remains his finest achievement. In a group featuring Martino on guitar and Ron Thomas on electric piano as well as bassist Dave Holland and fellow Pittsburgher Ron Krasinski on drums, Kloss pushes and pulls his group to take chances that explore the outer edges of bop, fusion and even funky pop music.

The 18-minute, three-part title track is clearly influenced by Bitches Brew (on which bassist Holland also participated). But here, like on the surprisingly substantial funk of Carole King's "It Too Late," Kloss's arched sound and searing style move the ostinato vamp in a more avant-garde direction (the way Arthur Blythe later would). Martino gets a notable share of the solo spotlight and never ceases to amaze in his mixture of cool chordal comps and fleet runs up and down the fretboard.

Kloss's beautiful ballad, "Licea," guided by Dave Holland's moody, signature string work, is the jewel of this collection and probably deserves to be better known. Martino waxes lyrically before Kloss enters for a rueful countenance that's worth the price of admission.

32 Jazz was wise to bring One, Two, Free back into circulation - and maintain Don Schlitten's beautiful cover-art photography too. Priced well below other recent jazz reissues, One, Two, Free is a significant chapter in 1970s jazz and provides a great opportunity to discover the interesting music of Eric Kloss (who, despite no widespread releases since the early 1980s, still performs infrequently at Pittsburgh events with his vocalist wife). Even though there's 42 minutes of music here, one wishes creative interaction this good kept on going. Recommended.

An extraordinarily gifted altoist, Eric Kloss first appeared on the scene at the age of 16, when his debut record won him critical acclaim as a blind child prodigy. By the time of this recording, the 23-year-old Kloss had lived up to his early promise, growing as an open-minded musician with experience playing with such jazz heavy-weights as Jaki Byard, Booker Ervin, Jack DeJohnette, and Chick Corea.
One, Two, Free is an avant-garde album of often funky music, with its strong rhythms rooted in the driving bass lines of Miles Davis-veteran Dave Holland and the vintage Fender Rhodes sounds of Ron Thomas. Kloss and guitarist Pat Martino stretch imaginatively on the 18 minute title track (seamlessly divided into three parts), crafting a memorable original that approaches the electric intensity of Miles Davis‘ work from the same era.

Carol King’s “It’s Too Late” starts off with tongue-in-cheek straightness, but once the theme is stated, the pop-song is turned on its head and transformed into a funky vehicle for exploration. The closing track, “Licea,” is complex and cerebral, but rewards close listening. Featuring two originals and one cover tune, all over 10 minutes long, One, Two, Free is an adventurous blast from the past that still retains its freshness and is definitely worth owning. Buy it, and help rescue one of the unsung heroes of the saxophone from undeserved obscurity.

Eric Kloss - 1972 - Doors

Eric Kloss 
1972 
Doors


01. Doors
02. Waves
03. Quasar
04. Sweatin' It
05. Love
06. Libra

Alto Saxophone, Tenor Saxophone – Eric Kloss
Bass – Gene Taylor
Drums, Tambourine – Ron Krasinski
Piano, Electric Piano – Neal Creque

Recorded January 1, 1972.



Eric Kloss: Past And Prescient
March 30, 1984
Washington Post

The latest album in the racks by saxophonist Eric Kloss isn't new at all. Entitled "Doors," it was recorded in 1972 at a pivotal point in Kloss' career. At the time he was moving away from the confines of post-bop structures and beginning to experiment with freer forms and different styles. "Selective electicism" is how he described it.

Kloss has since gone on to make his mark in jazz as an individualistic and adventurous musician and composer. But "Doors" reveals the saxophonist first spreading his wings, and a dozen years later the music still holds up.

The album opens with the title track, paying homage in 9/8 time to poet William Blake's "doors of perception." Muted keyboards, over-dubbed horn duets, spacious silences and a recurring figure in the bass create an entrancing, rather impressionistic effect. our other tracks (or "doors") bear similarly apt one-word titles: "Waves" is an idyllic retreat, carefree and alluring; "Quasar" has enormous collaborative energy; "Love" is part sentiment, part emotion; and "Libra" balances two over-dubbed tenor saxophones of differing musical temperaments -- one jazz, the other rock.

Because a conceptual album like this requires a cohesive and intelligent group effort, Kloss was fortunate to have pianist Neal Creque, bassist Gene Taylor and drummer Ron Krasinski along for the ride. Kloss' playing on alto and tenor saxes is often striking and always sensitively executed, but the individual and collective contributions of his fine rhythm section consistently add to the album's enduring appeal. 

Eric Kloss - 1970 - Consciousness!

Eric Kloss
1970
Consciousness!



01. Sunshine Superman 10:37
02. Kay 10:24
03. Outward Wisdom 6:05
04. Songs To Aging Children 6:58
05. Consciousness 8:36

Alto Saxophone, Tenor Saxophone – Eric Kloss
Bass, Electric Bass – Dave Holland
Drums – Jack DeJohnette
Guitar [6 String, 12 String] – Pat Martino
Piano, Electric Piano – Chick Corea

Recorded January 6, 1970


One common feature of every Miles Davis group is the stellar rhythm section -- whether it's Garland/Chambers/Jones, Kelly/Chambers/Cobb, or Hancock/Carter/Williams. Yet one of the best Miles rhythm sections, Corea/Holland/DeJohnette, didn't make much of an impact in the studio; while they were absolutely scorching in concert (as any of the Fillmore concerts will attest to), this 2-on-1 CD gives a good idea of what they could do in the studio.
Eric Kloss was (and supposedly still is) an edgy post-bop altoist, obviously aware of Coltrane's innovations but with a very distinct, individual sound. On some of the tracks he plays tenor. Anyway, he definitely deserves mention alongside Jackie McLean and Gary Bartz.

The first album, To Hear Is To See (tracks 1-5), is relatively more "inside" and it's interesting to hear the rhythm trio swinging in a more conventional setting (one month later they'd be recording Bitches Brew). Like a lot of other jazz cerca 1969-70, there's a definite rock influence both in the rhythms and in Corea's use of the electric piano (he also plays acoustic). Consciousness! (tracks 6-10) was recorded in January 1970, and sounds a lot more like the intense Fillmore recordings. Pat Martino, who joins the band on guitar, is an explosive presence.

This is highly recommended to any fan of Corea, Holland, or DeJohnette as well as to anyone who likes the sound of late 60s post-bop jazz. And besides, you will never hear a funkier version of "Sunshine Superman" in your life. 

Eric Kloss is a world renowned alto and tenor saxophonist, a multi-instrumentalist, recording artist, composer, clinician, educator, and television personality. Blind from birth music became his vision. A true child prodigy he performed with his mentor Sonny Stitt at age 12. Backed by jazz guitarist Pat Martino, his recording career began at age 16 with the release of “Introducing Eric Kloss”. Blending hard bob, be-bop, pop, rock, funk, free jazz, classical and world music, he went on to release 22 critically acclaimed recordings on the Prestige and Muse labels. A who’s who of jazz masters appeared as sidemen on his albums including Gerald Veasley, Barry Miles, Don Patterson, Jaki Byard, Gil Goldstein, Richard Davis, Alan Dawson, Cedar Walton, Jimmy Owens, Kenny Barron, Booker Ervin, Leroy Vinnegar, Billy Higgins, Kenny Barron, Bob Cranshaw, and Alan Dawson. His most acclaimed album, Eric Kloss and the Rhythm Section, features the Miles Davis rhythm section of Corea, DeJohnette, and Dave Holland. Kloss toured the USA and Europe for 25 years wowing audiences with his technical brilliance and wild improvisations.

Eric was a frequent guest on the PBS TV show Mr. Roger’s Neighborhood, second only to pianist Johnny Costa for most appearances by any musician. In 1989 he became a spokesman for Yahoo Music promoting and performing with the sax-like MX-11 wind synthesizer. In the 1990s he began teaching at Duquesne University and went on to become head of the jazz department at Carnegie Mellon University. As an educator and clinician he mentored a new generation of jazz performers and instructors. The Fantasy Jazz label has reissued several of his recordings: First Class, About Time, the 2 CD box set Eric Kloss & the Rhythm Section/Love and All That Jazz, and the 2 CD box set Sky Shadows/In the Land of the Giants. Eric withdrew from teaching and performing in 2001 when he became seriously ill. He continues to write and plans to perform and record if his health improves. The unreleased work Cosmic Adventures demonstrates his musical mastery.

An excellent album from Eric Kloss that again teams him with the Miles Davis rhythm section of the period (Chick Corea, Dave Holland, and Jack DeJohnette) plus guitarist Pat Martino, who was really stretching out at this time. The resultant electric grooves are way different than Kloss' earlier work, yet still much tighter and more soulful than his later stuff -- with some slight bits of funk and soul jazz to keep things real. All tracks are fairly long, and the record features versions of "Sunshine Superman" and "Songs To Aging Children" -- plus the tunes "Consciousness" and "Outward Wisdom"

Eric Kloss - 1969 - To Hear Is To See

Eric Kloss 
1969
To Hear Is To See


01. To Hear Is To See 5:32
02. Kingdom Within 6:01
03. Stone Groove 6:58
04. Children Of The Morning 8:27
05. Cynara 9:35

Alto Saxophone, Tenor Saxophone – Eric Kloss
Bass – Dave Holland
Drums – Jack DeJohnette
Keyboards - Chick Corea

Recorded July 22, 1969.


An all-star rhythm section backs up saxophonist Eric Kloss for this 1969 Prestige release. Chick Corea, Dave Holland, and Jack DeJohnette (all of whom were working with Miles Davis in the late '60's) join the saxophonist for a set of varied but consistently good post-bop tunes.

At first listen the tune appears to be a funky blues in the style of Horace Silver or Duke Pearson. On closer inspection one will find that the melody is actually cleverly phrased in 7/8. Kloss’s joyful solo sounds like an adventurous Cannonball Adderley and Chick Corea’s comping on Rhodes supports him perfectly. 

Things go in a different direction on “The Kingdom Within” as it opens with a free improv section that eventually turns into lovely modal tune. In his solo Kloss sounds almost like Coltrane on alto with soulful blues-inflected modal sound. “Stone Groove” is funky and swings but drifts freely into other rhythmic areas during the solos. Once again Kloss’ solo is the highlight here and the band sounds their best as they reach a fever pitch at the apex of his solo.

“Children of the Morning” is an optimistic sounding straight-eighth number and possibly the weakest track. Kloss doesn’t seem to muster the energy he achieves in the other tunes, but Corea gives probably his best solo of the record. For “Cynara” the band dives back into time signature play with a tight 5/4 vamp and a beatifully dissonant melody. The tune is a nice vehicle for Kloss and Co. and they are able to slip in and out of time and harmony with ease.

This is arguably Kloss’ best recording, thanks in large part to the excellent rhythm section. As with most good jazz, the soloist feeds off of his rhythm section who, in turn, feed off of him creating some really great music.

Eric Kloss - 1969 - In The Land Of The Giants

Eric Kloss 
1969
In The Land Of The Giants


01. Summertime 7:31
02. So What 12:08
03. Sock It To Me Socrates 5:14
04. When Two Lovers Touch 5:33
05. Things Ain't What They Used To Be 5:46

Alto Saxophone – Eric Kloss
Bass – Richard Davis
Drums – Alan Dawson
Piano – Jaki Byard
Tenor Saxophone – Booker Ervin

Recorded NYC, January 2, 1969


Eric Kloss' sessions for Prestige somehow always get overlooked – but do yourself a favor and don't pass this one by! The record's a crackling bit of modernist free play, with a very soulful edge – and the group includes Booker Ervin, Jaki Byard, Richard Davis, and Alan Dawson all joining Kloss as he hits his mid-period "exploratory" stage. His alto is super-crisp here, and although he's reaching out a bit more than on earlier albums, he never manages to lose the swing that made him sound so great right out of the box. 

An absolutely stunning, up-tempo version of Miles Davis’ “So What” featuring the towering and vigorous tenor saxophone work of the late Booker Ervin. Here, Kloss and Ervin take turns reaching for the stars via soaring and electrifying lead soloing!........Not a cutting contest yet these esteemed gentlemen perform with conviction as if they were possessed by spirits... Kloss’ sweet alto sax tone and sumptuous phrasing is evident on “When Two Lovers Touch”. On the Ellington classic, “Things Ain’t What They Used To Be” Kloss’ expressionism and emotive lyricism displays mature sensibilities and expertise for such a young lad.

Eric Kloss - 1968 - Sky Shadows

Eric Kloss 
1968 
Sky Shadows


In A Country Soul Garden 6:23
Sky Shadows 13:16
The Girl With The Fall In Her Hair 6:43
I'll Give You Everything 6:41
January's Child 8:10

Alto Saxophone, Tenor Saxophone – Eric Kloss
Bass – Bob Cranshaw
Drums – Jack DeJohnette
Guitar – Pat Martino
Piano – Jaki Byard

Recorded August 13, 1968.


This 1968 release from saxophonist Eric Kloss has many fine points and a couple of puzzling technical lapses. Kloss, heard on alto and tenor, is definitely one of the strengths. Only 19 at the time of this session, the young sax player is well up to the challenge of playing with his more seasoned bandmates. The set reunites Kloss with guitarist Pat Martino, who was with Kloss for the saxophonist's recording debut at the age of 16. The date features four excellent advanced hard bop/post-bop pieces by Kloss and one from Martino. On guitar, Martino is consistently marvelous, both as a simpatico accompanist and as a soloist. Drummer Jack DeJohnette is also superb, and his playing is captured with tremendous clarity and balance. Unfortunately, bassist Bob Cranshaw is mixed so low he is often inaudible. Also odd, pianist Jaki Byard, while bringing his renowned power and versatility to the session, sometimes sounds separated from the rest of the band. Recording imbalances aside, this is a worthwhile set, particularly for the opportunity to hear Kloss in collaboration with Martino again. This music can now be found on the CD compilation Sky Shadows/In the Land of the Giants, which also includes Kloss' 1969 release, In the Land of the Giants.

Eric Kloss - 1968 - We're Goin' Up

Eric Kloss
1968 
We're Goin' Up


01. Get The Money Bluze 2:33
02. I Long To Belong To You 6:48
03. Gentle Is My Lover 7:51
04. We're Goin' Up 5:34
05. Of Wine And You 6:06

Alto Saxophone – Eric Kloss
Bass – Bob Cranshaw
Drums – Alan Dawson
Piano – Kenny Barron
Trumpet, Flugelhorn – Jimmy Owens